A Candid Conversation with Musician and Painter Jodi Edwards, a Maine Artist with Many Talents

I have with me artist, Jodie Edwards. It's great to have you with me today. It was great to be here. I've always enjoyed spending time with you, particularly at the art gallery openings because, um, you're, you're probably the brightest human being in the entire Crowd. You, you make a particular effort To, um, really be one with your work. I do. It's, um, it's something that's kind of taken on a life of its own. And I, uh, attended a workshop a couple of years ago on, on branding. And they were talking about, you know, how to, how to brand your art. And I started thinking, well, you know, I dress like my paintings and maybe that would be kind of a way for me to be recognized and people would kind of get it. And so it just kind of took off from there, but now you should see my wardrobe. I mean, it's like, I just keep buying, you know, different colored shoes and sweaters and, uh, it's fun. It's become a lot really fun. It's a, it's a, it's a fun thing to dress like the painting You have an entire, as you say, shoe collection, that's actually is quite astounding to have spent time with you over the years. Cause I there's never a duplication. Yep. Well, You'll get to see the shoes I have on today at some point. Oh well, that's, that's an invitation that will have to take you up on this, this piece that is right behind me, October. Uh, obviously there people can say, well, of course we've got the, uh, black and we've got the orange. Uh, what else about this caused you to be thinking? Okay, Well, um, I, you know, one of the things I try to do is paint for the season or the, the, um, the month. And so for me, October is always going to be orange, some black. And, uh, so yeah, that, this was my idea for October a couple of years ago. And, uh, it kinda got a little wild actually for people who are Listening to the podcast and can't actually see it. How would you describe this piece that you chose to bring with you today? Oh, geez. Um, Lisa, how would you describe, right. But I, maybe we can do it together. Um, well I See a lot of shapes. I see a lot of vivid colors, but then there's also some, there's some sharp lines. There's some chalk stars or chalk like stars. I mean, I personally really like your work because it's got so many different elements to it. Right. There's some really vibrant orange, uh, some bright turquoise Kelly, green, black, um, it's uh, yeah, it's quite a fibrin piece. Is orange a color that you resonate with? Um, you know, Honestly all color I resonate with, I just totally dig it just so, yeah. Um, so orange and everything else Pretty much. All right. That's fair. And you have very nicely, um, brought your shoe. This is the first time I have to say we've ever had a shoe with us on the table. Well, no, I would like to, uh, have people be able to take a look at this. It's kind of fun. It is a very fun shoe. I think it's the most creative clog I may have ever seen. I had to have it. Yeah. So it's, it's got, it's got some skulls on there. Some hearts, all kinds of different colors. Where did you get this shoe? Uh, and the other one that matches, I don't Really want to say I, I don't like supporting Amazon, but sometimes, you know, I, I will make an exception for, or maybe I justify my, some of my purchases for my art, but I do try to, my mother has been boycotting them for, um, since they started, but w we're not going to get into that today. Okay. So you're gonna, uh, you're gonna protect your source. We'll just say on this particular, Well, you got the hit, you got the message. I got it. I understand. So you're more of a small business supporter. It sounds like. Yeah. I mean, that makes sense because you are yourself small business, right, Right. Yeah. You spent a lot of time working as a teacher for using English as English as a second language, which is still called ESL now. Yes, it is. Yep. Yeah, I kind of, um, I got into teaching. Um, so I grew up in a family of my parents were both frustrated artists. And so they raised us four kids to, to really go after the arts, which is actually the opposite of what it usually is. My dad was a frustrated actor. He wanted to go to Yale drama school and, uh, was talked out of it. And then my mother was a frustrated artist. So we, we were just, you know, the arts and my family was just like, yeah, great. So I kind of, you know, I went into the arts early on in my twenties, um, started painting in my twenties. And, um, after a while I felt like I needed to prove myself somehow in mainstream. So I, I wanted to know if I could, you know, really do it and being a teacher in a public school, I think is no, there's no other better way of achieving, you know, mainstream success if you're accepted. So that, so that, that was part of my plus I, uh, at the same time I was, um, I was trying, I was a singer at the time they made its decision. I was waiting tables and I was 38 years old and I was just really tired of the arts life trying to make it and, uh, um, needed something a little more concrete. But I think that was a really big part of it is just wanting to know that I could fit into mainstream society. And I did. So was There more of a question as to whether you could fit into mainstream society because you came from parents who were frustrated artists and maybe not quite as mainstream, right? Yeah. I mean, my dad was actually the town justice of the peace for 30 years, but, um, and you'd think that he would encourage us to go to law school or I don't, you know, but it was no, no. Um, who did you, who did you wait tables on this, this week? You know, who, what famous celebrities did you see? And that was kind of what we were praised for. So, um, that's, uh, I think where that came from, And you did cross paths with some interesting people, including Ella Fitzgerald. Okay. So that story, um, is, yeah, I was 30 years old. I was living in New York city. Um, I moved to New York in my twenties and, um, uh, wow. I met her road manager in an elevator on my lunch hour. I was working on 57th street in a, in a hospital, actually in a detox unit. And every day on my lunch hour, I would, um, go over to, um, that big fancy hotel. I think it was Essex street or something, um, Essex house. And I take the elevator, I take my lunch and I would take the elevator and I just press any button. And one day I got in and, um, her mom, her road manager got in the elevator with me and I was listening to music from Italy. I'd just gotten back from Italy. And he said, oh, I miss Fitzgerald's road manager. We just got back from Italy and we cooked. And, um, I brought my guitar later and sang for him and he wasn't hitting on me. He was 70 years old and just needed to be listened to. And he was the recording manager for, um, Billy holiday and he and Frank Sinatra back in the day and, um, had all these great stories. And so I hung out with him for a couple of days. Like on my lunch hour, they happened to be in town for a few days before the concert at Lincoln center, um, that it was may and I was 30 years old and he was trying to figure out how I could meet her. So I said, Jodie got an idea. Cause we're sitting in the library in the, in the lobby, eating, eating lunch. And he said, you know what? Her dresser is sick tonight. Why don't you come and be dressed, ready to go? You're going to carry her, her dress on your arm. And, uh, you'll ride in the limo and you can get her dressed. She's not high maintenance, you'll put on her makeup. And meanwhile, all I ever did for makeup was lipstick. My sister used to have to do my makeup for me cause I just, anyway. So I showed up and in a very, you know, elegant, you know, back then I was a lot thinner and whatever younger, it was a black strapless dress. And, um, I did, I carried her on her, her dress on my arm and we got in the limo. I was, I was sitting next to Joe pass and uh, she had a doctor next to her and the thing of it, oh my God, she was so nervous. And she really had low self-esteem and, um, God, it was fascinating. Um, she kept apologizing, oh, you know, I I've got a nasal drip and I, you know, and uh, well we were riding up Broadway and she was telling me all these places where she used to sing. And uh, anyway, we got to Lincoln center were ushered in. I had to get in this tiny little dressing room about the size of a bathroom, you know, a small bathroom, she's half blind. Cause she's got diabetes. I'm trying to get her in a jumpsuit. She's standing there in her bra and her underwear and a rolls of, and then she's got this necklace from Paloma, Picasso, oh, Paloma, Picasso gave me that. Well, then I go to put the makeup on and it's like makeup from Woolworth's and uh, you know, just a little, I don't know. It was like, and then I got to stand like 10 feet away from her onstage, uh, and look through a window. And at the time I was trying, I was pursuing a career in singing or trying to, and we were in the elevator the next day going upstairs. And you know, she said, someday, I'll hear you sing. And that's when I started singing because what other better affirmation would there be? So it was fascinating, but the most fascinating part was how really sad and depressed she was, um, when she wasn't on stage. And uh, yeah, so, but that, oh, what a night, that was just incredible. And I got to hang out with her and her band a couple of days after that. And so it was kind of cool. It Does say something about what we see and what we want to see a need to see. Um, when we look at other people that are in the public eye versus what their lives are actually like. Yeah, yeah. It really did because I was aspiring to sing and you know, and then I just, I don't know. It just, um, it really hit me deep, you know? Um, maybe it's not all it's cracked up to be, or maybe, maybe, I don't know, just, it was a very deep feeling to see that she was so sad and, and depressed. And, um, she actually looked like a bag lady when she was walking in the, in the, in the lobby shuffling. I mean, uh, it was, yeah. And then she would spend the whole day in her hotel room waiting to go on stage, like, you know, eight o'clock at night. She would just go, Hey, Come at me, buddy. Hello. And she Would just waiting for that moment and she would just shine and all these people waiting to tell her she loved her. And then on the ride home, oh, I, I sounded awful. I had a nasal drip, just low self esteem. It was just like, really She's the greatest jazz singer in the world. How could she be so human? But she was, you know, she also had a really sad life. Yeah. Well, it sounds like you learned not only a lot from having met her from that standpoint, but also you managed to be inspired to pursue something that you also loved, even knowing that she had not found complete happiness with that lifestyle. Yeah. I think that's right. Yep. Do you still sing now? I, you know, I, I, my focus is on my art right now. It's I think it's really hard to do to too. Um, I've been wanting to get back into it. I can sing summertime, like honestly, well, I can say it pretty, pretty good. I guess it's my signature piece, but, um, I I'd like to sing, uh, locally with, with, um, jazz quartet night. I've got my feelers out there. I've got some guys that are gonna let me sit in. And I did sit in a couple of years ago and sing with a band. Um, but it's just, it's hard to put out, like all my energy goes here right now into the art. So it's, it's hard to do, you know, you have to put a lot of energy into it. Oh. So we get to watch your singing coming off the wall kind of. Yeah. I guess, you know, there a lot of, a lot of artists and musicians do th they're they go together or they're artists or musicians, we just, as our artists kind of thing, there's a yeah. Thing to it. There was A time in your life that you took a pause from your art. Um, and you went towards the teaching, you went towards the main stream. How did you feel about not engaging in the painting aspect of things during this time? So, Yeah, I, you know, I still was painting, you know, uh, what I was trying, I was gonna tell you earlier that I started out, um, I started out as an art model in my, in my twenties. I moved to New York city and I modeled all over New York city Parsons school of visual arts. Um, all of the art students league, you name it. Yeah. And then I moved out to the Hamptons and modeled for seven, um, famous artists, including, um, Norman blue and, um, David, Sally and Larry Rivers. And, um, what happened to me when I was in their studios is that I, um, well, Norman bloom was the biggest, biggest effect on me. I was 25 years old and, um, he had a studio that was the size of, oh gosh, not Walmart, that's too big. Maybe your local hardware store. Um, and he just, you know, um, I was up against a wall and he had a coffee can full of paint and he was on the other side of the, of the, um, studio. And he would just go up to the wall and just splash paint on the wall. And it, um, I know I'm taking it long way around to answer this question, but I, I got very inspired, um, by watching him paint. And he kind of, I wouldn't say that he took me under his wing at all, but I was 25. I was very young, but I having been raised in an artistic home, I think it was just like the ground that work had been laid and he kind of set the fire. It was just like, oh, wow. You know, I look at, look at what you can do here in this huge studio. And, um, um, and, uh, Norman bloom, I just finished reading ninth street women, which explained the whole beginning of the abstract expression, um, this, uh, era. And he was first and second generation abstract, uh, painter along. He was right in there with de Kooning and and, um, um, women, I love Helen Frank and sailor and Joan Mitchell and, um, grace Hartigan. And so, um, for me to be at 25 years old in that, in that studio yeah. And see witnessing and seeing what was possible. And, um, and I was very well liked as a model because I was uninhibited. Um, so I was requested a lot. And, um, then I started to paint and, um, I had my first art opening in New York city at the age of 26 years old. And so, um, at a huge loft with a hundred people in a big band and my paintings were six feet by four feet. And, um, it was just too much to, to take in at a young age. And so I, I needed to take a pause and I needed to address some addiction issues I needed to get sober. And so I, um, everything kind of, yeah. And on the shelf at the age of 28 and, uh, got into, and, but I did paint all, all along the while I did, I did paint, but not, you know, not, um, like I, not, not like I am now not where I'm just really going for it. Um, I had a lot of work to do internally, you know, so, um, but I was pursuing a career in music and, um, like I said, I was teaching, I would paint throughout those years, just not with the Gusto that I have today and that I've always had actually just now I'm channeling it and a lot better. What is your main connection? Tell me about that. Oh, gosh. Well, um, so I met my husband, um, uh, 23 years ago, um, in a church in Massachusetts and, um, a funky church, unity church. I'm not a big church person, but, um, and David, uh, had a camp, has a camp up up in, um, in Surrey. Um, and I was worth on patent pond. And so we started going up to camp and I just absolutely fell in love with it. And then years down the road, we were always, always planning to move to, to retire up there. And, um, then the farmhouse that it has been in his family for six generations, had a fire in it five years ago. And, um, we bought it and, uh, for a song and, um, have been rebuilding it. And, um, what I love about it up there. Oh my gosh. Well, it's just so quiet. And so, um, community oriented, it's just, I've never experienced anything like that in my life where, um, you know, your neighbors, you care about them. Um, you can stop in without calling. They do that. Took a while for me to get used to that. Um, just, I don't know, people make time for you. I live down east, um, in Surrey, a small town of 1500 people. And I don't know, I'm never lonely. I just there's always, um, something to do. Um, you'd think that there wouldn't be because you're living in such a rural community. Um, but oddly enough, there's pot, there are potlucks like once a week or sometimes three times a week in the summer, or they used to be before. COVID, um, there's a lot of community gather, uh, events. And, and for me with somebody with a lot of energy, as you can see in my paintings, Maine really calms me down, being up there. It calms me down and I, I, I need it. I crave it. How did the, how did the fire impact you? Oh, it didn't really, it was my second fire damaged house. I bought my first one at 42 years old. Um, rebuilt a fire damaged house by myself. Pretty much I had help, but, um, it was the only thing I could afford in Hamilton, Massachusetts. Um, that's another story I don't need to get into, but it didn't, it wasn't off-putting at all. In fact it was just like, oh, I've, I've been there, done this. So it wasn't intimidating. My husband, let me GC the whole project because I had built the house and he helped me build the house, the first house. Um, but, um, yeah, it was a lot of work, but a work of art. My house is so colorful. It's, It's great. It's, it's, it's, it's really, it's beautiful. And I love it. Not only do you match yourself to your paintings, but you match your house to yourself and your paintings. Yeah. My whole life is curated. I think that's a great way of putting it, putting it. I curate everything to what, what I'm wearing to the, to the, the scarf on my dog's neck, too. I mean, everything is just, I get such joy out of it. Um, making things look a certain way and, um, it's, it's how I was raised to, you know, it, everything was about the looks way things looked and the aesthetics aesthetics were like at the top of the, um, in my family. You also, um, had the opportunity to meet the curators. Speaking of curation, it's not a good little segue for us, the contemporary art curator of the metropolitan museum art. Right. Okay. So, um, I'm living in New York city and then I discovered that all the really cool people are going out to the Hamptons in the summertime. So I want to go where all the cool people are going to. So I managed to get myself out to the Hamptons. This was 1985, I believe. And there was a little coffee shop in south Hampton that I was working at called the buttery and Henry gelt seller was the contemporary curator for the met. And, um, he was, oh my God, such a character. And he used to come in every morning for breakfast, but he was this, oh my God, well, flamboyant big belly, straw hat, bow tie, strutting around south Hampton. And just, I mean, I can just picture him strutting around and talking like this. And he had such a way about him. And well, I figured out I knew who he was. So I figured out if I got my paintings into the basement, maybe just maybe he would come down and look at them. So I did, I brought them all down there and one day I just said, Hey, Henry, would you come down? And I've got some paintings in the, in the basement, would you come and take a look? So he did. And he looked around and he said, man, these are good. And, uh, that was all I needed to hear. So you're, you're pretty fearless. Fearless, uh, ballsy is another word I discussed this before with my husband. Is it okay if I say that word? He said, yes. She said, just don't curse Jody. Well, I mean, I think, I think Fearless or whatever word you'd like to use for it is something that not everybody is able to kind of embrace. It's a, it's something that, I mean, it seems like you're willing to put yourself in the right place at the right time, kind of ask for what you'd like to see happen. And then if something doesn't work out, you know, it's kind of like the saying about the barn burning down and then you can see the stars. You're like, all right, that's fun. I'm going to move on, keep Going, you know? Yeah. I'm a huge risk taker. Um, I, you know, when people see my paintings, they, they, they often say they feel, they see, they feel joy or they feel, you know, yeah. I happy sounds kind of, I don't know, but they feel, they feel something. They, they say they're joyous. And, uh, I feel like I'm always just seeking out joy in life. And actually my name means Jodi means joy. Um, but yeah, I, I'm a, I'm a risk taker. I, gosh. I mean, uh, when I w you know, two other great stories I won't go into now, but when I was, I, I was working at the museum of modern art in my twenties as well. I worked as a cashier and one of my friends figured we figured out that the Beatles were being inducted at the Waldorf story around the corner. And we figured out how to sneak in to the rock and roll hall of fame awards in 1988. And, oh my God. I mean, just, you know, like that was wild. We case the joint on our lunch hour. And then we got all dressed up and got down on the subway and went in there and he's like, Jodie, just go pick a ticket off the table when they're not looking well, I did. And I grabbed Brian Wilson's ticket from the beach boys. And, and we went, what a night we had. And then after that, it was like, this was the same year the Grammys were being at Rockefeller center. And w we were going to get coaching jobs. And I, um, it fell through and I was like, well, I'm kinda, I'm going to go to the Grammys. Well, I, I snuck into the Grammy awards and that New York city was blocked off for like three. There were three police barricades. I mean, I'm just telling you this, because it's the kind of chutzpah that I have. And I ask every single person walk me to the door, walk me to the door. And they, you know, they, they wouldn't, and the police said, if we see you one more time, you're out. And I still didn't give up. I just, eventually I snuck under this thing. And when the cop wasn't looking, I will, you walk into the door. And I walked in with these four people in the next thing I know I'm standing in there and calling my parents from the payphone. And that's just the kind of, I don't know, I don't give up, but here's the thing I'm polite. I mean, I'm not, I mean, I'm gracious. I, one of my coworkers, when I was a teacher said, you're like a bulldog with manners. You know, you're like a pit bull with manners. So I just I'm tenacious. I go after it, but I always try to be thankful and grateful and try to be nice in the process, except for when I was getting into the Grammys that was just do or die. So that, that's the kind of, yeah. Chutzpah, I guess you could say, do you find that there Are a lot of other artists with that type of tenaciousness and fearlessness? Have you run into people like yourself? Well, you know, Hmm. I kinda got the feeling that, um, Eric Hopkins might be like that. When I talked to him at one of the openings, I was asking him for some advice. And, uh, I remember him to saying like, drive fast speed. He said, speed, dry, fast, and never looked back. Something like that. He said, you got to take risks. He said, no, the first thing you said was you gotta get kicked around. You gotta get kicked around a lot, which I have a thick skin for somebody who is emotionally sensitive, I'm it doesn't stop me. I just, I usually won't take no for an answer until I go to the person who really has the ultimate authority to say no, but again, I try to be nice about it, you know, but when they told me I was going to have to put a brand new septic system into that house that I bought in, in Massachusetts for 130, $9,000, when no, no nothing. You couldn't buy anything under 400. And I found a house all boarded up my very first house. I was in the Boston globe two on the north shore section for building this house or rebuilding it myself. Um, I had help, but I learned a lot from, uh, Time-Life books and hiring people that taught me framing and wiring and roofing. And well, no, I did the roof on my own, but, um, oh shoot. I lost my train of thought that the septic, they said, you're going to need a new septic. And I was like, well, that was like a rumor that was going around. So the septic guys could just put new septics in. And I said, well, I want to know from the septic people that come and tell me whether I needed a new septic, I want to know from the guy who gives a certificate, whether or not I really need one or not. So sure enough, I, I called the company and they said, well, no, you gotta have 10 feet of, of, of empty space. And the house hadn't been lived in for three years. So my cesspool passed when they told me they don't pass cesspools anymore, but that's the kind of thing that I, and I had so many, I'm a great hoop jumper. I can jump over, you know, just, I have the stamina. I just like, I just keep going. That's a great characteristic. It can be, it can be hard for the husband. Sometimes you've been together for 23 years. So somehow you manage to balance it. We do, we're a great team. He's very Grounded and very practical. And, uh, yeah, we're a great team. It's Good to have that, that yin and yang. Yeah. Yeah. Yep. And I do think opposites attract. I do. He's an introvert sort of, I'm an, I'm an extrovert extremely. I would say really, that shocks me when you say really, But, you know, I think that it's, it's always, it's interesting for me to talk to people who are very extroverted and who are willing to live out loud, because I think sometimes people who are willing to live out loud, um, they give permission to the rest of us to live out loud. I mean, when you, when you bring your shoes, when you bring your art and you're willing to not have fear than other people who maybe aren't as extroverted can say, wow, that seemed to work out. All right. That's a great Point, Lisa, that's really, it's a great point because, you know, it's, it's, it's not that easy being. So, um, uh, I mean, it is, it's fun, but occasionally I get, I feel vulnerable sometimes. And I, I, um, uh, you know, that, what do people think of me kind of thing. Um, but so hearing you say that it that's, that's helpful, um, you never know who you're going to inspire. I have heard I'm an inspiration to many people actually. So that's, that's always a good thing. I think so. Yeah. I'm clear having met many artists, myself and gone to many openings. I mean, you've always been memorable in my mind. Okay. In a very positive way, I'll take it. The work is also very memorable. So when you talk about really living fully, the person that you are when you're not really, you're not hiding behind anything. No. It's always been my dream to really, um, have a career in, in painting and, um, you know, I'm finally doing it. So I'm in my 10th year now. So, uh, you know, they say it takes 10 years just to get, you know, like just to get there. So, And you feel like you're there. Yeah. Yeah. The other thing is I Heard recently is that when you're in your sixties are supposed to be the best decade of your life, the prime, actually I read an article or heard it somewhere that from age 60 to 70 is when we are in our prime. And, uh, I'm, uh, I'm all down for that. It's, I'm 61. And, um, I think we have it backwards to about age in our society. Um, I, the people that I look up to in our gallery, especially Phillip barter, Eric Hopkins, Pete they're in their seventies. I think I, you know, there isn't fill up. I think he's 80 actually. Um, and I, I look up to them, you know, I, their careers are really, it's taken a lot. It takes a long time to get your career to a place like that. So I'm looking forward to getting older. I, um, I mean front now for a woman to say that it's like, um, avant garde or something it's, um, unusual, but I just think we, we get better with age. We have more wisdom. Um, yeah, We kind of grow into ourselves and our, and our genetics and our, or kind of, Yeah. And we get, we get a lot of the other stuff out of the way in our forties and thirties and forties and fifties, and our careers are established, we're financially more stable and, uh, hopefully, and, and, um, yeah, it's, I'm psyched. You just got to keep your health. Right. You've just got to, we've just got to stay healthy. That's the, the priority, you know? Yeah. Yes. Come tell my patients that yeah, yeah. Inspire them. You've got to, that's what it's, that's what it's all about. You know, I completely agree. Some more good things to come from you. Yeah, I think so. Yep. So too. Well, I want to thank you for, um, for bringing yourself and, and your shoe. You're beautiful. Uh, painting October. And also, I know your husband, David is out there with your two little dogs out of your own little John island. Yes. So thanks so much. Yeah. So shout out to David and the dogs walking around little John. It's very nice to have all of you as guests. Oh, good. Well, I'm really, I'm really grateful to you and Kevin, both for the opportunity to do this. It's wonderful. It's been a lot of fun for me in speaking with artists, Judy Edwards today on radio Maine. I hope that you take the time to look at the Portland art gallery website or go to the Portland art gallery in Portland, Maine, or maybe come to one of our openings and, uh, you get a chance to see Jodie's shoes up close and personal, along with the works that she does. Thank you so much for coming in and talking to me today. Thank you.