Artistic Intuition: Wylie Garcia

Today I'm speaking with artist Wiley Garcia. Nice to talk with you today. Hi, Lisa. Nice to talk with you too. So you and I were talking about the fact that I have some flowers behind me, and you have some flowers behind you, but my flowers are, um, in a vase, and yours are ones that you've, you've put up on a canvas, and they're quite lovely. This is a, this is a theme for you. You, you like flowers? I do. I love flowers. Um, always have loved gardening with my mom when I was little. And, uh, I have some beautiful gardens that are here out in Charlotte, Vermont, and, um, they're going a little feral right now, . Um, but the, the truth is, is that flowers have always been, um, you know, something that I found to be really beautiful, really interesting. Their shapes constantly change, and, um, and it was probably within the last five years that I really started focusing on them full-time within my painting practice. So what, what was sort of the, was there a moment that you were in your garden or you happened to pass by a particular plant and you said, wow, I would, I would really like to capture that. I would, I would really like to kind of explore this and, um, and spend some time with this subject. Yeah, it actually, you know, that would be the most logical way that the flowers would've shown up in my work. But actually it was, I was working on a series of, um, sort of more abstract, large scale paintings. Uh, that's when I had a studio down in my basement, um, no windows, by the way, down there at the time. Now I have a studio with, with some, uh, better lighting. Um, but the part of my practice is that I started to work with like, um, these sort of like themes and ideas that just kept coming up in my head, these sort of memories. And I was trying to get them down onto the canvas quick as quickly as possible. And, um, at one point, this was probably ab, this was about five years ago. I mean, occasionally, like flowers would pop up in my work. I have a whole textile practice where I was embroidering flowers onto things along with other stuff. Um, and I've always been sort of been drawn, drawn to like embellished surfaces. Um, but this one particular afternoon down in the studio, um, I was really trying to solve a larger issue with the canvas, and I really wanted to do some sort of, you know, large gesture across the entire surface. And, um, I found myself painting these shapes that really felt like pedals and I just kept going with it. And I was using a type of, um, acrylic paint called interference paint. So it's a type of ref, like highly reflective paint that dries kind of clear, but depending upon the way the light hits it, it reflects with a sort of brighter tone. Um, and before I knew it, I realized I had been painting, I had covered the entire canvas with these sort of pale blue interference paint flowers. Um, and while I was doing it, it really felt like I was leaning into a sense of confidence in my painting and also just really learning to trust my instincts with the mark making that I was doing. And so, um, actually the title of that piece was called flowers equals Trust Your Instincts. And after that it was like running, you know, it was like breathing the flowers just really became part of the practice, and I really started to intentionally focus on them. I'm intrigued by this, this idea that somehow this, um, starting with one, one little thing, one little thing, and then just giving yourself permission to spread it across the rest of your work, that somehow that connected with confidence. Is that, do you feel like confidence is something that you've had to work to gain for yourself over time? Or is this something that's never been a problem? It is something I've had to work towards. And, um, I think with painting in particular, um, or specifically painting, there's always that moment when you're like, am I making the right move? Is this next move, the right move for this painting? Is it what it really needs? And as I've developed as a painter and as an artist, I've learned to really trust my gut. And, um, and it's like that sort of confidence in mark making and knowing that, um, that the, you know, the color that I'm mixing and that what I'm applying to the canvas is exactly what that piece needs in that moment, so that when I step away from it and then come back to it, I can respond again confidently to those marks. And this, the painting just becomes stronger. And I, I would say that for myself personally, like the confidence of being an artist, um, you know, it's been an interesting journey because like I've always known that I was an artist. I've always known that I wanted to make art. And, um, I do a variety of different things Right now. Painting happens to be the primary mode of, you know, choice. And, um, and I think that as I've reached middle age, I've learned that, you know, sometimes you just have to go for it and make it happen, and really trusting yourself. And, and I do trust myself. I even know, you know, when I reach a point in the painting where I'm like, I need to stop now, it's time to stop and back away. And as soon as I have that thought pop into my head, I put the brush down and I step away for, you know, sometimes it's 20 minutes and I look at the painting. Sometimes it's an hour, sometimes it's a day. Sometimes the painting is at a place where I'm like, I need to just really step away from this for a week and come back and see if it's finished. And really just trusting myself and knowing that the work that I'm making is the best work that I'm making. And, um, yeah. So that's , I would say that the confidence has built over time. Well, even in the word that you use Mark making, which I'm sure probably is, is, is a term of art. Of course we're talking about art, but from the art world. But when I think of Mark making as an non-art, for me, it's this idea that you actually have the, um, I don't wanna use the word permission, but you, there is the possibility that it's, that you're, you're putting something out there into the world. You are making your own mark. And, and that it actually, not everybody feels all the time that that is something that they are given the opportunity to do. So it actually does take even some amount of courage to make one's mark in, in the world. And given that you used the word twice, I'm like, oh, that's interesting. I wonder what that connects to. Yeah, that's a, that's actually a really lovely observation because I think of Mark making, you know, I do think of Mark making as an art term, and I, I think of it there, well, actually, there's a couple of ways I think of it. The first way that I think about it is that part of my artistic practice is that I, you know, I, I'm gathering information constantly. I think it's artists, we tend to observe what's around us in the world. Um, and we sort of collect little bits and things like that, things of interest to us. Um, and as we do that, that's become sort of, I, I think of that as like the research and development phase of art making. It's like we're thinking of things, it's sort of floating up here in the ether, and then at some point we have to take that information and actually make a first mark, whether that is, um, writing about it, whether that's putting actual paint to canvas, um, you know, really just putting something down and creating something in the world. So making that first mark. Um, the second way I think of it, and this is kind of, you know, I do think about that with regards to what you have said, you know, making my mark in the world. Um, I, I, I wear a lot of different hats, in my life. I'm a mother, um, I, uh, consult with other artists. I'm a gallery director. Um, and I, I think about how art has always been something that's been so important to me, and that, that's been my gift since I was very little. And it's the gift that I bring to the world. It's where it's almost like everybody. I, I believe that everybody has a gift that they can bring into this world, and everybody has, um, some part of themselves that they want to, when they leave this world, they wanna ha be remembered for. And, um, for me it's always been the art. It has always been my, like, what it is that I'm producing that goes out into the, this world that is gonna live beyond me. Um, and the, the mark that I'm making are these paintings and is this sort of long-term lifetime of a practice, of, of working in a really specific style that is, um, relatable, accessible. Um, and then also in a way, it's kind of like, I've also thought a lot for a lo for a long time that my art is a little bit about healing and connecting to people on soul level and also, um, just on a deeper, like, intuitive level. And so I feel like that in a way is the mark that I wanna leave with the, these paintings that I'm creating. So that's really interesting. Cause I don't hear every artist that I talk to describe this connection and this sort of, this healing aspect of art. So for you to bring that forward, um, is somewhat unique. So, so talk to me a little bit more about that piece. I feel like my life's work as an artist is about tending. I like that word tending. I think it relates to gardens in a lot of way too, and flowers, the sort of like the tending to, um, and care of things that are impermanent. And so as I think about the, like, healing aspect, you know, I think about when, when I feel frustrated, one of my favorite things to do is to go out into the garden and pull weeds, you know, get my hands into the dirt. It's also to go into the studio and make art. Um, the healing aspect is more about a way that I can connect to, um, kind of where I'm at at any given time. And so a lot of my paintings have, you know, these layers. And actually all of my artwork, not just the paintings, I've done textile work, I've done video work, I've done performance work. There's always these layers to it. And each layer for me is almost about, um, pulling a memory or like pulling a memory of a person, an event or a place, or maybe sometimes even just an issue that's coming up or a challenge in my life. And, um, working through it directly on the canvas or with the materials that I have. And that in a way is a sort of personal healing. It's like, it allows me to get centered. Um, and then I also, like in my painting practice, I love to do these washes. So I'll like paint a bunch of flowers, I'll work through an idea, and then I'll, I'll let that dry, and then I'll do a wash across it with a really, like thinned, um, pigmented, uh, it's usually in a type of like matte medium. Um, but I will, it's like a glaze. Like that's the, I guess that's the technical term. I'll glaze over that to allow that memory and that piece to just sort of exist as it is kind of like hidden behind a layer. And then I'll add another layer to it. And so as I add these layers to it, it's almost like I'm tending to the painting and I'm creating these resting spaces that then allow for other things to come on top of it and rest and heal, like, and heal. And I, I guess the word heal, it's almost like, you know, I do believe that art can be very healing for people. I think that I think that art brings joy to folks. I think art also can create curiosity. Um, it can ignite conversations, um, and that in a way can bring people together. And I feel like when people are together and are connected, we're creating a sort of a sense of like, um, kind of like a sense of balance and also, um, like, what's the word I'm looking for here? I guess the word is healing. It's like a way to connect. It's like a healing through connection, um, and a healing through connection of memory. And sometimes folks will look at a piece of mine and they'll be like, this feels very familiar, or this is reminding me of something. And, um, and then there's this ti there's an opportunity for a story to evolve. Um, and as those stories evolve, you know, people walk away and they, they feel like, you know, they've had an experience or some sort of connection to the work, um, that connects deep with inside of them. And I think that if I do that, you know, by doing that in my work, then I'm actually creating a sort of, um, a space for all of us to exist. I love this idea of layering and also, um, just allowing something to be suspended. So, you know, a lot of times when people just, for example, go through healing, the idea is that we're going to get something back to whatever place it was in before, at least medically. That's sort of the hope. But the fact of the matter is, it almost never is. I mean, particularly when you have something that has been physically changed, if you, whether it's, I mean, even with, even with plants, if you look at trees, for example, a branch comes off and there is gonna be a place where the branch once existed on the bark of the tree. And the same is true with people. So healing is not coming back to a place of whatever perfection there was. Healing is sort of this enabling this, whatever it was to be suspended and still exist and also kind of move to the next. So what you're describing is really interesting that you've translated that into, into art in ways. I I love that metaphor, um, so much because the, there was a time when, um, so I had a surgery done on my shoulder to have a melanoma removed. And I, at that time, you know, you really slow down and you start thinking about things in your life. And, um, when folks have a surgery or they encounter some sort of huge life change, um, and we've all had them, right, , where we think that like, okay, I'm either gonna be completely changed or I want things to go back to exactly how they were. And actually the pandemic is a great example of that, um, experience with that sort of collective moment of change and, um, opportunity to sort of like reflect and the, we can never really go back to where we were. There's always these sort of versions like, and reinventions of what has happened and what has occurred and where we wanna be and where we wanna go. And I feel like the paintings that I'm making really do respond and resonate with that idea. It's that I'm allowing that pause. It's the, its the sort of like moment to allow something to exist as it is. It's not perfect. Um, and to say, all right, we've had this moment and now we're gonna do a wash, and we're gonna do another moment on top of that. And that moment's gonna respond to the one that was behind it. We're not erasing what was behind it. Um, we're acknowledging it and we're saying, what can we do? You know, like I I say we, but with regards to the art, it's like I say, what can I do to bring some of these past ideas forward and let go of other ones that were no longer serving me or serving the work? And, um, so yeah, and that is a healing, and that takes patience and it takes reflection and it's, in a way it's kind of meditative. Um, but then there's also this, uh, impact of intentionality. So sometimes in the work you'll see, um, flowers that really sort of pop forward, and those flowers, um, most likely are the ones that I've carried all the way from the very first layer into the very final layer of the piece. So it kind of creates this, I wanna say it's like a breathing almost. It's like the, the paintings at times really do feel like they're moving and sort of moving through time and space. And then what you see as a finished piece is sort of that like, um, beautiful combination of where everything just kind of lands in harmony with one another. So as we're talking about your art and this, this focus that you have to actually do your own creative, um, work in a very physical way, I'm also thinking about the art that you engage in as you bring forward the work of other artists. And as you bring forward, um, the, the gallery, uh, space into kind of a place where people can join in and enjoy art. I mean, I'm, I'm thinking about the Portland Art Gallery. We had an opening last night, and even the way that things were installed on the walls was itself an art form. It was this cultivation, it was this, this garden of flowers that, you know, maybe let's just say it's you, you said your, your gardens are sort of, um, feral right now, probably because of all the sunshine and maybe a little bit less rain. I mean, similar to what we've had in Maine. But I mean, I think that when we talk about art and artistry, I, I, I always think about the art and artistry that's involved with curation and cultivation and working with people and also working with the art of other people. And that's something that you're very familiar with because as you've described, you do have many different roles. So what is the intersection for you with all those different roles and that, that, that cultivation that you're always engaging in? Goodness, that is a fabulous question because it's something that I take so seriously as a curator and as a gallery director. Um, my art practice has really informed my role as a director and as a curator. And, um, one of the most important things to me is to exhibit and show and organize work or curate work in a way that, um, is accessible to a large audience. That's number one. Um, but also highlights the sort of conversations between the different, what the conversations that are just happening visually, um, between artists, between the styles of the work, between the medium. Um, sometimes, you know, conceptually, like I work with a lot of conceptual artists and digital artists right now, um, and, and folks that are working in, actually, this is the most interesting thing is folks that are working in the sort of AI realm, um, which is kind of not my wheelhouse at all, but it has allowed me to get really curious about that kind of work. And I feel that the curiosity component, right, the, um, being able to question and to ask questions and to find a sort of entrance into an exhibit that anybody can relate to, to have a conversation around what's, you know, what they're viewing, what they're looking at, that's, I think that's the most important thing. And I think I, yeah, I ran a commercial gallery a long time ago, um, in Burlington and the artists, we really wanted to highlight a lot of artists that were local at that time. And, um, this was about 2000, and let me think of the date. Around 2014 is when, um, we had South Gallery and the, it was so interesting because there were so many fabulous artists in the region whose work was all responding to very similar things, but the work looked so different and, um, it created a really, I wanna say it just created a really magical experience. So whenever we installed a show, um, even though the work looked very different, it was incredibly cohesive. And then the artists, you know, artists' personalities can be so different and so varying, but I felt like we were sort of the space that held it together, um, and we were able to say to, uh, folks that were coming to visit and folks who were collecting work that this is a really important moment in time for Burlington. Um, and the, the work really does respond to the, this specific place in time, um, with Champlain College Art Gallery. This is a college gallery. So, um, one of the number one missions is to, hi, it's actually, it's a learning gallery, which is a really beautiful concept for a college because it is supporting the work that students are making, that faculty is making. We're bringing artists from other places as well. We're also trying to really highlight the intersection between, um, like our local artist economy and their expertise and their skills, and how the students at Champlain can learn from them and vice versa. And, um, and the, you know, the, the Champlain College Art Gallery really does, it's about the intersection of technology and culture and, um, but really does want to highlight the work that folks are making, um, within the college, and then also within the sort of local region and then beyond in how those conversations sort of intersect and overlap and how they kind of, uh, create a much larger conversation about what's happening with technology and art right now. Well, I'm glad you brought up Champlain College because, um, I know you and I having met before through our mutual friend Sage, who is also with the Portland Art Gallery, um, you probably remember that I have a Burlington connection. I was born in Burlington. I went to medical school in Burlington. We still have a son who lives in Burlington. So we're in Burlington quite a bit. But I've been fascinated to actually watch Champlain in particular, because when I was in medical school there, Champlain was just, it was a little tiny community college. And to see its evolution over time and the work that they have done with, um, with video and with, uh, with gaming, and they've really gone into such a kind of a, they've had such a creative approach to, I, I think where we are as a, as a world, as a culture. I mean, some educational institutions, they tend to kind of sit back and do things the way they've always done them. And, um, Champlain has really been, that's never been the way that I've, um, experienced that school. And I even got my, my MBA from there because I was able to do it from a distance as a doctor and I, and it, and it, I think it's fascinating that, that Burlington has this, not only is it its own little creative community, but you're at a very creative place in Burlington. And as an artist yourself, you just have all those interesting touch points. Yeah. Oh, yay. I'm talking to a Champlain alum . I love, I love it when that happens. Um, yeah, you know, Champlain College is a really unique school, and one of the reasons why is that they have this upside down learning concept that they have really put a lot of effort into. And when I say upside down learning, what I mean is that one of the key focuses with their education is that they really want students to have, um, real life experience. And also, you know, a lot of their students are already, like within the work field, um, or within the workforce, as soon as, you know, while they're in school, there is a high employment placing after they graduate in the creative sector. So they've really done a lot for their STEM programming and, um, they, the arts, just being the, the curator and the art gallery director there, I, I started in November, so I'm still pretty new at this job. But I have to say that, um, the, the way that the school encourages students to take what they're learning and apply it to real life while they're actually in school, and they have all of the support there through faculty, through different connections, through alumni. They have a wonderful alumni, um, core group that's very supportive. And, um, it's just, it's such a unique school. Watching the arts develop, there has been so just wonderful. It has been, I mean, first of all, I felt completely welcomed right off the bat. Um, I had a little bit of an idea of what I was getting into, but uh, on my second day they told me, you know, the final big show that the gallery does is the Game studio show. And that's when all of the, um, the game artists who have developed these amazing games, they turn the entire gallery into an arcade. Um, there are recruiters that come and they're like, it's the big thing, and everybody gets kind of nervous about it. And I was like, okay. And, um, this past, like the beginning of May, we had our game studio show, and it ate amazing games, went into full development, and, um, we turned the gallery into an arcade. And I, you know, in terms of accessibility, in terms of bringing the public in, like what a fun way to engage a larger audience, um, than through like, come check out these video games these kids have made, or kids, students, adults. They're all adults, adults have made. And, um, and it's just, you know, again, I know nothing about gaming or programming, but the artistry that goes into that and the thought that goes into that and the process and sort of bringing that back to practice, you know, these students have started year one, learning about what they're interested in, um, doing once they graduate from school. And the game studio in particular. Um, and I can say the same about graphic design and filmmaking and the, the creative media department as well. Um, the Game studio just happens to be a really good example, but they, um, you know, in their final year, they pitched these ideas and then as the ideas develop some fall away and of those students from those projects join other projects, and then they start developing the games until in the end, they have eight incredible games that are fully realized. And that's, you know, a great metaphor for art making in general. It's that, you know, we come up with these ideas. Um, sometimes they work, sometimes they don't. Sometimes you have to let go of the ones that maybe you think are really precious, but they really aren't gonna work out. And that allows you to continue to move on towards something that, um, can be more fully realized and finished and, um, polished and complete. And yeah, that's, it's just, it's been a wonderful, I mean, if you can't hear it in my voice, like it's been such an exciting place to be a part of, and I'm, I'm so excited to work with them, you know, next year and on into the future. Well, I will also then give a shout out to not only our son, but his, uh, partner who she also has, they both have Champlain degrees. So now you now you know, where we're, we have a depth of Champlain College connections between the two of us and all of all four of us that we've just described. Um, we also have a, a shared main connection, of course. I mean, you are with the Portland Art Gallery, and your connection to Maine began, I believe, when you were a teenager. Yes, I was 17 years old the first time I went to Maine. And, um, I was part of the Young Photographer's Workshop, um, in Rockport at the photo workshops there. Um, I was studying and quite obsessed with photography. I still am, but um, I, you know, I spent all of my high school years in the dark room, and my high school photo teacher, his name was David Veselka, an amazing person. Um, and I grew up in Houston. And so, um, this was from when I went to the Kincaid School in Houston, Texas. And, um, he was just, Mr. Veselka was so supportive and, um, I just lived in that dark room, like it really impacted me in such a, it's such a marvelous way. And he really encouraged me to look like outside of Texas. And he said, you know what? There's this photo workshop in Maine. I think you would really like it. I think it would be life changing for you. It would really help you hone your practice so that when you do apply for college, you can, you know, you have a little bit of a leg up, um, in terms of like how to do professional photography. And so I, I had never been to Maine before. Um, I actually at that point had never been to the East Coast , so I had no idea what to expect. Um, and I remember, I remember flying into Portland and getting picked up, and the windows were down and the smell of the salt air like just hit me. It was like the most incredible, visceral experience. And, um, so yeah, that kicked it off. And after, you know, after being in Rockport for two weeks, um, I made a bunch of friends and, um, just started to come back every summer. And my parents were like, she's going to Maine for a week, , you know, I'd be like, I have to go back. And so, um, from there, I, you know, I had a really good core group of friends. Um, ironically too, there's a, a wonderful, um, woman here in Burlington, um, Gabrielle Kramer who started Tom Girl Juice, and she and I actually were part of that workshop together. Um, and so it's been a really like unique connection for both of us to talk about that first, like just impactful time spent in Maine. Um, but over the years I ended up, uh, becoming really close with a really wonderful family in, um, booth Bay Harbor. And so I spent most of my twenties every summer in Booth Bay, um, and just traveling all over the state. And it really like Townsend Avenue Booth, bay Harbor, Southport, um, those places are real hold a really special, special place in my heart. Um, and then now I have sort of extended family that has a, that has a place on Long Island, Maine. And so I try to go there every year as well to, to relax . That's my place of Zen. It's where I go to relax. Well, Wiley, I hope that I get a chance to see you the next time you are back in Maine and or maybe when the next time I go to Burlington, we'll have to, either way, we'll have to make that connection at some point soon. I would love that, Lisa. Yeah. Thank you so much, . Well, I've enjoyed our conversation today, and thank you for becoming a part of the Portland Art Gallery and taking the time to talk with me about your art. Thank you so much. I love being part of the Portland Art Gallery. What a great group of folks. Um, and it's been such a delight to chat with you today. I encourage you to go to the Portland Art Gallery or the Portland Art Gallery website and to, um, see for yourself some of the beautiful art that artist Wiley Garcia is bringing forth into the world. Thank you very much. Thanks.