Deborah Webster www.deborahwebster.com http://www.artspaceannamaria.com http://www.deborahwebster.com/blog/ http://www.facebook.com/deborahwebsterart http://www.facebook.com/artspaceannamaria

Deborah's undergraduate training focused on psychology and art. She holds a master's degree in painting and has received various grants and awards for arts-in-education programs developed during her teaching career in a New York state inner city high school.

She was the recipient of an NEA sponsored residency at the Art Institute of Chicago for two summers and in 2007, Deborah was awarded a Fulbright Fellowship to study aboriginal art as she traveled through Australia.  She received the Fulbright Project of the Year in 2008.

Her work has been exhibited in several solo shows as well as numerous juried and invitational exhibits in local and national galleries.  In 2002, Deborah was the subject of a PBS documentary, "Horses: Saratoga Style."   She lived in Hawaii for several years as an Artist-in-Residence both at the Kalani Honua Cultural Center on the Big Island and the Keapana Center in Kauai. Her adventures and experiences in Hawaii, Australia, and most recently, on the island of Anna Maria serve as the inspiration for her work.  Currently, she is the owner of Artspace Anna Maria Island, a working studio and gallery.  

A.C.T.: What prompted you to start your professional art career?

During the 30 years I worked full time as an art educator in a public school, I also 

• Created consistent bodies of work, showed in all the local and regional galleries, had solo shows, sent work out to national exhibits, participated in area arts organizations, attended gallery openings regularly and was known in the local art scene.
• Curated and juried shows for local galleries and arts organizations and managed a gallery during that time, too.
• Received art residencies in several places and a Fulbright fellowship to travel and study art in Australia. From these and other experiences I created professional development programs for fellow art teachers and myself.
• Participated in Artist Career Training as one of the first group of students shortly after its founding in 1996. The information/training I received is still valuable to me and is part of my professional presentation as an artist.

I feel all this made me a better teacher because I could share "first hand" with my students what it was like to be a practicing artist.

(A.C.T.: While she did all this, Deborah also helped inner city students get scholarships. Listen to the first 5 minutes of the audio and you'll hear a great story about how to deal with art that just isn't working out. Warning: razors involved!)

A.C.T.: What is your signature style and artistic direction?

My work embodies the unique patterns and energy systems created by the movement of water, air and other natural elements. Abstract images form in my imagination as I walk the beach every day. Using multiple layers of various materials in my environment to express the complex energy connection within the water, I combine delicate handmade papers, rich oil pigments, and glass beads with a variety of recycled objects. Surface colors are created using many layers of oil glazes to capture the colors of the water which surrounds me.

As I work with these materials, I focus on the ways patterns interact throughout the layering process until suddenly the image in front of me comes to life. My thinking now has visual form. The result is a richly textured and layered surface that symbolizes the energy in moving water.

I believe that every piece I make is made for a specific person. The painting might wait for 20 years for that person. Or, the perfect collector will arrive at my doorstep and purchase the painting while it's still wet! This happens more times than you would expect.

My current body of work "Dancing Water" addresses the joy and playfulness of sunshine, gentle breezes and, of course, the swirling, concentric patterns inherent in the natural ebb and flow of water moving through the streams of my experience.

I'm just starting to see the connection among my various bodies of work. Just last week I brought two older pieces into my studio/gallery. Previously, I worked mainly with intensely colored and high contrasting values. And, I worked with figures in a narrative context. The other artists couldn't believe I made them because they were so strikingly different from the images I make now: abstract, patterned, lyrical, infused with light.

But.... after looking and talking about the work, we realized that there was a commonality across the years. Whether figurative or abstract, the constant was an interest in highly patterned surfaces, an obsession with small, tiny parts that fit together and compositions that swirled around the canvas.

I had an "aha" moment. Yes, it all made sense. And, this observation boosted my momentum. I can see where I'm going and how it all fits together. No worries about changing course because the overall body of my "life's work" makes sense.

A.C.T.: What prompted you to start your professional gallery career?

After retiring from teaching five years ago, my husband and I moved from upstate New York to Anna Maria - a little island off the Gulf Coast of Florida. We live right in a little house near the beach and have a fantastic life.

I didn't paint for quite a while when we first arrived. The light is different here and I had to adjust to the energy of the island. When I did start painting again, I had no studio. I was painting in the kitchen. Paint everywhere, art materials all over. I started asking other artists and neighbors if they knew of a garage or something I could rent as a studio. I discovered that other island artists were all painting in their home studios and looking for studio space, too.

One day when I stopped by the local post office to pick up my mail, I noticed a large storefront upstairs. I ran up the stairs and couldn't believe what I found. There were two sets of French doors, 15-foot high ceilings, 1100 square feet of space, with transom windows, a balcony, a large bathroom, wow! It was for sale. I called the owner and asked if I could rent it until he sells it. He told me it had been empty for three years. I guess it was waiting for me! I asked three other artists to share the rent with me and we moved in. People started showing up at the door every day, curious about what was going on in there. Several people came in and bought work... hmmm.... Hey, maybe this could be a working studio and gallery?

I decided to become a business owner, got all the permits, created an LLC, bought signs and business cards and developed a mission statement, installed lighting. I told the other three artists that I would create programs and exhibits to bring visitors in. It would be helpful to all of us. Artspace Anna Maria Island, LLC was born and has been a success ever since. Artspace is located at the corner of Bay Blvd. and Pine Avenue which is known as "The Greenest Little Main Street in America."

© 2012 ArtSpace Opening day

A.C.T.: What is your business model?

Anna Maria is a small barrier island with some of the most beautiful beaches in the world so it attracts international visitors, many from the UK and Germany. This is a tourist destination where many visitors will stay one to three months, so they keep an eye on local papers for "things to do." At Artspace, visitors can talk with artists as they work in their studios, see work in various stages of completion, take a class, purchase art supplies, view exhibits and get inspired!

We're just entering the second year and are seeing people coming back to the island. They will stop in to say hi and bring their family and friends to meet us. I want people to feel welcomed. We always say hello as people walk in. We invite them to walk around our studios and ask questions. Usually, conversations grow and people will sit and stay a while. We take pictures of visitors and collectors with their art. I post them on Facebook (if they ok it). This kind of interaction generates good feelings. I often get emails from these visitors telling me how much they enjoyed visiting and how much they love their new art.

My business model covers all bills and allows for a surplus which is used for art receptions, advertising, print materials, etc. There are various income sources: Resident Artists maintain a permanent studio space by renting space by the month, Studio Associates rent studio space by the day to work on special projects. Visitors take classes, and I sell art supplies, too.

©2012 Artspace Anna Maria Grand Opening - Small Works Show

I don't have art openings every month. Twice a year I have a big blow-out art reception "Artspace Challenge" and put info in all the local papers (via press releases), do an interview on the local radio station, lots of Facebook, Twitter and LinkedIn posts, and most importantly, send out news blasts to my email list. All this is free.

I have received entries from around the world for the Artspace Challenge. This draws attention from the papers and people on the island look forward to participating in it. From that exhibit, I find artists I will include in a group show or include them in a two-person exhibit.

When I have the Artspace Challenge reception, I go all out. It becomes "the event" for the season. Usually about 400+ people will come to the opening. The last Challenge was a Black & White show. I sent out press releases saying that the art was black and white; we'd have champagne and black & white desserts, giveaways, etc. Hundreds of people showed up and .... they were wearing black and white!

The current Artspace Challenge is a Spiral themed open call for artists. So far, I've received entries from around the world - South Africa, Croatia, New Zealand, Australia, UK, Netherlands, and more. I am planning a QR gallery with codes for out-of-country artists. Visitors will be able to scan the QR codes and see websites, images, and videos of artists in their studios in addition to seeing actual artwork on the gallery walls.  

I am also having live music on the balcony, champagne, spiral desserts and spiral goodies for everyone. I've asked a few of the local businesses to participate. A new Salon on the street will be setting up a chair to do free hot curl spirals, another venue will be offering free spiral snacks, another one will be creating and giving away spiral mini art.   I found a performance art group (from Ringling School of Art) who will be engaging the visitors with flash drawings. They plan to create a "sharpie marker" community drawing and then auction it off for charity.

There will be a young artist who has created a spiral video game that will be projected on the wall and that visitors can play.  

It's a fun evening and memorable. Usually, the next few weeks are very busy with lots of sales of both art and gift certificates. People get to see our work during the party and then want to come back when it's not so crowded.

Throughout the year, each Resident Artist has a solo show, and I will intersperse that with group exhibits. Instead of an art opening each month, I send out press releases to invite people to come to the gallery and visit the artists in their studios. This has proven to be very popular. People will come in groups and get a personalized demo and have access to the artist in a way they can't get at a reception.  

A.C.T.: What Kinds of Artists Participate in Artspace?

Artspace's philosophy is that everyone is an artist at heart. Twice a year Artspace sends out an open call for artists and receives entries from around the world. The environment stimulates a blossoming of individual talents. All levels of artistic experience are welcome.

Currently, there are four Resident Artists, including my husband and me, who maintain studios and several Studio Associates who work in the creative space on special projects.

Members of Artspace exhibit their work on a regular basis in the gallery as well as in exhibits nationally and internationally.

I like to help other artists succeed. Sometimes we'll spend a whole day just experimenting with media. If they are open to my suggestions, I will be their biggest supporter.

© 2012 Deborah Webster Studio Discussion

© 2012 Lex Halakan gallery demo

My gallery is open to the public 11:00 a.m.-5:00 p.m. Tuesdays through Saturdays. During peak season, I keep it open on Sundays too. During the summer (low season) it's open Wednesdays through Saturdays.

I am in my studio everyday. We all do a lot of studio work Sundays and Mondays when the gallery is closed. I try to do Art Ventures on Sundays or Mondays, where I'll invite other artists to join me to go check out art museums and galleries in nearby cities. My goal is to expand this to our followers and make it a monthly fun event.

I get up at 4:30-5:00 a.m., take a little time to welcome the day and center myself, get ready for a busy day.

5:00-7:00 a.m. Check emails, post to Facebook, Pinterest, twitter, etc. (I do this only once a day because it's addictive!)

7:00 a.m. Tuesdays/Thursdays. Go to the local coffee shop. Lots of locals there who are interested in the things we do. Find out what's happening and share about the gallery.

8:30 a.m. Mondays/Wednesdays - Yoga at Artspace (the space is so big I can have classes there too!)

9:00-10:00 a.m. everyday - Walk the beach to remind myself why I came here!

11:00-5:00 Tuesday-Saturdays

-teach private classes

-talk with visitors

-work on my art

-take calls and respond to emails for gallery

-set up exhibits

-spackle and sand walls, paint

-work on my art

-talk with visitors

-take care of accounting, taxes, etc.

-clean gallery

-talk with visitors

-interact with artists

-design rack cards, print materials

-work on my art

-interact with local media

-talk with visitors

-work on my art

5:00 p.m. Sunset with my husband

7:00 p.m. Walk around the town with husband and sit on pier to check out stars ... again - reminders of why I'm here!

A.C.T.: What peak moments have you had as an artist and gallery owner?

As an artist:

• I'm in the middle of finishing a series of paintings and it hits me. The energy flows through me and I realize the paintings have their own life. They're taking on a momentum beyond just the idea.
• The moment I realize a painting is finished. How do I know? It just is.........
• The best peak moment is when someone walks into my studio and tells me exactly how they feel about a piece and that it "speaks to them." They have to have that piece. They want to talk about it, they want to know how I feel about it.

As a gallery owner:

• I have been truly surprised with the great reception people have given us - artists, locals, visitors and media.
• I love when new visitors find their way upstairs to the studio, stand in the door and say, "Oh, this is beautiful!" We always welcome people in and carry on conversations so they feel at home. It's kind of like "Cheers." We are happy you came.
• Most people will say they can't draw. I offer to teach anyone to draw in "three free drawing lessons." Many people have taken me up on my offer and end up taking classes.
• It's so fantastic when locals will bring their grandchildren and relatives in to see the place. Artspace has become a "must see" for showing people around the island. 

A.C.T.: How do you define success and how do you celebrate it?

• Success to me is defining a goal and accomplishing it. I set goals every day and, when I complete them, I silently say, "thank you" to my higher self.
• Success is also the feeling of a job well done. Finishing a painting, seeing a press release I wrote published in the paper, having strangers come into the gallery to tell me they heard this was a great place to stop and visit.
• After our big art receptions, I feel a sense of success.
• Success is teaching an adult to awaken that sense of creativity in them, and watching their enthusiasm grow.

A.C.T.: What obstacles have you encountered and how have you handled them?

As an artist:

The biggest obstacle I've had is getting good pictures. In the old days, we all had slides. I paid several photographers a lot of money to get it right. Some of the work ended up not looking right. As we all progressed to digital, I discovered that my digital images never really picked up the nuances in my work, especially the newer pieces. I use mixed media and put 10-20 layers of oil paint glaze over them creating shimmering water transitions. I have a hard time capturing that. Last year, I hired a printer who had a large scanner to capture my work and they came out better. Sometimes the work looks good, sometimes not exactly. Still searching!

As a gallery owner:

I find it challenging to do the sales tax reports, the legal documents I have to file, the permits I have to get. I find myself procrastinating, but feel so relieved once I get all the paper work completed. Being a business owner is new to me, so I want to do everything correctly, and probably over do it!

A.C.T.: What opportunities has a professional approach to your career brought you that you might otherwise not have had?

I've had arts organizations and galleries seek me out to participate in shows and special events because they know I am ready to show at any given moment: 

• I have my print material ready (business cards, rack cards, website, social media, etc.)
• All my documents are up-to-date (like artist's statement, bio, resume)
• I have digital images of my signature body of work, labeled correctly and ready to email
• I'm really good when it comes to meeting and speaking with people.  

©2012 Deborah Webster "Bustle" Papers, beads, wire, oil on canvas, 12" x 12"

A.C.T.: What changes have you experienced in the art market?

We do get a lot of Europeans who appreciate original art and will purchase several pieces at a time. Often they will have their children each choose a piece for their collections.

The main lesson I have learned is that I need a larger proportion of smaller pieces. Collectors sometimes just don't always have room anymore.

I have a range of sizes from very small 12" x 12" to 60" x 60." My primary images of cut paper, mixed media water pieces are larger and attract homeowners on the island. Tourists will buy smaller paintings.

A.C.T.: Who are your role models and mentors? What was the best advice they gave you?

One of the best role models I know is artist, Willie Marlowe, in Albany, New York. I have told her on several occasions that I see her as a role model and have patterned my approach after her. I have known her for 30 years and during that time she always presented herself as a professional artist. She has an evolving signature body of work; she's in her studio every day; she applies for residencies and fellowships; enters shows; has solo shows; organizes exhibits; teaches art and has all her professional materials always ready to go. The best advice she has given me is to get in the studio and make more work!

A.C.T.: What advice would you pass on to artists who want to be represented by a gallery?

• Join a class or workshop like A.C.T. to learn the appropriate way to approach galleries. I know that Aletta and her team can help you. But.... your work is the most important. Get into your studio and work.
• Get in your studio. Make lots of work. Make more. Find critique groups where people will give you honest evaluations of your work. Build up a thick skin.
• Enter shows, approach galleries, don't give up.
• Get out into your community. Be a part of what's going on.

A.C.T.: What mistakes do artists make when they approach you to represent their work?

This is a business! The biggest mistakes artists make when asking to exhibit their work at Artspace:

-Not being able to talk about their work. When I ask what your work is about, I expect you to tell me clearly and quickly. Tell me in 30 seconds what you do. If you are going to show me your work, have a print to give me, like a brochure or card. I don't want to wait around to see you scroll through your cell phone for pictures.

-Attitude. I've had artists come in and tell me how people don't understand their art and proceed to get angry!!!! Do you think I want to do business with someone who is shouting?

-Arrogance. An artist came in a couple of months ago and proceeded to tell me his Miami agent would not want him to exhibit at Artspace. I asked if he was exhibiting in Miami, the answer was "no." So, why was he here? I didn't invite him. Why bother me, I'm busy.

-Not being prepared. If you give me a business card with your website, please have the website ready for viewing. Black backgrounds make it difficult to read. Flash home pages - I don't have time to wait for it to load.

-E-mails. If you are going to send me an email, please "spell check" !!!! Every word you write is representative of you. Poor grammar, misspelled words, "cute" email addresses tell me who you are and if you are taking your art career seriously..... an email address like "ketchuplover@..." or "magnificentartyguy@" tells me you are not serious.

A.C.T.: What is your art marketing strategy?

As an artist:

In a way, I have to start fresh, because my work is new to the area.

• I've sold all the work from when I lived up north, and I am now marketing a new body of work. I'm entering shows in regional venues to get to know the rhythm of the coast.
• My strategy has been to get the gallery up and running. Because the gallery is doing well, I sell a lot from there. I'm working in the studio as much as I can with the goal of creating a body of work that I can then start to take to other galleries.
• Both my husband, Lex Halakan, and I have artist rack cards. We have these on display in our studios and give them to interested visitors and collectors.
• I also have personal art business cards with an image on the front. People like to collect these little pieces of art to remember their visit.
• I have several printed portfolios.
• I use Facebook very regularly, at least 3-5 times a week: my personal page is just for my art. The gallery page is for all activities at Artspace.
•  I often post "works in progress" on Facebook and in my blog so my followers can see all the work that goes into my pieces.

©2012 Webster - Work in Progress #1

©2012 Webster - Work in Progress #2

©2012 Webster - Work in Progress #3

 As a gallery owner:

• I incorporate social media with traditional media (newspapers, online news, radio, TV news, etc.) to brand the identity and become a destination gallery.
• I spent quite a bit on advertising. I joined the Chamber of Commerce, took an ad out in their publication which is sent to 20,000+, took ads in local theater playbills, a local online magazine and other local events.
• I had our logo printed on oval stickers. People will come in and ask for one to put on their car, so we have free brand recognition driving all over the island. Everyone knows where it is and most have joined our mailing list.
• I write press releases and they are picked up by local papers and recently have been picked up by regional news. My next goal is a television news segment.
• I have a large supply of business cards that I hand out everywhere. The Gallery logo is on the front and all my contact info on the back.
• I have a clipboard on a table near the door. I always ask people if they'd like to be on my email list. At first, most people will say they get too much email. So, I tell them I send only one a month and it's a good way for us to keep in touch and they can see what we're up to. The gallery has been open a year and I have 1300+ addresses. These are all emails that were written down by individual people. I use Constant Contact for bulk mailing, which allows opt-in only so I don't add anyone without permission and I know these people will be happy to receive an email.
• I think we get a big turnout at the art receptions because of the newsletter. Short and sweet and filled with happiness.
• I use social media daily. I put calls for entries on LinkedIn and I have joined several groups. If I see an artist I like, I will private message them asking them to like my Facebook pages. I add posts to Facebook several times a week and since my Facebook pages are connected to Twitter, anything I post is also posted on Twitter. I keep the Facebook pages clear and focused on art, art making, happy pics of new collectors and visitors, announcements, calls for entries, interesting art information in the art world. I have links for Facebook and Twitter on all my materials including newsletters. I'm just starting to use Pinterest. I created several boards and then post images of things in that category and also slip in my own art. Pinterest now offers a business page, but I have not set that up yet. I just joined a new social network that's called ArtStack.

Deborah Webster, Tim Hammer at radio interview

A.C.T.: How do you use your art to support causes you believe in?

I support a local charity called FELT (feeding empty little tummies) that collects food for homeless children in a nearby county.

I volunteer to do their newsletter, collect food for their drives, donate art for auctions, collect donations at our art receptions. At Christmas, I organized a collection of crayons and coloring books to be given to the children. I sent a press release to the local papers and lots of people showed up to the gallery to donate food and help me wrap 300+ boxes of crayons and coloring books individually.

I have also volunteered to help local non-profit arts groups.

A.C.T.:  How do you feel artists can benefit from the types of programs, services and products we offer at Artist Career Training and the Art Business Library?

There are so many very helpful resources. When I first became a practicing artist, this kind of help was not available. There was a kind of secret cloud surrounding how to succeed as an artist.

Artist Career Training offers not only resources, but the personal encouragement many artists need. People are out there who will appreciate your particular creative expression. I recommend that you reach out and let Aletta and her team help you get your ACT together and find these art appreciators!