Podcasts about canadian artists

Chanelle Jefferson is a Canadian mixed media artist and counsellor whose work explores themes of healing, emotion, and connection. Her art has been exhibited internationally, including at Museo Bellini (Florence, Italy), and is held in private collections such as those of Pete Luckett and the MacKay-Lyons family. She was the 2023 Artist-in-Residence at the Lunenburg School of the Arts, where she deepened her exploration of intuitive art. Through The Grief Project and commissioned works, Chanelle continues to push the boundaries of how art can hold space for transformation.

“In a world that rewards constant output, choosing a creative life can feel radical—but it's also freeing. This conversation with Vikki reminded me that we're not here to simply produce, but to feel, imagine, and build lives that reflect our true selves.”In this soulful episode, Canadian artist Vikki Drummond joins us to talk about what it means to live a truly creative life—beyond productivity, beyond hustle. We explore the natural seasons creatives move through: times of deep inspiration and growth, and times where boundaries and rest are vital. Vikki shares how tapping into your creative gifts can be a way out of the industrialized mindset of “more, faster, now”—and into a life that feels aligned, meaningful, and sustainable. We also dive into how emotional intelligence is a creative superpower, giving artists the ability to reflect, connect, and inspire. This episode is an invitation to honour your inner pace, trust your talent, and redefine what success means on your own terms.3 Tips from the Episode:Rest is not a break from creativity—it's a necessary part of your process.Creativity is a path to personal freedom; don't let old systems define your success.Your emotional depth is a gift—use it to connect, create, and lead with intention.

Howdy Folks, The tariff war is on and were playing all Canadian Artist on this one. DJ Gower talks home repair and Matador debuts the song no one listens to this podcast. We still make em and the world is crazy at this point and we gotta have cool stuff to listen to so here ya go eh. Strange brew and SNL Couple of beers sound clips and bad ass music from Canada. Stay warm CANADA, MATADOR Artist include: Propagandhi, The Rebel spell, Death from above 1979, The Band, annhilator and many more.

The Abyss Podcast - Issue 184: 36CYPHER We are Back in the great white north to tap in with 36Cypher! We talk about the flavors of Toronto, Previous works like "As the crow Flies" with Daniel Son and Futurewave, Being a Canadian Artist, Important lessons for his son, new music and so much more! DON'T SLEEP TAP IN! IG- @crimefaces @crimefaces_the_abyss @lukeycage @thebonechurch @primojab EMAIL- cftheabysspodcast@gmail.com

(Guest)https://www.instagram.com/hittaj3tml/https://foundation-media.ffm.to/popit2em?fbclid=PAZXh0bgNhZW0CMTEAAaZUv6dj_N_MBU3feW2DDD60VYu8mNhcCuyCL4blRkszOxJzuWrAuGg0izI_aem_xLUmNd728kTle4Fb2lOdCQhttps://sparta.ffm.to/savethebear?fbclid=PAZXh0bgNhZW0CMTEAAabuu9U5vn4kZYUOHabTYA9UqB_LMM0rnWq-Mgd2_cemoud3QFLmcPLNj0k_aem_YjXfzE_qsL3hCjGLX3r1GQhttps://www.youtube.com/watch?app=desktop&v=TV433rV10Ck&fbclid=PAZXh0bgNhZW0CMTEAAab6xSQIlwHzggGKhxyaZ4rvGOasrw39wnOxGTKjlAHbkz0ogWzfTvg6uMQ_aem_9RyALwbY2VxbF1aiWgM8AAhttps://linktr.ee/hittaj3?fbclid=PAZXh0bgNhZW0CMTEAAabuzsFHg1wIgpAH-biUSstw_pY_CtPWR92XD5Xxhp2XTVeRiJHBjzvbgpY_aem_aLo8_pXLzMiherAQWgolUw----------------------(Host)https://www.instagram.com/convowmarlo/TimeCode0:00 - Intro1:50 - Who r u , wyf3:50 - What type music u make 5:30 - Song Recommendation7:15 - Beef between Top5/Drake17:20 - whats going on 202519:25 - Giving back to community 21:00 - Outro

William D. Higginson: A Canadian Surrealist Visionary William D. Higginson is a Canadian surrealist painter whose evocative works have captivated audiences worldwide. A professional artist since 2007, Higginson explores a vast array of mediums and genres, creating pieces that resonate on both emotional and intellectual levels. His art is held in private collections across the globe and has been featured in numerous prestigious solo exhibitions. Notable showcases include sellout shows at The Space An Art Gallery (2023 and 2017), The Chali Rosso Art Gallery (2019, alongside works by Salvador Dalí), and The Vancouver Club (2016). Higginson's accolades highlight his exceptional talent: he claimed 1st place in the Surrealize International Art Competition (2022), two consecutive Golden Brush First Place awards (2011 and 2012), and an Award of Excellence from the Canadian Federation of Artists (2011). These accomplishments are a testament to his skill, vision, and dedication to his craft. His life story is as compelling as his art. Diagnosed with life-threatening liver failure and leukemia at age 11, Higginson spent three years confronting his mortality. During his hospital stay, a request for pencils and paper marked the beginning of a profound artistic journey. “Living with such conditions changes your perspective on life,” Higginson reflects. This early brush with mortality informs much of his work, often blending humor, surrealism, and deeply personal revelations. Beyond his individual achievements, Higginson has made a significant impact on the art community. As the owner of Impressions Live Art since 2007, he pioneered live painting performances, bringing art to audiences in dynamic and interactive ways. He co-founded Direct2Artist, a global initiative supporting thousands of artists in over 80 countries, and served as its Community Director (2013–2019). His roles as Membership Chair for the Federation of Canadian Artists (2013–2016) and Owner/Operator of Art Battle Vancouver (2013–2014) underscore his commitment to fostering artistic talent and community. Higginson's artistic philosophy centers on emotional engagement and introspection. “My dreams and imagination conjure imagery that I forever strive to render as clear on canvas as in my mind,” he says. This relentless pursuit of creative excellence has made his work a source of inspiration for collectors, art enthusiasts, and aspiring artists alike. Whether mentoring young talents or refining his own craft, Higginson's passion for art remains unyielding. His journey from hospital bed to international acclaim is a testament to the transformative power of creativity and perseverance. Discover more at: www.williamhigginson.com Instagram https://www.instagram.com/william.d.higginson/

In this inspiring episode of Colour Me Happy, we sit down with Canadian artist Ciarra Saylor to explore what it truly means to claim your creativity. Ciarra shares her journey as an artist, offering valuable insights on overcoming self-doubt, silencing your inner critic, and embracing your unique creative voice. We dive into actionable tips for giving yourself permission to create, experimenting with new mediums, and honoring your personal artistic journey. Whether you're a seasoned artist or just starting to explore your creative passions, this conversation is packed with wisdom, encouragement, and practical advice to help you live your best, most authentic creative life. ✨ Let this episode inspire you to play, experiment, and fully embrace the magic of your creative potential! Don't forget to subscribe, share, and leave a review if this resonates with you!

Living with Purpose: Setting Boundaries for a Fulfilling Life Get ready for an inspiring and relatable chat with professional artist Alex! In this episode, we dive into the art of setting boundaries to create a life with deeper meaning and purpose. We unpack how limiting your consumption, prioritizing what truly matters, and saying “no” when it counts can help you live as the best version of yourself. Because when you thrive, you inspire and support those around you. Don't miss this empowering episode—perfect for anyone seeking clarity and purpose! Quick Tips for Living with Purpose: Limit Digital Overload: Schedule designated “screen-free” hours to focus on creative pursuits or personal reflection. Identify Your Priorities: Make a list of what truly matters—family, creativity, health—and use it to guide your daily decisions. Set Healthy Boundaries: Learn to say “no” without guilt to activities that don't align with your goals or drain your energy. Embrace Minimalism: Focus on quality over quantity in relationships, commitments, and possessions. Practice Mindful Consumption: Be intentional about the media, conversations, and energy you consume daily. Take these small steps, and you'll find it easier to align your actions with your purpose. Listen in for even more insights!

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This week's guest is Canadian artist JJ Wilde, who just released her latest album, Vices. JJ's honesty, openness and positive vibes is I what Roadcase is all about. JJ is a total rocker, and in 2021, she won the Juno Award for Best Rock Album for her debut effort, Ruthless, and was at the time the first female artist to earn that accolade since Alanis Morisette in 1996!!  JJ has lived a life and talks to me about it all.  This is one of my favorite interviews and it's a MUST listen, so click on that link now to check it out!!  For more information on Roadcase: https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

What's the secret to balancing passion and practicality? Mitch Zorn shares his unique journey from tradesman to country music sensation on the latest Behind the Human episode. His story of relentless pursuit and grounded humility offers inspiration for anyone chasing their dreams.    ****   How Prepared is Your Team for the Next Big Disruption? Future-proof your team with Malosiminds.com * Get your copy of Personal Socrates: Better Questions, Better Life   Connect with Marc >>>  Website | LinkedIn | Instagram | Twitter  Drop a review and let me know what resonates with you about the show! Thanks as always for listening and have the best day yet! * A special thanks to MONOS, our official travel partner for Behind the Human! Use MONOSBTH10 at check-out for savings on your next purchase. ✈️ * Special props

Episode 592: Check out my chat with Canadian artist & interior designer, Kevin Mann. I met Kevin at a local art festival & knew right away he was a kindred spirit. We talk about how art is a tribal effort. We talk about marketing, labels, confidence, gratitude, being broke, being rich & being in between […] The post My chat with Canadian artist, Kevin Mann appeared first on Let's Talk Art With Brooke.

Selections from Rum Ragged, Sherman Downey, The Once, and Kelly Loder from Newfoundland and Labrador, Shane Pendergast from Prince Edward Island, Ray Legere and Janet Crawford from New Brunswick and from Nova Scotia, Dave Gunning and J.P. Cormier, Jimmy Rankin, Joe Henry and Mary Frances Leahy.https://www.facebook.com/ron.moores.18

Victoria Banks joins us for this week's new episode of Stories Behind the Songs! Victoria is what some people in the music industry would call a “unicorn” - she writes her best stuff completely 100% (meaning all by herself), and she has several accolades to her name including the Canadian Artist and Songwriter of the Year.  Some of Victoria's cuts include “Saints and Angels” by Sara Evans, “What Are You Gonna Tell Her?” by Mickey Guyton, and the one-and-only Reba McEntire's most recent single, “I Can't”, and she shares the story behind each one of these songs.  In this episode, we also talk about how her song, “Saints and Angels” was edited and used as a post-9/11 anthem, “daring to suck” in co-writes, building a decade-long collaborative relationship with Mickey Guyton, teaching at Belmont where she can “be there for the beginning” of a student's songwriting career, and getting that Reba cut with “I Can't” 18 years after it was put on hold and seeing it debuted on The Voice. Victoria plays a verse and chorus of “Saints and Angels”, “I Can't”, and an emotional rendition of “What Are You Gonna Tell Her?” There's so much good advice for aspiring songwriters in this one.. Thanks so much to Victoria for sharing some of her wisdom. Let's get into it! SHOW NOTES: Keep up with Victoria Banks ⁠⁠- https://www.instagram.com/victoriabanksmusic?igsh=MXRrbHQwcGliMW5yOQ== Stay up to date with fresh podcast episodes and Listening Room show dates: Listen/Subscribe/Follow - ⁠⁠https://linktr.ee/sbtsongs SBTSongs TikTok - @SBTSongs   SBTSongs Instagram - @SBTSongs   SBTSongs YouTube - @SBTSongs   Chris Blair's Instagram - @ChrisBlairMusic   Chris Blair's Website - https://www.chrisblair.com/ The Listening Room's Website - https://www.listeningroomcafe.com/ TLR's Instagram - @ListeningRoomCafe   TLR's TikTok - @TheListeningRoomCafe   *A special shout out to our sponsors* Sennheiser - https://www.sennheiser.com/en-us Imperfect Aesthetician - https://www.instagram.com/imperfectaesthetician/ Alclair In-Ear Monitors - https://alclair.com/ Support this podcast: https://podcasters.spotify.com/pod/show/sbtsongs/support --- Support this podcast: https://podcasters.spotify.com/pod/show/sbtsongs/support

Episode 86 of I Like Art Podcast: “Leaping without Looking”- Interview with Canadian artist Brandi Hofer. What is a “Be Brave Day”? Canadian artist Brandi Hofer talks about how she uses “be brave days” to go after her big dreams and land amazing opportunities as an artist and business owner. Hear about Brandi's portrait class and how ANYONE can learn her portrait-making techniques. Leave this episode feeling a little braver, energized and more inspired! If you love the show, we would love for you to follow and subscribe or even write a review! Sara releases new episodes on Tuesdays/Wednesdays and loves to share her passion for art for everyone, sharing the stories of today's living artists, telling stories from the studio and most importantly-  using this space to encourage YOU discover your creative voice and live more creatively! Thank you again for listening and joining Sara!    This episode is sponsored by: Sara's upcoming workshop for artists/creatives: How To Create + Sell Your Artist Calendar, her upcoming Calendar Pre-Sale and the sale of her original paintings.  Click here to learn more about the workshop and to register: https://www.saraglupkerart.com/store-1/p/calendarworkshop.  Use Code: HAPPY at checkout for 20% off this course. Must register before August 29, 2024 To Pre-Order one of Sara's 2025 Calendars: https://www.saraglupkerart.com/shop/p/2024calendar-x48rn   About this episode's featured artist: Taken from Brandi Hofer's website:  “Hello, I'm Brandi Hofer, and I wear many creative hats. I'm an artist, muralist, author, podcaster, and educator, with a passion for making meaningful connections through art. I'm proud to be a collected Canadian Artist, with my work exhibited internationally and across North America. Recently, I had the privilege of showcasing my pieces in the vibrant art scene of NYC. A highlight of my career has been the completion of my largest project to date, a monumental 3082 sq/ft mural titled Choose Love and Join Hands in Truth and Reconciliation. Along with the installation of this massive project, we ran an Indigenous Mentorship Program. To celebrate the project we held an unveiling and Final Ceremony with elders blessing, dancing and drumming. This collaboration with my community holds great personal significance. In 2021, I took my commitment to creative education further by founding an Art Academy in partnership with my local public school district, with a focus on inclusivity, diversity, and self discovery. Additionally, I established the Colour Me Happy online Community, Book, and Podcast, aiming to spread creative joy far and wide. In the coming years, I'm excited to take my educational workshops to the next level by building an eco-friendly artist residency and arts centre right here in Canada. My artwork has been featured on national television and has graced the pages of international publications and the prestigious Saatchi Gallery. I'm grateful for the support of collectors like Jillian Harris, Sarah Baeumler, Jenna Kutcher, Andrew Salgado, Jann Arden, and Sarah Nicole Landry (thebbirdspapaya). My studio, where my children and I create, is nestled in the tranquil Canadian prairies. It's not just a space, but a sanctuary for artistic expression and shared moments of creativity.” ‍ Connect with this episode's featured artist Brandi Hofer here:  Website: https://www.brandihofer.ca/ Instagram: https://www.instagram.com/brandihoferstudios/ Instagram/ Colour Me Happy Community: https://www.instagram.com/colourmehappycommunity/ Facebook: https://www.facebook.com/BrandiLHofer Check out Brandi's Online Portrait Class: https://brandihoferstudios.thrivecart.com/portrait-class/?_gl=1*1cjtoae*_ga*MTQ1NzU0MjQyNS4xNzIzNzY1OTcx*_ga_05JXSG6TKL*MTcyNDc1NjYwMi4zLjEuMTcyNDc1NjcyNS4wLjAuMA..   Listen to Brandi interview Sara on her podcast: Colour Me Happy: https://podcasts.apple.com/dk/podcast/giving-yourself-permission-to-create-overcoming-imposter/id1549968568?i=1000666358155   Things mentioned during the episode: Movie: Atomic Habits Music: Feist The Art Queens Society: https://www.artqueens.co/   Follow I Like Art Podcast on Instagram:  https://www.instagram.com/ilikeart.podcast/ Watch the latest I Like Art Podcast Interviews on YouTube: https://www.youtube.com/@ILikeArtPodcast    Find Sara Glupker- Podcast host here: Instagram: https://www.instagram.com/saraglupker Website: https://www.saraglupkerart.com Facebook: https://www.facebook.com/SaraStrongGlupkerArtist

Tyler has yet to lift his ban on Mike doing Canada Day Wrestling Lists. He didn't say ANYTHING about non-wrestling lists! On Part 2 of our 2024 Canada Day show, Mike brings on Matt Sookram and they break all the rules as they do Counted Out's very first non-wrestling list. We jump in our time machines and talk about the greatest albums to be recorded in the 1990's by Canadian Artists!

The clock is ticking for pro-Palestinian protesters camped out at the University of Toronto, who have been given until Monday morning to clear out - or face consequences. Also: Quebec Premier Francois Legault calls social media companies "virtual pushers" - and says he wants to stop kids from getting hooked, as the province considers putting in a social media ban for anyone under 16. Plus: Years after her death, the work of a Haitian-Canadian artist is getting a second life on display in Paris.

Alexandra Newbould is an artist whose work you know. As a Toronto based freelance courtroom sketch artist and fashion and architecture illustrator, her work has appeared all across North America on newscasts, in newspapers and print, online and in brand marketing campaigns. She joins the show this week to talk about the challenges and rewards of being a freelance illustrator, tattoo artist and, her newest venture,  working as an event artist who captures special moments in people's lives.  We talk about about the pressure of working in the courtroom and its impact on her work, how she has built a very successful business with minimal social media presence, the importance of in person networking and building connections, how delivering good work is its own networking tool and finding the balance between commercial success and artistic integrity.This is a great episode for creatives who...struggle with how to network offline - Alex has done some interesting things to get noticed!wonder if it's possible to be successful without social mediahave an inner battle happening between creating art from a place deep inside them and creating art for commercial purposeshave always wondered about the world of courtroom sketch artists This episode is brought to you by our Premium Subscriber Community on Patreon and BuzzsproutFor a summary of this episode and all the links mentioned please visit:Episode155: Illustrator and Courtroom Sketch Artist Alexandra NewbouldYou can find Alexandra at alexandranewbould.com or on Instagram @alexandranewbould or @sketchmelikethisYou can find Melissa at finelimedesigns.com, finelimeillustrations.com or on Instagram @finelimedesigns.Support the showYou can connect with the podcast on: Instagram at @andshelookedup Facebook YouTube Tik Tok at @AndSheLookedUp For a list of all available episodes, please visit:And She Looked Up Creative Hour PodcastEach week The And She Looked Up Podcast sits down with inspiring Canadian women who create for a living. We talk about their creative journeys and their best business tips, as well as the creative and business mindset issues all creative entrepreneurs struggle with. This podcast is for Canadian artists, makers and creators who want to find a way to make a living doing what they love. Your host, Melissa Hartfiel (@finelimedesigns), left a 20 year career in corporate retail and has been happily self-employed as a working creative since 2010. She's a graphic designer, writer and illustrator as well as the co-founder of a multi-six figure a year business in the digital content space. She resides just outside of Vancouver, BC.

Lessons Learned: From the Short Stories of My Life by Laurie Koss https://amzn.to/4ajQbog Everyone has a story. Laurie Koss has five hundred and fifteen. In her page-turning debut book, the award-winning Canadian artist has crafted a memoir like no other. Each page of Lessons Learned is a single story concluding with a thought-provoking quote. Perfect for today's busy lifestyle, Lessons Learned is unique because the reader can choose to enjoy the stories chronologically like a novel, flip to a random page to uncover which lesson they chance upon, or read one-story-per-day for a daily dose of inspiration. The quotes that complete each story originate from diverse literary, cultural, and historical sources. They make Lessons Learned a one-of-a-kind experience as the reader is encouraged to take a moment at the end of each page to ponder the lesson or have a laugh. Koss' childhood stories begin in 1960's Vancouver, B.C., with topics spanning from her budding interest in art to her keen intuition and family ghost stories to the tumultuous family dynamics created by a loving but alcoholic parent. With each story—and each life lesson learned—readers witness the coming-of-age and self-discovery of a young artist determined to create the life she dreams of living. But life rarely goes as smoothly as we plan. Following the dips and successes of her romantic life, family, and career, Koss also illustrates the unexpected heartache of a life-altering illness and ongoing struggles with friendships—and the spiritual growth that can arise when we're open to learning from these experiences. Offering a blend of introspection, vulnerability, and creativity, Koss brings to life universal experiences that connect us all, interspersed by unique and often hilarious “Only Me” moments. Koss' storytelling takes the reader on an unforgettable journey from 1960s hippies to the 2020 pandemic. Her tales are a time portal to various eras and a reminder that we, too, have stories and history worth sharing. Story by story, quote by quote, Laurie Koss entertains with self-effacing humour, compassion, and insight, proving there is a lesson to be learned in every moment life offers. Lessons Learned is a collection of short stories to treasure, savour, and share with loved ones. It is sure to become a must-read for those seeking a refreshing, laugh-out-loud, heartfelt, and entertaining book. What You'll Discover Inside: 515 One-Page Short Stories Family and Friendship Popular Culture The Unexplainable Married Life & Parenting Overcoming Challenges Achieving Goals Trusting Intuition Finding Meaning in Life Over 500 thought-provoking quotes About the author Laurie Koss is an award-winning contemporary Canadian artist best known for her close-up floral paintings. Her work adorns two national commissions: Canada Post's 2015 Flower Series stamps and a 2015 Royal Canadian Mint twenty-dollar collector's coin. She is a Senior member of the Federation of Canadian Artists and enjoys her role jurying art and mentoring emerging artists. Born and raised in Vancouver—where she studied Fine Arts and English at the University of British Columbia—Laurie now lives in Kelowna with her husband. When she's not painting or writing, (or stumbling into “only me” moments), she enjoys spending time with family and friends, hiking, teaching/practicing yoga, travelling, tending her vegetable garden, and pursuing a path of self-improvement. Lessons Learned is her first book.

While in Nashville, Ellis came by to Chat on the show. Sang a couple of his songs. Good convo about music in America and difference of music in CanadaEllis Schoel is on all socialsMonstrosityMonstrosity has celebrity guests, deep paranormal discussions, and comedy gold.Listen on: Apple Podcasts SpotifySupport the showThe David Bradley ShowHost: David Bradleyhttps://www.facebook.com/100087472238854https://youtube.com/@thedavidbradleyshowwww.thedavidbradleyshow.com Like to be a guestContact Usjulie@thedavidbradleyshow.comRecorded at Bradley StudiosProduced by: Caitlin BackesProud Member of CMASPONSERSBottled Water and Sweet Tea provided by PURITY DairyABlaze Entertainment

This week, my guest curator is Jason Whissell, host of both the It's Not That Bad & There Can Only Be One podcasts, & we're curating a mixtape filled with our favorite 90's Canadian artists & songs!  Join us as we genre hop through all of the best the Great White North has to offer!  Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode. FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter/X: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, my guest curator is Jason Whissell, host of both the It's Not That Bad & There Can Only Be One podcasts, & we're curating a mixtape filled with our favorite 90's Canadian artists & songs!  Join us as we genre hop through all of the best the Great White North has to offer!  Be sure to visit MyWeeklyMixtape.com to hear all of the songs we discussed in this episode. FOR MORE ON MY WEEKLY MIXTAPE Website: http://www.myweeklymixtape.com Patreon: https://www.patreon.com/myweeklymixtape Facebook: http://www.facebook.com/myweeklymixtape Twitter/X: https://twitter.com/myweeklymixtape Instagram: https://www.instagram.com/myweeklymixtape TikTok: https://www.tiktok.com/@myweeklymixtape Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Melissa and Heather do a brief recap of what they did in their creative businesses in 2023 and what they are focusing on for 2024. But at the heart of the episode we get into the trends we're paying attention to in our creative businesses - including a very frank (and possibly surprising?) discussion about generative AI and how we feel about it. 2024 has the potential to be a huge year of change for a lot of working creatives - whether we like it or not!This is a great episode for creatives who...like to hear about what others are working on in their creative businesses (because we're both nosy parkers lol)are wondering what they need to focus on or be aware of in 2024are feeling very nervous and unsettled by the use of AIThis episode is brought to you by Fine Lime Designs IllustrationsFor a summary of this episode and all the links mentioned please visit:Episode150: Trends We're Paying Attention to in Our Creative Businesses in 2024 You can find Melissa at finelimedesigns.com, finelimeillustrations.com or on Instagram @finelimedesigns.You can find Heather at heatherlynnetravis.com or on Instagram @heathertravis.Support the showSupport the showYou can connect with the podcast on: Instagram at @andshelookedup Facebook YouTube Tik Tok at @AndSheLookedUp For a list of all available episodes, please visit:And She Looked Up Creative Hour PodcastEach week The And She Looked Up Podcast sits down with inspiring Canadian women who create for a living. We talk about their creative journeys and their best business tips, as well as the creative and business mindset issues all creative entrepreneurs struggle with. This podcast is for Canadian artists, makers and creators who want to find a way to make a living doing what they love. Your host, Melissa Hartfiel (@finelimedesigns), left a 20 year career in corporate retail and has been happily self-employed as a working creative since 2010. She's a graphic designer, writer and illustrator as well as the co-founder of a multi-six figure a year business in the digital content space. She resides just outside of Vancouver, BC.

Have you been walking through downtown Boston lately and noticed a few things that seem... out of place? A girl on a swing, hovering over an alley? Two massive clown heads wedged between two buildings? How about a unicorn in a box? It's all part of a brand new public art exhibit called WINTERACTIVE, a partnership between the city of Boston and artists in Quebec, Canada. Michael J. Nichols, President of the Downtown Boston Business Improvement District, talks about all the exhibit has to offer and why he believes this will encourage more people to visit the Hub.

Meaghan Smith is performing three concerts at the end of this week at The Stage at St. Andrews in Halifax in support of Feed Nova Scotia. She joins host Jeff Douglas to talk about her new Christmas song, The Magic of Christmas, and the joy the season brings her.

The fear of failure often holds us back from life's greatest joys. The avoidance, the hesitation to start, can be paralyzing. However, it's crucial to recognize that your brain learns and evolves through failure—each setback is an opportunity for adjustment, learning, and growth, paving the way for the next chapter of your life. Much like the changing seasons, growth can be uncomfortable and at times overwhelming, but it is an indispensable part of becoming the person you are meant to be. The pain of these growing seasons shapes and molds you, creating new pathways and preparing you for the challenges ahead. It's a reminder that asking for what you want in life and finding a way to make it work is a journey worth taking. In the grand scheme, you'll never regret striving for what your heart desires. As Wayne Gretzky wisely said, "You miss 100% of the shots you don't take." Embrace the process, the failures, and the uncertainties, for they are the building block toward a more fulfilled and authentic you. We snagged this from our new book Order our new book HERE!⁠⁠ If you'd like a way to support us hit "like and subscribe". And if you really connected be sure to ⁠⁠join our free community⁠⁠, or sign up for ⁠⁠our newsletter⁠⁠! All the love friends xo Brandi ORIGINAL ART SALE! CODE: SALE15 PRINT SALE CODE: SALE40 ⁠Mural Class - Scale Your Art Practice! ⁠ SALE CODE: SALE20 ⁠Learn more about our Portrait Class! ⁠ SALE CODE: SALE20

What you'll learn in this episode: What the difference between an artist and a designer is The barriers that can make it difficult for solo jewelry artists to enter the retail market, and how Colette overcame them What Colette has discovered about her creative process by working with George Brown College psychology students on a research project Why it's important for artists to avoid looking at trends in stores and on social media too frequently How a spontaneous haircut sparked Colette's creativity and paved the way for her future business About Colette Harmon Colette Harmon's one-of-a-kind accessories are a dazzling blend of crystal, mixed metals and semi-precious stones. With an appreciation for meticulous craftsmanship, the metal meshing and intricate beadwork in each of her statement pieces are an audacious departure from mainstream minimalism. Born in Sisters Village, Guyana, Colette studied fashion design in Toronto before apprenticing as a belt and handbag designer for a leather goods manufacturer. Harmon soon founded her own eponymous label, whose name became synonymous with maximalist glamour. Harmon's modern approach to vintage flair has earned her a devoted following of customers, fans and fashion stylists from across North America. Her pieces have been sold in Saks Fifth Avenue and Holt Renfrew Canada, and her work has been featured in Elle Canada, Flare, Martha Stewart Weddings and Nylon. She currently focusses on one-of-a-kind couture creations for select clientele.    Additional Resources: Website Twitter Photos Available on TheJewelryJourney.com Transcript: Colette Harmon has seen many trends come and go over the course of her career, but she has never let that influence her work. She has always found an audience for her one-of-a-kind jewelry, even when her hallmark maximalism is supposedly “out.” She joined the Jewelry Journey Podcast to talk about why she defines herself as an artist; how she nurtures her creative vision; and how her job as a leather accessories designer led to jewelry (and how that experience may come full circle in the near future). Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Colette Harmon, who is speaking to us from Canada. Toronto to be more specific. I have to say I've never met her, and I've never seen her jewelry in person, but it's my kind of jewelry. It's over-the-top kind of jewelry. You may have seen it on a celebrity on the stage or screen, but if you've seen it, you'd remember it. Welcome back. Do people bring the dresses? Do they bring the materials or some things? Colette: Yeah, sometimes they do. If they bring the actual garment, then I can see how the neckline falls and how the piece of jewelry would sit on the dress. Sharon: Has somebody, a client or a stylist, ever come and tried the dress on and you just didn't like the dress? Forget the necklace; you just didn't like the dress on them. Colette: Oh yeah, but if they're wearing it, I can't say, “I don't like your dress.” Yeah, there have been people who have. Sharon: You told us that you like the fact that people like your stuff, that's pleasing to you. Colette: Mm-hmm. Sharon: What are some of the bigger obstacles you've encountered besides sales, let's say? Colette: In terms of? Sharon: In terms of anything. Being in the business, what are some of the obstacles? Colette: I mentioned before I found wholesaling difficult. Being a small business, I found that doing wholesale was challenging at times. Just being a one-woman show can be tough at times. There were times when I had people helping me, but often when you're creating—as I'm working with the students at George Brown, it was difficult to tell someone because I don't sketch. I create as I'm going. They are helping me create these pieces, but it's difficult to tell someone what you're creating if it's in your head. A lot of times I might say to them, “O.K., do this this way,” and then they start doing it, and then I see something else and they have to undo it. It's easier for me to create the original piece and then have someone duplicate it, as opposed to having people helping me create something. Sharon: You said the college is George Brown. That's the university? Colette: Yeah, it's a college here in Toronto. They're doing a case study of me where they're studying my creative process and documenting how I create. Sharon: What's the first step they documented of you creating? Colette: The first session was just an interview of me and my background. The piece that we're working on now—I brought a bunch of materials. I had no idea what I was going to do with them. So, they're watching how I work and how I put things together. They're asking me questions as I go on, like why did I do this? They're documenting how I go from start to finish, if that makes any sense. Sharon: Are they talking to a lot of creative people? Colette: I think what happened was Leah saw my work on Instagram. I'm not sure how she found me. She found me on Instagram, but I'm not sure how she found my work on Instagram. She was really inspired. In her words, she said she was blown away by my pieces. Because we're both in Toronto and she's been in fashion for a number of years, she wondered why she didn't know who I was. So, she contacted me and I went to see her. She asked me to bring some of my pieces, so I did. Then she came up with this idea and approached the college for a grant. There's myself, her, and two students she recruited, and they're documenting my creative process. Like I said, there really isn't a creative process. I feel like—what's that word when they say that—people will find out I'm a fraud because there really isn't a creative process. I can make it sound more than what it is, but I just play. I think everybody has a gift, and my gift is just the way I put things together. There isn't anything technical. Sharon: Can you tell us more about what you see the end product being with these students? Colette: That's the thing; I have no idea. I could send you a picture of the piece I'm creating now. I can tell you a little bit about that, but it would be— Sharon: I'll talk to you after the podcast about what we need for pictures. I want my listeners to know that usually I have a picture of somebody, even though I only post the audio, but I don't even know what Colette looks like. Colette: Oh, I can send you a picture. Sharon: Are you the exotic-looking one in the ads? Colette: In the ads? Which ads? Sharon: The ads for the website, let's say. Colette: On my website? Sharon: Are you the model? Do you have a model? Colette: Sometimes I model. I'm not sure which images you're referring to, but I think there are one or two images of me on the website. There are a couple of me on Instagram. I wouldn't call myself a model, but I do model my jewelry on occasion. A number of the images of myself were taken by a friend of mine, a photographer whose name is Michael Chambers. I've done some work with him over the years. I wouldn't call myself a model, but I have modeled my jewelry. I have a shaved head, and I can tell you the story about that. My cousin worked in a hair salon. One day I was visiting, and there was a gentleman there; his name was Stephan. He had this beautiful, long, curly blond hair. He looked at me one day and said, “You know, I'm going to shave your head.” I was young, and when you're young and crazy, I said, “O.K.” So, he took a straight razor—I would never do it again with a straight razor—and shaved my head. Then we did a photoshoot where he made bird's nests out of—I couldn't even remember what it was made out of. I think maybe feathers and all these different, crazy things, and he put them on my bald head and we did this photoshoot. But I didn't like it because I was young, and I was wearing a lot of hairpieces. Hair was very important to me and to everyone, so I didn't like it. I don't know if I told him I didn't like it, but I was like, “Oh god, what did I do?” I remember I came home, and my mom was like, “Why did you do that?” Everywhere I went, everyone hated it. This was a time when there were no bald women around. It was before social media. I didn't know that in Africa there are tons of women like that, but you didn't see any bald women around. I remember I would be walking by, and I would hear people whisper, “Maybe she has cancer.” A lot of people didn't like it because it was such a drastic change from what I looked like before. Now all of a sudden, you have no hair. But I kept it for spite. Just because people didn't like it, I thought, “I'm going to keep it.” I think I would shave it every week, like once a week or something. The more I did it, the more I liked it. Now that I'm saying it, I think that played a role with the jewelry because I would have this bald head, so the jewelry became more elaborate. Stephan saw it. My logo is now my head, like a silhouette. The silhouette of my head is my actual logo. I think he saw something I didn't see. Do you know what I mean? A friend of mine designed my logo. He took a picture of my shadow against the wall with the bald head. Then he took a picture of my jewelry and scanned it onto the image of the head. I would never change that. I think it's such a beautiful logo. I love my bald head, and I think it really works with the jewelry. It's so striking, for a lack of a better word. But I always remember after I did it, for years my mother kept saying, “Why don't you grow your hair?” Then one day she looked at me and said, “You know what? I think of all the hair styles you've ever had, that suits you the most.” I do have a nice-shaped head, if I can say so myself, but everybody always compliments me on my—I can't remember what your question was. I went off into a tangent, but I think you asked me. I don't think of myself as exotic, but I think other people might use that word. Sharon: The model on the website is Black. You're Black, right? Colette: Yeah, I can't remember what's on there. I think there are a couple of images of Black models on there. I think there are one or two of me on there with a shaved head, and then there are a couple on Instagram. Sharon: You're Black though, right? Colette: I am a Black woman, yes. Sharon: Do you sell a lot through Instagram? You mentioned it several times. Colette: Do I sell a lot on Instagram? Sharon: Mm-hmm. Colette: No, I never pursued doing sales on Instagram. That's why I was thinking of creating a collection of simple pieces like belts and bags, where I could sell online through social media. I find that the pieces I do, you have to try them on. If you're not able to try it on, I think a lot of things would end up coming back just because you have to be able to see the scale. I've never had a problem with returns. In all the years I've been doing this, I think I've only had one piece returned. It was a charm bracelet. It was a woman in one of the eastern states. She saw it in a magazine. She ordered it, and she sent it back because it was too big for her. She wasn't used to wearing that. It's a lot. You have to try it on. That's why I was thinking of doing some simpler pieces where I could sell in volume if some pieces come back, if one or two are returned. But I think the pieces I create now, a lot of them would end up coming back just because you need to try them on. Sharon: I never thought about that before, that if you don't have hair, you need something else. You need the jewelry. You need something to replace it in a sense, to draw the eye. Colette: I don't think you have to, but I think it works well with the jewelry. It's like a blank canvas. There is no distraction. Your eye goes straight to it. I have necklaces. I have a preference when I create. If it's a line, I always start off with the necklace, and then I create pieces that go with that. It always starts off as an elaborate neckpiece. Then I might simplify it or do some more simple pieces that are very similar: earrings or bracelets, a belt, maybe a beaded belt or a chainmail belt or something. But for me, it always starts with the neck. I used to wear earrings a lot when I was younger, but I haven't worn earrings in years. Now, I mainly wear necklaces. I don't like things on my hands, only because I work with my hands and I don't really like things on my hands. It's mostly neck pieces. I do a lot of belts, beaded and chain belts. A lot of the pieces I create in general are very versatile, where you can wear it on your neck or you can wear it on your waist. There are pieces I have that you can wear as a shawl; you can wear as a necklace; you can wrap it on your waist and wear it as a belt. A lot of the pieces I do are versatile. You can wear them many different ways. I do that purposely. I always try to create pieces that you can wear in multiple ways. Sharon: I'm surprised to hear that. What I have seen are the photos that are online, which are just repetitions of what's on your website. Were you influenced by the baldness? I went through a period where I was bald, but I had people come up and say— Colette: You did? Sharon: Yeah, I did. People came up to me and they would say, “Oh, I wish I had the guts to do that.” Do they come up and say that to you or anything? Colette: Not so much anymore. You see it now everywhere, whereas when I was doing it, when I started, there was hardly anyone. Now, nobody even notices. People just walk by, whereas when I first did it, people would actually stop and stare. Now nobody cares because you see bald women everywhere, especially on social media. There are bald women. You see it quite a bit. For how long did you wear your hair bald? Sharon: Probably for a year, a year-and-a-half maybe. Colette: What made you decide to do that? Sharon: Well, basically I was going through chemotherapy and I lost my hair, but it really made me understand how important hair was to a woman or a man, what you did with it and all that. I hadn't thought about it. Colette: Right, I think hair is important to a lot of people. People think, “Well, why would you shave it?” but I've never really cared about what people think about anything. As long as I like something, I don't care. Your thoughts are your thoughts. I don't mean you specifically, but whatever. Your thoughts are your thoughts and what you think about me is—why should I worry about what someone thinks about me? I've never really cared about what people say or think about how I look or about my appearance. Sharon: It's interesting. I think most people think, “What will somebody else think if I do A, B, C or if I wear—?” Colette: Yeah, I think so too. I think as I got older, when I stopped caring about what other people thought, it was probably at the age of 16. I remember if I went shopping with friends, if you're trying something on and they say they don't like it, I was like, “Well, I'm going to get it just because you don't like it.” If I like something, it doesn't matter to me who likes it or who doesn't like it. Sharon: I suppose you have to be that way with your jewelry. Your jewelry is gorgeous, but— Colette: It's not for everyone. Sharon: Exactly. Colette: It's not for everyone. There are a lot of people who think that's gaudy. Maybe it is gaudy, but I like it. I don't really care what people think. Sharon: It is an acquired taste. I flipped over it because I happen to like big, bold things, but there are some people who like delicate things. Colette: Who like delicate things, exactly. A lot of times, people will come to me and say, “Why do you do stuff like this?” People are always giving you advice, “Why don't you do this?” and “Why don't you look at this person and do what they're doing?” Why would I do that? That's her and I'm me. I have to be me. Why would I look at someone and imitate what they're doing? For me, I always have to be true to myself. I have to create what is in me. I think that's what makes us all unique; we're all different. I find a lot of times, everybody's trying to create or do what everyone else is doing. The last time I was out in the shops, it was maybe a couple of years ago. We have a mall here called Yorkdale. I was at Yorkdale Mall. I don't know if you're familiar with that. It's a high-end department store here in Canada. I'm looking, and there was—I can't remember the names, but I'll just say there was a Gucci chain bracelet. Then I would go somewhere else, and it was Yves Saint Laurent, but it was the exact same bracelet. It was just a different label. I'm not joking. It was the exact same. I don't understand that. I find everybody, even with jewelry, it's all the same. I don't know if it still is because I haven't really looked at anything, but it's all the same. I've heard people say that to me too, that when they're out, everything looks the same, like no one is different. I guess something sells, so everybody does it. There's some jewelry, I think it's Tiffany that does it. I don't know what it's called, but it's links and it has balls on the end. It's a chain link at Tiffany. I think Tiffany did it originally, but I see that everywhere, even high-end designers with the same link they just copied from Tiffany. I think, “Why not just create your own?” Anyway, I guess if something sells, everybody does it. Sharon: We're going full circle to why you're an artist and not a designer, why you call yourself an artist. I really appreciate your being with us today. I hope we can do this again. Thank you very much, Colette. Colette: Thank you so much for having me, Sharon. It was a pleasure. Thank you. Sharon: It was great. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Artists from across Atlantic Canada remember the sacrifices our soldiers have made to defend the nation, freedom and democracy throughout the world. Artists include Laura Smith, Leonard Cohen, Mike O'Reilly, Dave Gunning, J.P. Cormier, The Trews, The Once, Terry Penny, Terry Kelly, and “American cousin” Nancy Griffith. https://www.facebook.com/ron.moores.18

What you'll learn in this episode: What the difference between an artist and a designer is The barriers that can make it difficult for solo jewelry artists to enter the retail market, and how Colette overcame them What Colette has discovered about her creative process by working with George Brown College psychology students on a research project Why it's important for artists to avoid looking at trends in stores and on social media too frequently How a spontaneous haircut sparked Colette's creativity and paved the way for her future business About Colette Harmon Colette Harmon's one-of-a-kind accessories are a dazzling blend of crystal, mixed metals and semi-precious stones. With an appreciation for meticulous craftsmanship, the metal meshing and intricate beadwork in each of her statement pieces are an audacious departure from mainstream minimalism. Born in Sisters Village, Guyana, Colette studied fashion design in Toronto before apprenticing as a belt and handbag designer for a leather goods manufacturer. Harmon soon founded her own eponymous label, whose name became synonymous with maximalist glamour. Harmon's modern approach to vintage flair has earned her a devoted following of customers, fans and fashion stylists from across North America. Her pieces have been sold in Saks Fifth Avenue and Holt Renfrew Canada, and her work has been featured in Elle Canada, Flare, Martha Stewart Weddings and Nylon. She currently focusses on one-of-a-kind couture creations for select clientele.    Additional Resources: Website Twitter Photos Available on TheJewelryJourney.com Transcript: Colette Harmon has seen many trends come and go over the course of her career, but she has never let that influence her work. She has always found an audience for her one-of-a-kind jewelry, even when her hallmark maximalism is supposedly “out.” She joined the Jewelry Journey Podcast to talk about why she defines herself as an artist; how she nurtures her creative vision; and how her job as a leather accessories designer led to jewelry (and how that experience may come full circle in the near future). Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Today, my guest is Colette Harmon, who is speaking to us from Canada. Toronto to be more specific. I have to say I've never met her, and I've never seen her jewelry in person, but it's my kind of jewelry. It's over-the-top kind of jewelry. You may have seen it on a celebrity on the stage or screen, but if you've seen it, you'd remember it. I couldn't find a lot of information about Colette, so I'm going to let her tell you her story. Colette, welcome to the program.   Colette: Thank you so much, Sharon. It's a pleasure to be here.   Sharon: I'm so glad to have you. It took us a while to connect, to actually make this happen. Are you a designer? How do you refer to yourself? A Canadian designer?   Colette: That's a good question. I don't think of myself as Canadian, but I am a Canadian designer. I think of myself more as an artist as opposed to a designer. To me, a designer is someone who—can I start again?   Sharon: Yes.   Colette: Let me start again. To me, a designer is someone who creates things that can be worn by the masses, who is able to distill things and make them very simple so that everyone can wear them. Like you said, I'm more over the top. I don't think about the masses. I create for myself. I create things that I, myself, would wear. I don't really think about it, and I don't really want the masses to wear my pieces. I want them to be unique. Maybe not one-of-a-kind, but limited editions. I don't want to see my pieces everywhere on everybody. When you're creating things that will be liked and appreciated by many, many people, it becomes distilled and watered down. To me, it loses its soul and its energy. Others might not think that, but that's how I think of myself.   Sharon: I just wanted to ask you, you're from Guyana. Am I saying that right? Guyana?   Colette: From Guyana, yes. I was born in a little place called Sisters Village, Guyana.   Sharon: When did you come over here? Were you young or a child?   Colette: I came at the age of five. I came with my parents, my mom and my dad. I have two brothers.   Sharon: So, you came with your family.   Colette: Yes.   Sharon: And when did you start designing jewelry or other things?   Colette: At a young age. I think I got my creativity from my mother. My mother was very creative. She was very musical. She sewed. She sang. She played piano. She was very creative. I think that's where my creativity comes from. As a child, I was always drawing. I was very much in my head and my own little world as a child. I was always drawing and creating different things. I studied clothing design and thought I would be a fashion designer, a clothing designer.   How I ended up in jewelry was, when I graduated from school, there was a job advertised. I went to a school called Seneca College in Toronto. When I graduated, there was a job in the paper for an accessory designer; it was a belt designer. I had taken a course in college—I think it was just one semester—an accessory-making course. So, when I graduated, I saw the ad and thought, “I can make those.” So, I applied and got the job. I did that for about a year, year-and-a-half.   Then I left that job and started creating my own belts and handbags. One day I was doing a market show, and somebody asked me if I could make a pair of earrings to go with a belt they had purchased. I didn't know anything about jewelry, so I just cut little squares and circles and covered them with leather. Looking back, they were horrible, but at the time I thought they were great. That's how I got into jewelry. I never had any intentions of being a jewelry designer; I never thought of being a jewelry designer. That's how I started. It just sort of happened. I have no idea. It wasn't something I thought about, but I ended up becoming a jewelry designer.   Sharon: Do you have a lot of stylists as clients? They're women, I presume. Are they stylists?   Colette: When I started doing jewelry, I started out wholesaling. I had an agent that would carry my pieces, and I sold to people like Holt Renfrew. I sold to Saks a little bit. I don't know if you're familiar with it, but there was a chain store here in Canada called Lipton's. I sold to Lipton's. I sold to better ladies' boutiques. I got into doing custom pieces because it was very difficult wholesaling as a one-woman show. It was always very challenging getting paid on time, getting paid at all. When you're small, I don't know if it's true for everyone, but with me, people like Saks, they would sometimes take six months to pay me if I got an order. It became very difficult waiting for money. So, I was doing wholesaling and custom work for a bit, and I segued into doing all custom.   Sharon: Did you leave manufacturing belts to have your own business?   Colette: I slowly moved away from the belts and got into jewelry. I can't remember exactly how or when it happened, but one day, I ended up being a jewelry designer. I never thought about it. I didn't plan it. Belts go in and out of style, so I guess there was a period where they weren't selling as much. Belts weren't in style, so I moved more towards jewelry. I guess I decided that I liked creating jewelry better than I did belts, and I just ended up in that field.   Sharon: I want to make sure that everybody knows that the jewelry you make is made with real stones and—I call them costume things—things that aren't real, feathers and all kinds of things. Do you have an inventory?   Colette: Yes, I have quite a bit of stuff. I love to mix different things. I don't follow any rules. I mix semiprecious with crystal and metal. Sometimes there's sterling silver, and occasionally I'll use a little bit of gold. A lot of it is plated. A lot of the metals are plated in either gold or silver. My strength is mixing, the way I combine different elements. I think that's what my strength is. Some people only do semiprecious or only precious, but I like to mix and combine high and low things. I work with whatever I like. If I like something, I'll use it. It has to speak to me. It may sound silly, but I think everything has an energy and they speak to you. They don't speak to you in words or in language, but they have an energy and a feeling. I use what I like, what speaks to me.   Sharon: Do you create these pieces before there's a need, before somebody comes to you and says, “I need a piece,” or do you create them when they say they need a piece?   Colette: I do a bit of both. Someone could come to me and say they're going to an event. They might have a dress they need something to go with. A lot of times they just say they want a necklace and the colors and materials they would like to use, and they let me be free and do whatever. I prefer to work that way. I prefer to have creative freedom. A lot of times, someone will come and have something in mind, and I say, “That won't work,” and they won't listen. So, I do what they like, and you finish it and they say, “O.K., you were right.” I find a lot of people can't visualize; they can't see it. It usually turns out O.K. when I have creative freedom. I can't create something that I don't like. I have to like what I'm doing.   Sharon: What do you say if somebody says to you, “I want it this way,” and you think that's not going to look good? What do you say or how do you deal with that?   Colette: I usually tell them. I'm usually very honest. Then I'll do what they would like me to do. It usually turns out that it doesn't look good, but that doesn't happen very often. It usually works out pretty well. The people that come to me know what I do, so they know what to expect.   Sharon: Can you tell us a little about the people that come to you? Are they women? Are they stylists?   Colette: Mostly women. I do work with stylists. If someone's doing a shoot, they might want me to create something, or they might pull from something I have. I don't keep a lot of inventory. It's mostly women that are going to an event or party. The past couple of years, there haven't been very many parties, but they come to me if they're going to a ball or a fundraiser or just for their everyday lives. They just want me to create something unique. People come to me because they want something different. I don't pay attention to trends or what everyone is doing, so when they come to me, they know they're getting something different.   Sharon: How do they hear about you?   Colette: Mostly through word of mouth. I've scaled back the marketing. It's mostly through word of mouth.   Sharon: Do they see someone else and say, “Where did you get that?” and then they find you? How do they find you?   Colette: That happens. They might see someone else wearing one of my pieces. They might see something in a magazine. When I do editorials, people will call me. I'm in Toronto. I've had people call me from Vancouver after seeing something they like that they would like me to create for them. As I said, most of the pieces are either one or a limited edition. There might be pieces I've done when I can't recreate them exactly, but they might be in different colors. Maybe that color is for a particular client or whatever material is not available, so it's similar, but not exactly the same.   Sharon: What surprised you most about having all these requests?   Colette: I guess the most surprising thing is that there are actually people that love what I do. I don't know if surprising is the right word. I guess it's pleasing to know there are actually people that love it. I was known for these charm necklaces I've been doing for years. I had a woman that has maybe 30 of them.   Sharon: That's a lot.   Colette: I guess it's surprising and pleasing knowing that there are people that really love and appreciate my work.   Sharon: Do you have other collectors besides this woman with 30 pieces?   Colette: I would say I have maybe five people who—I know you're familiar with Carole Tanenbaum. She has quite a few of my pieces. Should I say their names?   Sharon: It's up to you.   Colette: There's a woman named Nella Rosmand who has quite a few of my pieces. I have a client that lives in Yellowknife. Her name is Lisa Tousar. She used to have a store in Yellowknife. I think she's closed it, but she's bought a number of pieces. I had a boutique for a while. She bought a lot of pieces. She loves my work. There are maybe five or six people that have quite a few pieces.   Sharon: Do they wear them more than once?   Colette: I guess so. I guess they wear them. A lot of what you see on Instagram, what you mostly see, a lot of those are—I put the really over-the-top, elaborate pieces there. But I do simple pieces as well. They're not always as elaborate as that. I also do some more subdued pieces.   Sharon: Your Guyanian and Canadian background, what influence does that have?   Colette: It's actually Guyanese. Guyanian means people probably think I'm from Ghana. Guyanese is the term. I came when I was five and I've been back twice. I don't know if being Guyanese has—maybe it's something that's subconscious, but it's not something I think about because I grew up here. I grew up within a multicultural city, so there are influences from many places, I think. I don't know if Guyana specifically has an influence on my work, unless it's subconscious. I've had people say that my pieces look very African. I've had women from Africa say that it reminds them of it. But I don't think it's something I think about or do intentionally; I just do.   I'm doing a project right now with George Brown College here in Toronto. One of the professors, Leah Barrett, approached me about studying my creative process. I chuckled to myself because I don't really have a creative process. I could sit down and sketch something, but once I start to make it, it turns into something completely different because I get ideas as I go. As I said, the materials speak to you. I create as I go along. If I have something in my mind from the start, when I finish it, it's something completely different. I don't really have a creative process. It sounds silly, but I just play. That's what I do. I play.   I have to be honest. There are pieces I've created over the years that I don't like, but a lot of times, those are the pieces that sell first. It's like, “Oh my gosh, I don't think anyone will ever buy that.” That's the piece that goes first. I've sold a lot of pieces off of my neck. That's happened quite a bit over the years. I remember once being at a party at a hotel in Toronto. I was in the washroom, and a woman said, “I love your necklace,” and I said, “Thank you,” and she was like, “I want that necklace.” I didn't want to sell it, but she insisted. She wrote me a check in the washroom and I sold it to her. I actually regret it because it was one of those pieces I could never make again, but I find that people always want what I'm wearing. I've regretted selling a couple of pieces over the years because I could never make them exactly the same again.   Sharon: That's interesting. You're your own best model in a sense.   Colette: Well, I make them for me, to be honest. If I wouldn't wear it, I couldn't make it. I think that's one of the reasons why I started creating my own leather accessories. I felt very restricted when I was working for—it was a company called Princeton Leathers. I always felt like I was in a box, and I just found it very difficult creating. There were two lines, one that was a luxurious line and one that was more simple. They would give me two findings and say, “O.K., now come up with something.” I was doing a dozen of these, and I found it very restrictive. If I won't wear it, I can't make it.   Sharon: Where do you get your ideas, if it's not from somebody who shows you something and says, “I want something done this way”? Where do you get ideas from?   Colette: I don't actively look for ideas. It's just things you see and it's collected in your subconscious. A lot of times, when I go and buy materials, I buy what I love, just pieces that I like. Sometimes they might be sitting on my desk for weeks and I have no idea what I'm going to do with them. Then one day, you might walk by and an idea just pops up in your head. I don't actively look.   That's one of the things I don't like about social media. You're seeing all of these things. I try not to look at other people's jewelry, but you see it and it does influence your work when you're looking at so many different things. I try not to look at it too much because I always want to be true to myself when I create. I don't like looking at other people's work too much because I find that it does influence you, whether you know it or not.   Sharon: Where do you look? Do you walk in the stores? Do you go downtown?   Colette: You know what? I was actually speaking to a friend the other day—he has a manufacturing company in India—saying that we should go out and see, because I have no idea what's in the stores. I don't pay attention to what's in or what's not in. Even at George Brown, in speaking with the students I'm working with, they were telling me that minimalism is back in style. I have no clue. I really don't. I don't know what's in or what's not. I don't pay attention to any of that. I never really liked rules. If you love something, then wear it. Who cares if it's in or if somebody else likes it? It doesn't matter. You're the one that's wearing it. It's how you feel in it. What other people think has no bearing. I've never understood that. This is in style or that isn't in—if you like something, if you love it, then wear it. Who cares? I've never paid attention to rules.   Sharon: What was the context of them saying that minimalism is back in style?   Colette: I can't remember what we were speaking about, but they were saying that maximalism is out and minimalism is in. You know how fashion goes in waves. I think that's like when I was doing the belts. I guess we were going into a period where belts weren't in style anymore, so people weren't really buying. Eventually I started doing more and more jewelry pieces. That's the thing; if you like belts, then wear belts. I guess with the wave of fashion and the way the system works, then the buyers aren't buying. But I never really paid attention to what's in.   Sharon: You closed your store. Now do you work out of your home or your studio?   Colette: I have a home studio, yes. I work out of my home.   Sharon: Do you have to go out and sell?   Colette: No, but I'm planning on opening up a showroom where people can actually buy things. I'm thinking about coming full circle and doing a line of leather belts and accessories and a little bit of jewelry as well, but I'm thinking about creating some leather pieces.   Sharon: Is that for stylists or is that for anybody who wants to come and look?   Colette: For anybody who wants to come in.   Sharon: Do they give you an idea of what they're looking for most of the time? Sometimes they do and sometimes they don't, as you said. But do most people coming in say, “I want something big,” or “I want something more muted”? What do they say?   Colette: You mean if someone came in and they wanted me to create something for them?   Sharon: Yes.   Colette: Sometimes they might come with a picture from a magazine or something and say, “I really like this,” in terms of style or size or whatever. So, I would create something with that feeling or those colors. Sometimes they bring a swatch of fabric to match, or sometimes they have an actual garment they want me to create something to go with. They might see something on my Instagram or on another person, something they saw someone else wear. It works in many ways. But if I were to create belts and bags again, I would do a line of pieces and people would just buy from what's already created.   Sharon: Because it's easier?   Colette: Yeah, because it's easier. It would be easier. With the belts and bags, they would just buy from a line that's already created.   Sharon: I can see how that would be easier than picking out jewelry or creating something to go with a garment.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.  

Mark Liam Smith is a painter and TikToker with 2.5 million followers. His content is meant to empower artists of any skill level to enjoy creation and artistic expression. He does this by creating clear, helpful art tutorials that anyone can understand. By doing this, Mark has cultivated a dedicated following of art lovers and those looking to learn. Listen to learn more about Mark's background, theories, and techniques. ___Artist bio from https://www.markliamsmith.com/bioMark Liam Smith (b. 1973, Middlesbrough, England) is a Toronto-based oil painter interested in art-historic tropes, myth, and narrative. He views his colour-blindness as a strength rather than a weakness by accentuating the use of non-local colours in his work.Smith's work has been exhibited in galleries in Montreal, Toronto, London, and New York, and at art fairs such as SCOPE Basel, Art Seattle, Art Toronto, Papier in Montreal, and Toronto Edition. He has been granted the Emerging Artist Award by the Federation of Canadian Artists and two Ontario Arts Council grants. His art has been featured in The Jealous Curator, the Toronto Star, the CBC, Hi-Fructose, Booooooom, Create! Magazine, and Bizarre Beyond Belief Magazine, among others.Mark exhibits with Treat Gallery in NYC and is represented by 19 Karen Contemporary Artspace in the Gold Coast, Australia.Mark is a grateful recipient of the Emerging Visual Artist grant and the Exhibition Assistance grant by the Ontario Arts Council.

Slow September sales and signs of a flagging economy have a lot of Canadian creatives worried about the upcoming holiday selling season. Even Etsy has made efforts to boost sales on behalf of shop owners! And, with no real relief in sight, what does 2024 have in store? Melissa and Heather tackle this head on with lots of practical strategies and tips to help you get focused and make a plan - both for the holiday season and next year!This is a great episode for creatives who:are seeing a dip in sales compared to previous yearshave heard from customers that money is tightaren't getting the same level of sales or engagement when launching new workare worried about the ballooning costs of raw materials and other business related expensesneed some ideas jump start salesWe tackle all of these concerns and more! Tune in to find out how!This episode is brought to you by Fine Lime Designs IllustrationsFor a summary of this episode and all the links mentioned please visit:Episode142: Navigate Holiday Selling and Future Planning in a Shaky EconomyYou can find Melissa at finelimedesigns.com, finelimeillustrations.com or on Instagram @mhchipmunk.You can find Heather at heatherlynnetravis.com or on Instagram @heathertravis.Support the showYou can connect with the podcast on: Instagram at @andshelookedup Facebook YouTube For a list of all available episodes, please visit:And She Looked Up Creative Hour PodcastEach week The And She Looked Up Podcast sits down with inspiring Canadian women who create for a living. We talk about their creative journeys and their best business tips, as well as the creative and business mindset issues all creative entrepreneurs struggle with. This podcast is for Canadian artists, makers and creators who want to find a way to make a living doing what they love. Your host, Melissa Hartfiel (@mhchipmunk), left a 20 year career in corporate retail and has been happily self-employed as a working creative since 2010. She's a graphic designer, writer and illustrator as well as the co-founder of a multi-six figure a year business in the digital content space. She resides just outside of Vancouver, BC.

Have you ever wondered what goes into planning and executing an your own art exhibition? This week Heather Travis joins Melissa to talk about the behind the scenes journey to her upcoming, 3 month solo exhibition at Ontario's Bruce County Museum and Cultural Center.  She shares how the opportunity arose, how she developed her very personal exhibit theme, secured  grant funding and was able to take 9 months away from active client work to produce 35 large scale canvases! We also get into the very personal aspect of this exhibit as well as using creativity as a way to process events,  deal with grief and trauma and as a road to rebirth.This episode is brought to you by Fine Lime Designs IllustrationsThis is a great episodes for creatives who:have pondered having an exhibit of their work or creating a large body of work around a themehave wondered what would be involved in mounting their own exhibit - from marketing to logistics to finances to actually creating the work!are looking for some very fun marketing ideas for their work - exhibit or no exhibitneed to hear how amazing things can come without social mediahave been listening to Heather on the show for the last 3 seasons and would love to hear a deep dive into her painting and her process and how she creates for a living.wants to be inspired For a summary of this episode and all the links mentioned please visit:Episode 140: Behind the Scenes of a Solo Art Exhibition with Heather TravisYou can find Heather at heatherlynnetravis.com or on Instagram @heathertravis.You can find Melissa at finelimedesigns.com, finelimeillustrations.com or on Instagram @finelimedesigns.Support the showSupport the showYou can connect with the podcast on: Instagram at @andshelookedup Facebook YouTube For a list of all available episodes, please visit:And She Looked Up Creative Hour PodcastEach week The And She Looked Up Podcast sits down with inspiring Canadian women who create for a living. We talk about their creative journeys and their best business tips, as well as the creative and business mindset issues all creative entrepreneurs struggle with. This podcast is for Canadian artists, makers and creators who want to find a way to make a living doing what they love. Your host, Melissa Hartfiel (@mhchipmunk), left a 20 year career in corporate retail and has been happily self-employed as a working creative since 2010. She's a graphic designer, writer and illustrator as well as the co-founder of a multi-six figure a year business in the digital content space. She resides just outside of Vancouver, BC.

On the final chapter of Amplify Canada, we reflect on the small businesses that make Canada great and the resiliency they showed through the pandemic and beyond.  We will explore the importance of small businesses and how they shape, support, and make communities strong.  We head to St. George British Columbia to The Pepper Tree, for the past fourteen years, the Pepper Tree has been First Nations owned and operated by a mother-daughter duo. We fly into Lethbridge in the southeast corner of Alberta, home to a non-profit organization called Streets Alive Mission which is changing people's lives in their community. And we will hear from a majority female-owned business, Universal Geomatic Solutions Corp. who are committed to finding solutions to help maximize sustainability. These are just a few of the stories that we reflect on as we close the book and celebrate the incredible stories that gave us Amplify Canada. About AmplifyAmplify Canada is an initiative created by Pattison Media designed to celebrate and elevate small businesses, the backbone of our economy. Thousands of small businesses, groups, family organizations and individuals are showcased on Pattison Media radio stations from Winnipeg to Vancouver throughout the year. Every month we go deeper and share the incredible journey of a few that have made an impact on their community. Some have flourished, others may need a little extra love and support. We also feature an emerging local Canadian Artist we think you'll enjoy. These are their stories 

On the final chapter of Amplify Canada, we reflect on the small businesses that make Canada great and the resiliency they showed through the pandemic and beyond.  We will explore the importance of small businesses and how they shape, support, and make communities strong.  We head to St. George British Columbia to The Pepper Tree, for the past fourteen years, the Pepper Tree has been First Nations owned and operated by a mother-daughter duo. We fly into Lethbridge in the southeast corner of Alberta, home to a non-profit organization called Streets Alive Mission which is changing people's lives in their community. And we will hear from a majority female-owned business, Universal Geomatic Solutions Corp. who are committed to finding solutions to help maximize sustainability. These are just a few of the stories that we reflect on as we close the book and celebrate the incredible stories that gave us Amplify Canada. About AmplifyAmplify Canada is an initiative created by Pattison Media designed to celebrate and elevate small businesses, the backbone of our economy. Thousands of small businesses, groups, family organizations and individuals are showcased on Pattison Media radio stations from Winnipeg to Vancouver throughout the year. Every month we go deeper and share the incredible journey of a few that have made an impact on their community. Some have flourished, others may need a little extra love and support. We also feature an emerging local Canadian Artist we think you'll enjoy. These are their stories 

Quiz #178 - Get ready to test your general knowledge with 10 challenging quiz questions in this week's Pub Quiz. Questions include, "First commemorated on August 14th, 1945, what does VJ Day celebrate?" and "What type of fruit is a Conference?" Send me a message on Twitter if you'd like a shout out or have a burning trivia question you'd like me to ask. Don't forget to follow me on social media and spread the podcast goodness by sharing it with your friends and family. Cheers! Pete  If you have an Alexa say, "Alexa, Play Pub Quiz" If you have a Google Assistant say, "Hey Google, Talk to Pub Quiz" Subscribe to Pete's Pub Quiz for 20 more questions every week for even more entertainment! Subscribe to Pete's Pub Quiz for 20 more questions every week for even more entertainment!Don't forget to enter our Golden Question competition for your chance to win £100! https://hugo.fm/pub-quiz-golden-questions

Canadian Artist Chin Injeti tells us why he's decided to go back to making his own music after years of producing for people like Eminem, Dr. Dre, and P!nk. Handy Andy is back with one of his greatest DIY achievements. We learn about that and why modular cell phones could be great for consumers and the environment. RUOK with spelling? How about boats? HEY, DO YOU LIKE PODCASTS? Why not subscribe to ours? Find it on Apple, Google, Spotify & Tune In

Welcome to a special one-off episode of the NDW Podcast! Today, Corrie Shoemaker is joining Huw to discuss Victorians in videogames and how it helped establish common tropes in the Nancy Drew videogames. Corrie Shoemaker, Ph.D. (University of Waterloo) is an author, award winning playwright and professor who specialised in Shakespeare for her M.A. and Ph.D. An Assistant Professor at Thompson Rivers University she researches Canadian Shakespeare, Victorian detective fiction, narrative videogame design and the Nancy Drew series. She was thrilled to work with the Stratford Festival of Canada and Bard on the Beach when researching Canadian identity on the Shakespeare stage for her PhD. Shoemaker has recently completed the manuscript “Speaking of Shakespeare: Conversations with Canadian Artists” and is revising her dissertation for publication. She contributes to the Stratford Festival Reviews website, Marjorie Magazine and has published with Palgrave's Global Shakespeare and the Victorian Review. She frequently presents on Nancy Drew at conferences and is always up for a new mystery. People can reach Corrie on her website Literature With Charm or through her author page on Facebook as C.L.Shoemaker. You can also search out her Nancy Drew publications (among other articles) with Marjorie Magazine on the website. Links are below: Literature With Charm https://corrieshoemaker.wixsite.com/literaturewithcharm Author Page on Facebook https://www.facebook.com/literaturewithcharm/ Marjorie Magazine: Nancy Drew Heirloom Histories: Sharing a Good Mystery  https://marjoriemag.wordpress.com/2019/02/19/heirloom-histories-sharing-a-good-mystery/ For The Love of Typewriters: https://marjoriemag.wordpress.com/2019/03/19/for-the-love-of-typewriters/ Follow NDW: Youtube: www.youtube.com/NancyDrewWalkthroughs Instagram: www.instagram.com/ndwalkthroughs Website: www.ndwalkthroughs.ca

"O Canada" did not become the official Canadian national anthem until 1980 with the passage of the National Anthem Act. As National anthems go, it is a beautiful song. On O Canada the Vinyl Ventures crew share some of their favorite Canadian Artists. For this show Blame Canada like the parents of a juvenile character in the 1999 animated film South Park: Bigger, Longer & Uncut did. The film featured a satirical song "Blame Canada", the parents, decide to blame Canada for the trouble their children are getting into since watching a Canadian-made film. The song was nominated for an Oscar, it did not win. Or even better yet Blame Vinyl Ventures!Hear our podcasts and subscribe on Apple Podcasts:https://podcasts.apple.com/.../vinyl-ventures/id1495409282Hear our podcasts and subscribe on Google Podcasts:https://podcasts.google.com/.../aHR0cHM6Ly9mZWVkcy5idXp6c...Subscribe and Watch Podcasts and other video content on our Youtube Channel:https://youtube.com/@vinylventures5943Follow us on Instagram:https://instagram.com/vinylventures_podcast?igshid=YmMyMTA2M2Y=

Canadian twin sisters and band mates, Tegan and Sara, have been touring the world, playing music together, since they graduated from high school in 1998. In honor of their new book, a semi-autobiographical graphic novel called Junior High, host Rachel Belle asks them, and the listeners, about their most memorable middle school foods and HOLY GUACAMOLE we were human garbage cans when we were 12! Plus, the history of the chicken nugget and why raccoons wash their food! Follow Rachel Belle on Instagram! Subscribe to Rachel's free newsletter so you can be the first to know about events, giveaways & content only available to subscribers! Support the show by becoming a paid subscriber. Thanks to our wonderful sponsors: Ooni Pizza Ovens!!! Caraway Get 10% off your order with the code MEAL at checkout!Support the show: http://rachelbelle.substack.comSee omnystudio.com/listener for privacy information.

Plus, some news from Mötley Crüe!

Get ready for a soul-stirring journey down memory lane as we invite the extraordinary Brian Farrell; a vocal coach and musician par excellence. Brian, armed with his captivating charm, takes us on an emotional rollercoaster of stories, experiences, and melodies. From his earliest recollections of playing the piano at his parents' outrageous parties to his thrilling performances at Carnegie Hall, Brian's passion for music shines like a beacon. The episode unravels with Brian reminiscing about his childhood, his musical family, and his first lessons at the piano. A master storyteller, he paints a vivid picture of his life under the influence of a true Renaissance man, a mentor who left an indelible mark on his coaching style. As we traverse through the decades, Brian's love for the music of the 60s and 70s, particularly Frank Sinatra, echoes throughout our conversation. The laughs flow freely as we chat about hilarious concert experiences, comedic music, and unexpected tattoos. But, the magic doesn't stop there. As we delve deeper, Brian narrates his heartwarming encounter with jazz artist Jane Monheit, his four-decade-long romance with his wife Susan, and the soulful stories behind his favorite songs. We explore the ups and downs of his life, from the breathtaking highs of performing at Carnegie Hall to the serene experience of attending a gospel church with his daughter. Brian's stories are a testament to the profound influence of music on our lives. So, buckle up and tune in for an episode that is as much a symphony as it is a conversation.You can find Brian at www.brianfarrell.ca Listen to the playlist on SpotifyWatch the episode on YouTubeFollow Music Junkies everywhere  Make sure to HIT that LIKE BUTTON and SUBSCRIBE to our Channel to be notified of new episodes! If you love Music Junkies share it !!New EP is out every MONDAY at 12 pm Rock on! Music JunkiesSupport the show

What you'll learn in this episode: How Noel promotes Canadian and American jewelry artists throughout the world How people who've never seen art jewelry should approach it for the first time Why brooches are the best type of jewelry for artists to express themselves How Noel selects pieces and artists to represent at his gallery Why Noel is hopeful that the financial and artistic value of art jewelry will increase with time About Noel Guyomarc'h Noel Guyomarc'h is the founder of Gallerie Noel Guyomarc'h. Established in 1996, the gallery exhibits outstanding collections of contemporary jewelry and objects created by Canadian and international artists. The only gallery in Canada dedicated specifically to contemporary jewelry, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators, and anyone who wants to discover and become acquainted with art jewelry. Additional Resources: Galerie Noel Guyomarc'h Website Galerie Noel Guyomarc'h Instagram Galerie Noel Guyomarc'h Facebook Photos available on TheJewelryJourney.com Transcript: Although Canada's art jewelry scene is relatively small, it has a devoted champion in Noel Guyomarc'h. Noel founded Galerie Noel Guyomarc'h in 1996 and has spent nearly 30 years bringing art jewelry to Montreal—and bringing Canadian jewelry to the world. He joined the Jewelry Journey Podcast to talk about how he chooses artists and exhibitions for his gallery; how he introduces art jewelry to first timers; and his hopes for the Canadian art jewelry scene. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    Today, we're talking to Noel Guyomarc'h in Montreal. He is the owner and founder of Galerie Noel Guyomarc'h. He wants people to see that artists create works of art and that these pieces, when they're worn, it amplifies their significance. A relationship is established between the person who wears the piece itself and the viewer. He encourages visitors to cast a new eye on jewelry. Welcome back.    Do you travel a lot for your work? Do you go to New York City Jewelry Week or Munich Jewelry Week?   Noel: Yes, in fact, there are two fairs I'm doing now. There are two events. I've done the New York City Jewelry Week three times and I'm going to do my second edition at Munich.   Sharon: Oh, wow!   Noel: I've done it this past July.   Sharon: Munich, for those who don't know, is one of the biggest art jewelry fairs in the world. How do you decide what to show there? Is it larger than your gallery?   Noel: No. Have you been already?   Sharon: Before Covid I went.   Noel: So, you know you have all the events in the city, then you have the fair and the Schmuck exhibition. All around it's galleries, and I'm part of those galleries now. To select the work is quite challenging because you can't represent the same work in other galleries, so we have to do a selection that you can show in fact. I'm showing some Canadians, some Americans and many international as well, but those are very much represented by the other galleries.    Sharon: Have you ever chosen work you thought you would show and then gone and seen—there's the handwerk mesa, which is the back commercial place, and then there are a lot of galleries all over the city. Have you ever gone and thought you'd show something, and then you saw that somebody else was showing the same thing and you changed your mind?   Noel: No, it hasn't happened yet, but it's the artists who have to let me know if they're going to show somewhere else. When I'm doing the handwerk mesa, I have no time to go to the city and look at what's on display because we're doing long hours from 9:00 in the morning to 7:00 p.m. It's very long hours. I don't have time to visit the other shows in town. We have to work with confidence with the artists. Otherwise it's not fair, but it never happened. The artist can tell me, “O.K., I may show some work with this gallery in town. It's not the same work.” It's usually very different. It's not the same connection, so it's not the same work.   Sharon: It's interesting. I always think that for a person who's going to buy just a piece or two, it's a place to see what's going on in the world in terms of art jewelry or art things going on. Do you find that?   Noel: I went a few times to Munich before, but just as a visitor. Yeah, if you want to be aware of what is happening, you have to go there. It's what I did, and I still feel the same. It's very avant garde. If you want to see new ideas, new approaches, it's the place to be and to go.   Sharon: Have you ever seen an artist there and you said, “Oh, that's new. I think I'll ask them if they're represented or if I can carry them in the gallery.” Have you ever done that?   Noel: Oh yeah. I even took some shows. I think it was in 2019, I went and there was a show with Taiwanese artists. I said I wanted that show in my gallery because I found the treatment, the ideas, the way they were working with materials, everything, it was very interesting, and I said, “O.K.” At the end of the fair, we organized everything and I showed the work in my gallery.    I'm meeting a lot of new artists. Last year I met Nikita—I forget his name. He's working with onyx, and he has done great work by carving onyx at Idar-Oberstein. I decided to show his work, and I brought it and showed it in New York City Jewelry Week. I was showing this work there. So, it happens sometimes that I meet new, fabulous artists.    Sharon: Who is it, Idar-Oberstein? That's a gem-cutting center.   Noel: Exactly, yeah.   Sharon: He was cutting onyx there and then he incorporated it into jewelry?   Noel: No, they look a little bit industrial. It's like tubes, but they're quite large tubes carved in onyx. He built it to look like tubing, but it's not only tubing, it's also quiet and calm pieces. At first glance, they look like PVC tubes, but they're made of onyx.   Sharon: Wow, that would be hard to do.   Noel: Yes.   Sharon: Why do you stay in the gallery world? I presume it's difficult, but the gallerists I've talked to say it's hard. Even though they like it, it's hard. Why do you stay?   Noel: Why do I stay? I think I feel like I'm part of something bigger than just me. It's to help the artist pursue what they really want to do, to have a space for them. I like the contact with people also. For me, it's very important to know. Recently I met a young couple that are both living in the Montreal area. They jumped into the gallery by accident, and they found what they really liked. They were so pleased, and they never stopped coming back. Just to meet those people who are so open-minded and open to receive what I show them and explain to them, that's the reason I like to do this shop.    I also like the idea of community, to be all together. I like when students have traditional training, but they come to the gallery and they're curious. I can explain to them what's happening in the field, because sometimes it's not taught when contemporary jewelry is. Also, it changes, communication with people I really like.   Sharon: Do you find that people come from all over Canada or the U.S.?    Noel: All over the world.   Sharon: Yeah?   Noel: It's very nice. Some people recently came from Australia. We talked and I said, “There are really nice galleries in Australia,” and they had never heard about them. It's nice to share that as well, “O.K., you can go to Funaki Gallery. You can go to other galleries there.” They were shocked to learn that they have such places like mine, but in their own country. I think it's nice to share that, to be all of us in the community and support each other. It's nice.   Sharon: Let's say I'm an artist. How do I come to you and say, “Will you carry my stuff?” Do I send a picture, or do I come and bring the actual material to you?   Noel: I like when they make an appointment with their pieces at the gallery. I like it when we have an appointment because we're always working on projects, so we're always busy. Now, I'm working on Munich because Munich is in three weeks, so I have much to do. After that, I have a show with Monica Brigger, a German artist who lives in France. We're always working for the future. We're always working on projects, so that's why for the artist, when they come to the gallery, I like to be ready to receive them. So, it's nice to get an appointment. For sure, it's happened over 27 years. Some artists came and were wearing their pieces, and I said, “O.K., what's that?” and talked to them, but I like when it's organized.   Sharon: Have you seen an interest or understanding of art jewelry growing in Canada and/or around the world?   Noel: It's pretty difficult to answer that question. I think in the past 40 years, there were many collectors and buyers, and I think all the things we've seen have been very dynamic over the past years. Now I think we are in a challenging time because there are fewer and fewer collectors, and I think it's difficult to create new collectors. To pursue what the collectors did in the past and to add new collectors, it's very difficult.    Sharon: Yeah, I think that's something that all jewelry organizations talk about. How do you get young people involved? What do you think? Do you think it's having a young collectors society? What's the demographic of the people who buy from you?   Noel: There are a lot of people because even if I have a gallery, mainly the reason is because I have collectors from outside Canada, not Canadian collectors. I have some very important American collectors, and some are international as well. It's very difficult because in Canada, there are just a few, not many, and they're not buying every month. If they can buy three or four pieces a year, it's already a lot. After that, to create new buyers like the couple I recently met, they're buying quite a lot because I know they want to build a collection. I always give all the right information for them to have and to get in their collection. Also, the pieces I've sold are not just for collectors. They're just people who like that specific piece and they're ready to buy it. So, they can buy a piece every two or three years in their goal to build the collection.   Sharon: How do you build a collection? Is it buying a certain artist? Is it just buying and keeping things? How does one build a collection? How do you build a collector?   Noel: What a challenging question! Because there are two kinds of collectors. I have some collectors that are just buying pieces by an artist. They have pieces not just by one artist, but they focus on a few because they like their work, and they believe in their work. They have bought pieces from different periods of time and different pieces and different collections, and they're building that collection because they like that work. They believe in what has been done and where this work is situated in the field and in the career of the artist.    I have collectors that just fall in love with pieces. They like to buy and add pieces in their collection because it's very different. It's an interesting way of expressing what the artist did, so they're ready to buy that. They're not focusing on a specific artist, but other work. But to build collectors, it's another story. It's very difficult.   Sharon: I know. It's a hard question. It's hard to find them. I understand that. I hear so many definitions, but I've wondered about it myself.   Noel: I think it's different from painting and sculpture because in jewelry, we don't buy for an investment, which is the case sometimes when you buy paintings or sculptures. They feel like, “O.K., over the years, it's going to take a value.” We're not sure that it will happen in this field, even if I can see an auction and think that some jewelry is selling very well and higher than what they were at the beginning. It's a good sign. It's a really good sign. I think you have to share your patience for that, and I think if there is somebody who likes it or receives it very well, you can mention that you are starting a collection.    Sharon: That's interesting. Whether it's jewelry or art or sculpture, I think of a collector as somebody who buys and says, “I like this artist's work. I'm not necessarily going to wear it, but I like what they did,” and then they take it home and put it in a drawer and never take it out again. So, I don't know what a collector is. Is a collector somebody who buys something, or is it somebody who collects because, like you're saying, they want to be able to show a progression or “He did this 20 years ago and this is what he is doing today”?   Noel: Yeah, it's difficult. I know that some very important collectors—you interviewed Susan Cummins not a long time ago. She's a major collector, but she's never worn a piece of jewelry.   Sharon: Yes, I know.   Noel: And she said, “They're in my drawers,” but she's a very important collector. So, it's interesting to see that. Is it the right way to initiate people for contemporary jewelry and to start to collect? Because I think we have to show them. We have to show how they can be worn, what's happening when you wear them, because that's your behavior, the way you start a communication with others. Also, the fact that you're wearing a piece makes it different. So, is it the right way to introduce people to contemporary jewelry? I don't know. It's difficult to say that I like when pieces are worn, not just kept in the drawer.   Sharon: Let's say somebody comes in and doesn't know what your jewelry is and they buy a piece. Let's say it's their first piece. Maybe they have an intention to buy more. They don't know if they will or they won't buy more, but do you talk to them about a collection or say, “This is a great way to start a collection”?    Noel: Yeah, I always mention that. I think for my 20th anniversary, I got some written notes, one from Susan Cummins, one from—   Sharon: Notes?   Noel: Just some words about the fact that it was my 20-year anniversary.   Sharon: Like testimonials?   Noel: Yes, a horrible word.   Sharon: O.K., and Susan Cummins is a very important collector.    Noel: She wrote something about the collection, and then I put it on my wall so people could read the different testimonials I've received on the walls in the gallery. Just the fact that I have that, it's always a very nice way to introduce people. “Oh, O.K., jewelry can be collected.” It's a step. Through that, I think it's nice, because I can't explain much more than those words on the wall. Then people are thinking much more about what they are planning to buy.   Sharon: Whether they are planning to buy a ring to match what they already have, or to buy another piece by the artist? Either way?   Noel: Yes, either way.   Sharon: Not to put you on the spot, but who else? You mentioned Susan Cummins. Who is a big collector in Canada that you can talk about, or anywhere in the world who you say is a big collector?    Noel: There's Deedie Rose. I don't know if you know Deedie.   Sharon: Deedie Rose in Texas, yes.   Noel: She buys very often from the gallery and her sister and daughter-in-law, Catherine, as well. Those are the two that really support the gallery. They really like what I have. From time to time there are other collectors for sure, like Susan Bentley.   Sharon: Do they come in person, or do they come online?   Noel: Online.   Sharon: Online. That's interesting. I don't get to come to Montreal that much, but I hope I can get to see your gallery because I know how many people are going online now. Thank you very much for being with us today. I really appreciate it.   Noel: Thank you very much for the invite. Thank you, Sharon.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: How Noel promotes Canadian and American jewelry artists throughout the world How people who've never seen art jewelry should approach it for the first time Why brooches are the best type of jewelry for artists to express themselves How Noel selects pieces and artists to represent at his gallery Why Noel is hopeful that the financial and artistic value of art jewelry will increase with time About Noel Guyomarc'h Noel Guyomarc'h is the founder of Gallerie Noel Guyomarc'h. Established in 1996, the gallery exhibits outstanding collections of contemporary jewelry and objects created by Canadian and international artists. The only gallery in Canada dedicated specifically to contemporary jewelry, it has presented over 100 exhibitions in its space, which is considered to be one of the largest in the world. This internationally acclaimed gallery is a must for collectors, museum curators, and anyone who wants to discover and become acquainted with art jewelry. Additional Resources: Galerie Noel Guyomarc'h Website Galerie Noel Guyomarc'h Instagram Galerie Noel Guyomarc'h Facebook Photos available on TheJewelryJourney.com Transcript: Although Canada's art jewelry scene is relatively small, it has a devoted champion in Noel Guyomarc'h. Noel founded Galerie Noel Guyomarc'h in 1996 and has spent nearly 30 years bringing art jewelry to Montreal—and bringing Canadian jewelry to the world. He joined the Jewelry Journey Podcast to talk about how he chooses artists and exhibitions for his gallery; how he introduces art jewelry to first timers; and his hopes for the Canadian art jewelry scene. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking to Noel Guyomarc'h in Montreal. He is the owner and founder of Galerie Noel Guyomarc'h. He wants people to see that artists create works of art and that these pieces, when they're worn, it amplifies their significance. A relationship is established between the person who wears the piece itself and the viewer. He encourages visitors to cast a new eye on jewelry, which art jewelry really does. We will hear about all of this as well as how he came to operate a gallery and what he thinks about art jewelry in Canada. Noel, welcome to the program. Noel: Thank you. It's nice to be here. Sharon: We just had a long talk about how to say his name because there's an apostrophe before the H. Guyomarc'h. So, tell us about your jewelry journey. Noel: I started about 35 years ago in Montreal. I was working in a jewelry place which showed fashion, some art jewelry and some antiques from Asia. It's there where I started to be more aware of jewelry, but there was no contemporary jewelry or art jewelry, a very small collection, in fact. That place closed, and I decided to support local artists. I said, “O.K., I should open mine,” and it's what I did 27 years ago. Sharon: Wow! That's a long time. You were the only place around. I only know of one other place in Canada that has art jewelry. Noel: Yeah, since the past 25 years, many places have closed. Now I think we have two galleries in Canada which are presenting art jewelry, so it's not much. The other gallery, Lapine Gallery, presents only Canadian artists, but all different crafts, not only jewelry. My gallery is only dedicated to contemporary jewelry. Sharon: Oh, my gosh! Noel: There is not much in Canada. It's really sad. Sharon: When you look at a map, it's a big area. Noel: Oh, yeah. Sharon: We're a smaller area on the West Coast, but we don't have as much as the East Coast does. Tell us a little more. Would people be surprised if they found out this is what you're doing today? Were you artistic? Did you make jewelry? Noel: From the people who knew me a long time ago, yes, they would be surprised because it was not what I was planning to do in my life. I was working in administration. I'm originally from France, and I moved to Canada 25 years ago. My background was more in economy and administration, so nothing to do with art or even jewelry. There were never jewelers in my family. When I moved to Canada, I met people who were making jewelry. In a way, I started to be more introduced to jewelry. Sharon: Tell us about your gallery and how you introduce people to it, because you have very alternative materials in terms of jewelry. How do you introduce people? Noel: I like them to come in. They know already that there's something different because the front windows always display unusual work. So, when they come in, they are surprised by the diversity. They look at things, and when I see that there is some question in their eyes, I go to them and start to explain the work they're looking at. That way, they look at all the works in the gallery differently. Sometimes you're more attracted by one specific thing because of the colors, because of the materials, because of the idea. So, the fact that I explain the work, they understand that all the other works I have at the gallery are in the same group. They all have a specific meaning, a specific way of being done, of being worn, of being realized by artists. It's interesting, the effect. Sharon: Are people attracted because it's work by artists or because it's just different jewelry? Noel: They're curious because the format, the colors, the treatment of materials are very unusual. They're just surprised. It's funny because there are two sides of showing such jewelry. You have people who are curious; they want to learn more. There are others that say it's not jewelry because it's too stylized. It's very interesting to see the two behaviors in front of such work, in fact. Sharon: Do you have people who come in and say, “Oh, this looks interesting,” and they walk out with something they never experienced before? Noel: Exactly, yeah. Very often it's not the first time they're going to buy something. They need to get used to looking at them, to get used to eventually wearing it. It's a process. It's a work in progress, and a working process as well because they have to get used to such pieces. It's very interesting. Sharon: Are most of your customers women? Noel: I can say yes, 75% are female and 25% are men. Sharon: 25% is a pretty large amount. Noel: Yeah, I don't know what's been happening the past 15 years. It's like the men started to wear jewelry or they started to buy for their wives, but they want to buy something they like more than their husband or wife will like. It's very interesting, but it's not the same. I don't know. The past 15 years I've seen a difference. Before, people wanted to buy something to seduce their wives or husbands, and now they're acknowledging—because of me, maybe; I don't know—but they want to be sure that the piece pleases them before it will please their wife or husband. It's a slightly different way of buying, which I like. Sharon: Were you a jeweler? Did you ever make anything? Noel: I took some jewelry classes before I opened the gallery, but I realized that was not for me. That was very fast. After a few years, I realized that no, it's not for me to make them. I had ideas, but I didn't have the patience for the making aspect. I was surrounded by talented people, so why do something I will not be pleased with? But it was a good thing because I learned many techniques that way, so when I look at some work, I know the quality as well. I can see if it's well-made or not because I took those classes. Sharon: What do you consider art jewelry? What do you say when people come in and say, “What's art jewelry?” Noel: I try to explain that it's a result of a vision, of questioning, of reflection by one artist about what jewelry can be. It can be inspired by real jewelry, by the environment, by the field as well. No matter the techniques of the material used, it's the expression, the idea. The main goal is for them to express themselves. Sharon: Do you always say it's art jewelry by jewelers, or do you say it's jewelry by artists? Noel: Most of the time, I say by artists. That's interesting because now—it's not new—there are some people that were in different fields and they started to make jewelry, but they don't have the background of it. Just the fact that they use different kinds of materials, they don't need to have that goldsmith or metalsmith training. They choose jewelry to express themselves. Sometimes they know silver or precious materials. So, it's more the artists than jewelers. It can be jewelry artists, which means they've had the training, and artists. Sharon: Can you look at a piece and tell if it's somebody who has classical training, but then started to make jewelry with paper or plastic? Noel: Oh yeah, we can feel it. But when you have many training experiences, it gives you freedom to do what you want. I think it's nice when you have good training, for sure. Sharon: What was your catalyst for starting the gallery? Why did you decide, after working in these other places, to start a gallery? Noel: I worked in that place for five years, so it's where I learned a lot of things. Slowly, that place was showing more artistic types of work. Among those jewelry artists there, there were a few that I started to be very close to. Then the place I was working at closed because of the economic situation, and I said to those artists, “I've got to open something in a few years to support you and encourage you.” It's what I did after maybe three years that the place where I was working closed. I opened my gallery to support a few Canadian artists at the beginning, but it has grown very fast. We started to invite artists from everywhere and curate shows. Sharon: How do you curate shows? How do you decide somebody warrants a whole exhibition or if it's a group showing? Tell us what you have now and what's upcoming, that sort of thing. Noel: Sometimes it's curated shows. I did a few with invited artists or asked curators to do shows for the gallery. Sometimes, I'm doing a selection of artists because of their work. Sometimes it's from countries. I have done a show last year with Japanese artists. I selected seven with different backgrounds and different aesthetics, but I found it interesting to get them all together. Some of them have been trained in Japan and some outside of Japan, so the results were very different. Now, I have a show called “Animal, Vegetable, Mineral,” and that show has been curated by Melanie Egan. She's the head of the Craft and Design department from the Harbourfront Centre in Toronto. Sharon: What is her name? Noel: Her name is Melanie Egan. She's the head of the Craft and Design department at the Harbourfront in Toronto. She curated that show. It was presented last September. I was part of the project in a way because she wanted that show to travel to Montreal. I said yes, but the show was really big, so I did a short selection of work because we don't have the same space, even if my space is big. It was very interesting to see why she selected specific work. It was about Nordic work. She invited people from Sweden, Norway, Iceland and from Canada, different places from Canada. It was a very interesting show. Sharon: As you were going through to decide what to take from the show, since you couldn't show everything she had, how did you decide? Noel: It was more simple because sometimes she had similar items. I said, “O.K., instead of six necklaces, I'm going to bring four over because I don't have space for more.” They were by an artist from Finland. She has done huge, huge, huge pieces. They're not wearable art pieces. The dimensions are oversize. It's always more jewelry for the wall than jewelry for the body. So, it was big, big, pieces, and I picked the bracelet because it was three meters by two meters big. It was very big. Can you imagine if the bracelet was that size, what was in that piece? So, I just took the bracelet. Sharon: Did you look at the pieces and how they were made? Noel: Yes, I went to the opening in Toronto to look at all the work, to do the selection, to make the right selection for the gallery. Sharon: What do you consider the right selection? What will sell? Noel: Most of the pieces were not for sale because the Harbourfront Centre is a nonprofit organization. They invited the artists and got a grant to bring everything in. So, I have done that show in Montreal, but I'm not supposed to sell because all the pieces have to be returned because of customs issues. Finally, I sold a few so the artist had to ship them back to me, but at the beginning it was not a project to sell the work. But I had demand, so it was nice. It was great. It was a great turnout. Sharon: What's your favorite thing to sell? What do you like most about art jewelry? Do you like brooches? Men like brooches—I call them brooches. When I think of a man wearing jewelry who's not wearing a leather bracelet, I think of the brooches I see men wear, with lapel pins on their lapel. What do you like and what do you sell? Noel: I have a lot of brooches at the gallery because I like the format. It's very nice for the artist. They like to work in that format because they can express themselves. They know much more challenging things. A necklace can't be too heavy, earrings not too heavy, well-balanced, rings not too big. There are always questions of sizes as well, so it's a challenge. The brooches are a very rare form to express themselves. So, I like them, but I don't sell many brooches. It's not the best-selling item, but I have a lot because I like them. The best seller is necklaces and earrings and rings. Those three are very good, but brooches, I'm wearing them a lot. Slowly I succeeded to sell a few because I'm wearing them. When people come in, it's like, “I never thought about wearing brooches,” because they feel that it's not contemporary enough. The perception is like their grandmothers were wearing brooches, not them. But it's changing a little bit. Sharon: I guess when I see art jewelry exhibitions, I always think of brooches. You only do one. With earrings, you have to make sure they match and that sort of thing. It seems better for an artist to do a brooch. Noel: Yeah, but it's a piece that can encapsulate very nice ideas. I think that's why it's a favorite that I like to do. But sometimes, like I said, it's not always the best seller. Sharon: That leads me to the next question. They say that having a gallery, no matter what kind of gallery but especially an art jewelry gallery, is something of a passion. It's not because you want to make a lot of money; it's a passion thing. What do you think about that? Noel: It's absolutely true. I'm pleased because I've succeeded to make a living from it, but for sure, it's not where you're making a lot of money. Even the six or seven first years of the gallery, I had a job outside the gallery just to get an income. It was very challenging at the beginning. Now, I'm glad because it's balancing well, but I do it just because I'm very passionate about jewelry and I like to show the artists' work. I like to present it, but the return is not much. The return comes from the artists or when you meet someone. You like the work and buy it, and that means that you have done a good job. From the beginning, I didn't want to have debts by running a gallery. For me, it was not the purpose. For me, it has to pay for everything, and as long as I can gain a little income from that, I feel O.K. But it's true that we have to be passionate about the selection of work as well. I think for the gallery, I'm not doing easy sales pieces. I always try to challenge myself and challenge the artists themselves, so I have to keep motivated to do it. At times, it's very challenging. Sharon: Do you ever say to an artist, “This would be wonderful if you made it pink or blue or you added this,” or do you just let them do it? Noel: I don't want to be behind them and say, “You should do this because you're going to sell them easier.” No, my job is to create wonderful settings. I really trust them. I believe them. I don't want to influence that. Sharon: Do you see a difference in art jewelry between the U.S. and Canada or the rest of the world? Noel: Yes, there are some differences. It's the fact that we don't have a long story here about art jewelry. It's not that old. And it's the fact that there are not so many schools as well in Canada, and the fact that we don't have so many galleries to show those works, I think it's—what can I say?—it's very challenging for the artist here. So, they're not making the same type of work. Sometimes they're doing a more commercial type of work and one other kind of avant garde of work, but there are not enough galleries to show their work. I think if there were more, it would be more motivating. I'm almost the only one here, and I can't say yes to everybody. It's going better for the jewelry fields because there are some platforms, like the one from Toronto. There are also some events like the New York City Jewelry Week. There are a lot of Canadians going there and going to Europe as well. There are some fairs where the artists can go so they can show their work, not always through a gallery, but they can organize by themselves or pop up at events to promote themselves. I think that helps for the creation as well. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Martins Madumere is an artist who's difficult to put in a box. His diverse interests and penchant for developing new skills has given him some valuable perspectives on life and creativity. We discussed his 30 minute a day philosophy when it comes to learning and how it's like “putting in reps” as an athlete. We also talk about society wanting us to pick one identity when the reality is that we can be artists and athletes and more. 

In this episode, I'm speaking with Canadian artist Amy Friend whose love for photography and history and a passion for family roots exploration is beautifully manifested through her work with vintage photographs and slides. I was fascinated by her stories, her vision of our global connection, and her out-of-the-box experimental processes. official website: amyfriend.ca Instagram: instagram.com/amyquerin The Atlantic: The Transcendent Brain Current exhibitions Houston Center for Photography – 2023 Print Auction Exhibition February 17th - March 1st, 2023 Seoul Museum 10th anniversary – 3650 Storage --- Send in a voice message: https://anchor.fm/in-the-art-scene/message Support this podcast: https://anchor.fm/in-the-art-scene/support

Canadian Visual Artist Roxanne Willems was raised in a fundamentalist religious community that taught her her value in life was limited to serving her husband and children.She joins us today for a brave conversation about how with 4 young children, she found the courage to leave her family and community, how they ostracized her for it. She tells us about how she ended up falling into a violent second marriage on the heels of that and how she ultimately set herself free from the limiting beliefs that had been the only thing keeping her prisoner all along. Whether we believe we have enough or not, truly comes down to what we think - our thoughts are so powerful. Our mindset can be the difference between happiness and misery, joy or suffering. And so much of our mindset is inherited from the world around us which, unfortunately, is brimming with toxic limiting beliefs when it comes to things like what is possible for our lives, forgiveness, self worth, creativity,  happiness, abundance, love & joy in favor of damaging, paralyzing beliefs that center around fear, power, and survival. It is possible though to break through the shell of our limiting beliefs to create something that is based on trust, fulfillment, generosity, joy, intuition and creativity.  Roxanne worked hard to rewire her brain after years of being taught her life was only for serving others. Shares the thing she had to let go of that not only saved her life but led her to create a thriving career as an artist and a life that is filled with genuine abundance and happiness.  WHAT WE TALK ABOUT-Developing a deep trust with the universe-Everything in the universe is in a constant state of being primed for healing-How she rewired her brain, neutralizing limiting beliefs that were the root cause of her minimizing herself-Recognizing, examining and neutralizing harmful limiting beliefs (and how she did that)-Real talk about the inevitable pitfalls along any transformative journey (and how to deal with them) -Learning to live from a place of grounded trust as opposed to fear, flight, flight and freeze-What she had to let go of to truly step into a place of joyful curiosity that not only saved her life but led her into a life with a thriving career as a full time artist. visit the show notes page on KateShepherd Creative.com for moreRESOURCESRecovering from fundamentalist religionsDomestic Violence Resources CanadaViolence against womenMennoniteMelody Beattie Codependent no moreResources for Co-dependencyReiki

Singer-songwriter, STORRY talks about the importance of diversifying your skills when you're an independent artist, moving to London to further her music career and how she brings operatic sauce to songs she's featured on.  We also talk about working with UK artist, Stormzy, the release of her deluxe album, CHIII The Come Up and why she brings awareness to sex trafficking in her art.

In today's episode, we are welcoming back Catherine Bell of the Awakened Company. She's a good friend and colleague who is up to some really inspiring things which you're going to hear about. She consults with organizations on how to create healthy innovative corporate cultures. In addition to being the author of the revolutionary book Awakened Company, which won countless awards, she has been published in Fortune, HBR, Profit, Conscious Company Magazine, Women of Influence, and written for the UN. Catherine now focuses on awakening the fire within organizations as the founder of The Awakened Company. She has a partnership with Russ Hudson on Creativity and The Enneagram. She also started The Awakened Project, which ignites a presence that includes a jewelry line with a Canadian Artist that symbolizes awakening. 50% of the Awakened Project's profits go to setting up a fund to help female entrepreneurs start their own businesses. She also volunteers for Impact Society and the Science Centre. Today we go behind the scenes of her incredibly busy life to discover what is “alive' for Catherine right now, the projects and people she is passionate about. Catherine shares her approach to radical self-care and why it is so important for us to embrace this as women and particularly as mothers. Listen in as we talk through what it means to awaken and how the Enneagram can support a more profound sense of self-awareness enabling us to “tap into the magic” of life and fulfill our own individual potential. Catherine dives deep into the 9 different Enneagram types and how important it is for us to know our “INTENTIONS“ to understand ourselves and others better and form more resonant relationships. If you have a growth mindset and are interested in learning more about yourself using the Enneagram, then this is a conversation you don't want to miss. I suspect you'll enjoy this deep, inspiring dialogue as much as I did. Key Takeaway Catherine's insights into her own life and how it relates to yours The magic of the Enneagram and the 9 types The value of radical self-care and how important this is for us, especially if have a vision of change for the world How to contemplate the truth of who you are The need for women and mothers to get intentional about ourselves, so we don't lose ourselves in relationships or in our work Memorable Quote “When we bring our sensory experience to the moment, our physical senses, and our action or inaction. I believe magic can happen. And I believe every time we utter a word, it is magical and has a ripple effect on our entire being, and other beings, and the planet. I believe everybody is an instrument to enable good, healthy magic to help serve humanity and the planet” — Catherine Bell Episode Resources: http://awakenedcompany.com/ (AwakenedCompany.com) https://www.linkedin.com/in/bellcatherine/ (Catherine's Linkedin profile) https://amzn.to/3RC0RW4 (BOOK: The Awakened Company) http://www.awakenly.app/ (APP: Awakenly) https://www.dropbox.com/s/hkg2hitwph4z6zk/ASacredInvitation%20(1).pdf?dl=0 (A Sacred Invitation) http://sacredchangemakers.com/ (SacredChangemakers.com) http://www.coachesbusinessschool.com/ (CoachesBusinessSchool.com) https://www.instagram.com/jayne_m_warrilow/?hl=en (Jayne Warrilow on Instagram) Thank you to our sponsor: A HUGE thank you to our sponsor Coaches Business School who is helping coaches to succeed in business so that they can make a meaningful difference in our world. Go to http://coachesbuseinssschool.com/ (coachesbusinessschool.com) to get the tools, strategies, and frameworks you need to enjoy growing your business in a way that is profitable, predictable, and purpose-driven. A big thank you to all our coaches because without them this wouldn't be possible. If you would like to support our show: Please rate, review and subscribe to the podcast on iTunes and other podcast platforms. We would be SO grateful. Sacred Changemakers is a...

Episode: Paul Spilsbury knew Josephus personally ... or at least he's spent so much time with him that it's almost as if he did. In this episode we talk about Josephus' writings, identity, and how understanding Josephus helps us understand the New Testament. We also discuss Christianity in Turkey, the book of Acts, and much more! (This episode is cross-listed on the OnScript podcast) Guest: Dr. Paul Spilsbury (PhD, Cambridge) is Academic Dean and Professor of New Testament at Regent College. Paul's teaching covers the full range of the New Testament, with a particular focus on Paul and the Book of Revelation. His research has been supported by grants from the Social Sciences and Humanities Research Council of Canada (SSHRC) and the Leverhulme Trust (UK) and has resulted in four authored or co-authored books: The Image of the Jew in Flavius Josephus' Paraphrase of the Bible (Mohr Siebeck, 1998), The Throne, the Lamb and the Dragon: A Reader's Guide to the Book of Revelation (IVP, 2002), Flavius Josephus, Judean Antiquities 8–10: Translation and Commentary (Brill, 2005—with C. Begg), and Flavius Josephus, Judean Antiquities 11: Translation and Commentary (Brill, 2017—with C. Seeman). He has also published numerous book chapters, articles, and reviews, and has traveled extensively throughout the Mediterranean and Middle Eastern countries associated with the ancient church. Paul is a frequent speaker at churches, retreats, and conferences. He is also a juried member of the Federation of Canadian Artists, working primarily in watercolours. (adapted from the Regent College website) Give: Visit our Donate Page if you want to help support the ongoing work of OnScript and Biblical World!