We recently had the chance to connect with Jodi Walsh and have shared our conversation below.
Hi Jodi, thank you so much for taking time out of your busy day to share your story, experiences and insights with our readers. Let’s jump right in with an interesting one: What are you most proud of building — that nobody sees?
After 40 years of creating the one thing I am most proud of is mentoring other artists that are just starting out. This doesn’t always mean young people, creatives of any age.
I know and understand we are at some level in competition with each other. However sharing information and experiences, good and bad, can save other artists time and money. This practice has also lead me to some very interesting projects with other artists. I love to collaborate.
Sharing information about galleries, art consultants, vendors, products and referring other artists helps support our art community. If I get a quote for a job and for some reason I can’t accept the commission I reply with a list of artists that I think are a fit, I usually don’t tell the artists.
Can you briefly introduce yourself and share what makes you or your brand unique?
I left Canada in 1967 – travelled thru the Far East, Middle East, Europe, and Africa and moved from England to the US in 1980.
Mostly living in 3rd world countries on World Bank and USaid jobs. We moved every 9 to 18 months during this time. This way of life change me forever and made me who I am today. Living in the US I appreciate water, electricity and food more than anything else.
I’m a self-taught artist inspired by nature and texture. This has lead me to create “Oritatami Nendo: folding clay”. I work on large sheets of wet clay, add texture, imprint slip into the clay, cut, fold and fire. Most of the work is in installation form made up of small pieces of clay. I also work with mixed media on birch panels and hang ceramics from hemp and stainless steel threads.
I took a 2 day workshop with Judit Vargas years ago and that is when I truly felt and understood clay. I would encourage artists at every level to keep learning, try new mediums and follow artists you admire. In the clay world I follow Judit Vargas, Margret Boozer, Ani Kasten, Nancy Kubale and Laurel Lukaszewski just to name a few….
Okay, so here’s a deep one: Who were you before the world told you who you had to be?
Funny you should ask this question.
I have been asked for years to write a book not only on my travels but how I started out in this world.
Because of how I started out on this earth I have never been told who or what I had to be or do. I was given no guidance or advice since I was born March 6, 1947 in a house in Toronto, Ontario, Canada. I do not know my birth mother or father.
The title of my book is “I don’t know where I came from but I know where I’ve been” and that’s all I have so far. I write the way I talk so I pity the person who has to edit my writings.
I have been creating and making since I was 10 or 11 years old. I never dressed like the other girls, my hair cut and makeup were completely different. We had Japanese neighbors and I loved their food so lunch at school was a bento box.
Because of my years overseas I have seen women who have spent their entire lives being told who and what they are. Having the freedom to be able to create what I want is something I do not take for granted.
Was there ever a time you almost gave up?
Yes – we moved from the Washington DC area to Houston TX 10 years ago. I knew the studio time would shut down for awhile but I didn’t expect all that would happen next. When an artist moves across country everything changes. My husband, Ron Loyd, is also an artist so we needed a house that would also act as a studio. Moving into a studio space with other artists was not an option. We have a kiln and other equipment to consider. I did however find the perfect house for us. For the very first time we have water and AC/Heat.
We checked out the Houston art community and it was impressive. Lots of galleries and large studio communities spread around the city. We are 25 miles south of Houston. We were invited by a local ceramic group to join and have had work in their yearly members show. The show was great, nice attendance of all artists. I did get asked by the curator of the space to have a solo show the following year. All is well – not exactly.
Losing all my vendors was a huge problem. I couldn’t find a photographer, clay vendor or shipper and my sales died. I almost gave up. My east and west coast collectors and consultants got me through the next few years. I still don’t have a strong Southern based support system. Thank goodness for long term relationships.
I have been showing with Alida Anderson Art Projects with Lenny Campello in New York and Miami for years. When an opportunity to bring Art Production Art Fair came to Houston we jumped on it. There was nothing wrong with the art fair but I sold little. I did get a positive critique from the Houston Chronicle but still nothing.
I haven’t given up completely on southern Texas but I am cautiously optimistic. I am grateful for the support of my longterm
relationships with collectors, galleries and consultants.
So a lot of these questions go deep, but if you are open to it, we’ve got a few more questions that we’d love to get your take on. How do you differentiate between fads and real foundational shifts?
As an artist I think it’s imperative to stick to your own style. I may change mediums but the style of my work never changes. It’s who I am, how my surroundings look, the cloths I wear, the food I eat and how I live.
I have seen so many artists trying to accommodate everyone. Saying yes to commissions that they should not be doing and hating every minute of it.
In your artistic career your style may change over time by choice and your experience with your chosen medium. I can look at Ani Kasten or Margaret Boozers work and they both have changed over the past 20 years but it still has their mark or touch on the work.
Unless you are making for a retail venue stick to what you like to create, enjoy the ride.
If you enjoy being a production artist go for it.
Make for yourself first and you will always be successful.
Okay, we’ve made it essentially to the end. One last question before you go. What do you understand deeply that most people don’t?
That most artists don’t – understand rejection. They not only don’t understand it but for some artists it really messes them up and they tend to carry it with them for years. I also hear “somebody told me” a lot, most of the time there is no somebody or it happened 15 years ago.
If you enter juried shows or submit to galleries yes you will get rejected. That doesn’t mean your work is not good it means you are in the wrong place. That being said you know if you need to work on the quality of your work. Try to go to the show you were rejected from and have a good look at the work. You may find the answer to the why….
Now go back into the studio and get back to work. Hone your skill to perfection.
Galleries – research before you apply to the gallery. Take a look at the other artists they support. That will tell you what type of collectors and clientele they sell to. Now look at your work. Are you a fit and in the right price range. If you see your work on their collectors walls go for it.
Contact Info:
- Website: www.jodiart.artspan.com
- Instagram: jodiartmaker
- Facebook: Jodi Walsh
- Other: Ardest Gallery, Grace Renee Gallery, Longview Gallery, Exhibit by Aberson, Studio 101, The Art Makery
