I had the privilege of asking the amazing Missy Dunaway some questions about her beautiful work!
Check out the interview below!
1. Tell us a bit about yourself and how you became an artist? What inspires you to create?
I always knew I wanted to be an artist. I showed an interest in art a very young age, and my parents nurtured my talent by enrolling me in extra-curricular art lessons throughout my adolescence. There is not much thought or intention behind my drive to create. I do it simply because it feels natural.
2. Did you study art or are you self-taught? What are your thoughts on art education, and do you think it’s important for artists to have a degree?
Do I think it’s important for artists to have a degree to make art? No. Do I think it’s important for artists to have a degree if they want to make art their career? Yes.
I received my Bachelor’s in Humanities and Arts (concentration in Painting and Material & Visual Culture) from Carnegie Mellon University in 2010. I am currently enrolled in the Academy of Realist Art Boston, a classical atelier, to continue improving my technical skills.
A bachelor’s degree seems to be the minimum on most grant, fellowship, and residency applications I seek, and I personally feel held back for not having a master’s, which is occasionally a requirement on applications. I am not sure why a degree is practically mandatory for a profession that can be (and frequently is) self-educated and self-guided. It doesn’t seem fair, especially when tuition is grossly disproportional to what I earn as a working artist.
One reason may be that a degree is a clear example of commitment and follow-through. If you’re an older artist without a degree, but have a lifetime of artwork and exhibitions under your belt, you have demonstrated your commitment to art. But if you’re an “emerging artist” like myself, a degree may be one of the few tangible examples of serious investment and follow-through.
3. What is the most surprising or challenging aspect of being an artist and is there anything you don’t like about your practice?
Time has always been a challenge. When I first graduated, my studio time was compromised by a full-time job. I eventually scaled back to a part-time job. Now, I paint full-time. Despite the decrease in work commitments, there still are not enough hours in the day. I always seem to have three significant projects rolling at the same time. Should I build them all slowly together? Should I consecutively work through each idea to completion? When I’m at an art residency, should I use the focused time and generous studio space to paint, or should I use the travel experience to engage with a new culture? No matter what I do, I always feel like I’m neglecting something, and that my time is better spent elsewhere. I figured this feeling would disappear once I started painting full-time, but that’s not the case!
4. Your work is absolutely incredible, and I really love your use of colour and form to create intriguing cityscapes and landscapes that really capture a sense of wanderlust. Is there any particular reason you choose to create imagery of places and objects as opposed to people, and what do you think that images of landscapes tell us about the human condition?
The reason I render places as opposed to people is a mix of style and limitations. It was a long-held secret that I rendered empty cityscapes and landscapes because my figurative renderings were poor. My figures wouldn’t add to a painting, they would only detract and distract.
I never expressed this outright, so to others it appeared to be a stylistic choice. The absence of people evoked a melancholy mood, since the viewer, in a way, was a solitary figure peering into the scene. I quite liked this effect and embraced it. However, I want my style to be the culmination of choices, not limitations. That’s why I enrolled at the Academy of Realist Art, a classical atelier that focuses on drawing skills, portraits, and figures. This new coursework has given me the ability and confidence to include people in my landscapes— so you will start seeing them appear from time to time!
The landscapes that most fascinate me are ones that are occupied by people. I love how spaces can be informative portraits of individuals, even without faces present.
5. Another thing I’m really fascinated by is the sense of realism in your work. When I look at it, your work isn’t hyperreal or photorealistic, but there’s enough realism to be able to understand what we are looking at.
Thank you! My general method is to move color around a page until the drawing falls into place. I usually prioritize atmosphere and mood above drawing. My goal is to render an emotion or feeling, rather than a specific object. When that feeling is achieved through color, I consider the painting complete. Any changes I make after that, such as tidying up the drawing and add details, are rewarding but not always necessary.
6. What are your opinions on realism in art? Do you think that art should be realistic and reflect reality or should it aim to transport the viewer into an entirely different world?
I have very relaxed views on what art “should” be. The world is full of obstacles and disappointments. Art is the one place where I can be completely self-indulgent, autonomous, and free. If the artwork pleases its creator, then that is reason enough for it to be made.
Whether it is holding up a mirror of reality, or if it is allowing us to momentarily escape our reality—if the artwork accomplishes it well and was created in earnest, then I will probably enjoy and support it.
7. I personally really love your travel diaries. The way that you’ve juxtaposed images and text together to create a memento of a trip is really fascinating and it makes me wonder what it must have been like to experience those locations in real life.
Can you talk a little bit about this particular body of work and how you came about creating it? What were the challenges of creating this body of work and are there any ideas that didn’t make it into the final series?
Additionally, what was the creative process like for creating the series and how did you decide upon the text that accompanies each image? How does adding text to an image alter the way that the viewer reads the work?
Keeping a sketchbook was mandatory for art students at Carnegie Mellon, so the practice began there. I kept it up after graduation, and over the years the sketchbooks naturally took on diary-like qualities with daily use. Subject matter became increasingly autobiographical, and the sketchbook slowly evolved into the visual journal it is today.
The book’s small surface was convenient in my college dorm room, then in my first shoebox apartment, and then when I started traveling in 2013. It was easily packed away and carried abroad, so the paintings recorded the journey along the way.
Throughout the day I snap reference photos and jot down short poems in my phone. Usually, the poem is a variation of what I thought at the time of the scene, so the words and image are closely related. In the painting, I want the words to either give the painting some context or exaggerate the mood, so the viewer can experience the moment as I did, at least emotionally.
I usually place the text somewhere on the page that is quiet, or where the composition is lacking. I will often use words to pinpoint the emotion I’m going for, and to make that sentiment obvious.
8. Very interestingly, you are an instructor over at CreativeBug which is a website that hosts thousands of classes based around a variety of art and craft based subjects.
How do you find being an instructor for such a great company and how did this opportunity come about?
What have you learnt so far from this experience and which classes do you recommend for those looking to try their hand at creating art?
I was contacted by Creativebug’s creative director in 2016 when they were scouting new instructors. I had never taught before, but I was assured I would have a supportive team and that it would be a fun experience. Since then, I’ve filmed five classes at their studios in San Francisco and it’s always a blast. That company is filled with so much talent and energy! It was the best introduction to teaching, and now I teach in a myriad of ways: weekend workshops, one-on-one lessons, and seasonal adult education programs.
Creativebug has a wonderful “Daily Practice” series where an instructor teaches mini-lessons each day for a month. I think this is a great place for students to start. A mentor once told me, “no one can teach you what making one hundred paintings will teach you,” and that’s so true. Practice is the best teacher of all, and the Creativebug community really champions that philosophy.
9. As well as travelling, creating work and instructing, you also find the time to exhibit your work internationally, in a myriad of different galleries. Can you talk a bit about the process of creating a gallery show and how you came about exhibiting, especially internationally? What are the challenges of creating a gallery show and how do you know when it’s time to exhibit your work?
Additionally, do you have any advice for artists who might want to start exhibiting work or who are looking for gallery representation?
For the first five years out of college, I regularly browsed the opportunity listings on nyfa.org and applied for exhibitions. I never waited for the right moment to start exhibiting work. When I had graduated and had three pieces I liked, I immediately started applying to shows. They were all exciting resume-builders, but were a bit of a financial drain—application fees, framing, shipping, return shipping if it doesn’t sell… The expenses of participating in a show add up fast.
Once I was represented at a gallery and guaranteed a solo exhibition every other year, I scaled back on applying to national and international group shows, unless I was invited or connected by a friend. Applying for representation takes a bit more time and focus. Here is my process:
-Collect a list of galleries that I like and familiarize myself with their represented artists and mission statement. My work must fit with the gallery’s collection and mission.
-Most galleries offer submission guidelines on their website, which I follow exactly. If they don’t have guidelines, I send an email of inquiry asking if they are accepting submissions from new artists.
-If the gallery is accepting submissions, I send an email with a cover letter, artist statement, brief bio, and a link to my online portfolio. I’ve worked at a gallery and I can confidently say writing in full sentences will already set you apart from 75% of applicants. Never ever write “cool gallery check out my stuff” unless you want an immediate rejection!
-I wouldn’t approach a gallery without a collection of 10 – 20 framed pieces available for their inventory. I make sure all of my artwork is wired, priced, and presentation-ready from the get-go.
10. When I was doing research on you and your work, I noticed that you have taken part in a lot of residencies, something which is largely unspoken about in the creative community. What is the benefit of doing a residency and do you feel that those you have done have had a positive impact upon your work?
Additionally, what is the typical process of finding and applying for a residency and how does the work you create whilst there differ from that you would create, say, at home, without constraints?
Artist-in-residence programs are organizations that invite creatives to live and work on location for an extended period of time, from one week to a year. They require an application or project proposal, and programs vary widely: some invite one artist at a time and promise solitude, while others host fifty creatives of various disciplines and encourage collaboration. They can be free, offer a grant, or require tuition.
I’ve attended seven residencies in a range of destinations. Some provided on-site assistance, community engagement, gourmet meals, a lecture series, resident exhibitions, and a car. Others gave just a living space, and the rest was up to me.
I had never heard of artist-in-residence programs until I took a mini course called Artist as Entrepreneur in my final semester of college. We covered business fundamentals like how to write a cover letter, resume, and seek gallery representation. We also reviewed alternative ways artists can make a living, like grants, fellowships, and AiR programs. These opportunities are especially important for artists in the performance or installation disciplines, because selling physical artworks might not be possible.
Residencies can be very competitive and it’s difficult to get that first acceptance—but it gets easier each time. My first residency was at Vermont Studio Center, and I am still grateful that this program only considers portfolios and does not require resumes. My resume at the time was probably four lines long, and I had been rejected from every other program I had applied for—almost twenty!
The best piece of advice I ever received was to highlight what I can offer, rather than what I need. I like to detail how my artwork will give back to their community, my past experiences and resources at hand that guarantee a successful project, and how the opportunity will help me achieve a specific goal. I keep an eye on upcoming deadlines using ResArtis.org—it’s like the art residency search engine.
Sometimes when I’m going through another round of art residency applications, I question why I don’t simply rent an apartment in the desired country for two months. My reason is cultural immersion. It’s hard to crack into a new culture when I’m alone, totally unfamiliar with my environment, and navigating a language barrier. The last time I attempted this, I needed an entire year to learn the language and make friends. Art residency programs provide resources and a local community to expedite the immersion process and help artists begin their site-specific projects quickly.
Artists have the benefit of living alongside local staff who can act as cultural guides, and other international artists who are fellow residents. It’s so satisfying to live with other creatives and benefit from their critiques and conversation on a daily basis. The added bonus of group dinners, open studio exhibitions, lecture series, and field trips add greater cultural depth. The balance of cultural immersion, artist cross-pollination, and uninterrupted time is so special and sets the residency experience apart from any travel experience I’ve had.
11. You are currently based in Maine, which is a pretty interesting place. How do you feel living there impacts the work you create, and would you ever consider creating series of work based around the landscape of Maine?
I went from living in a college dorm room, to a tiny NYC apartment, then out of a suitcase for several years. One reason why I painted in a Moleskine sketchbook was because it was small and portable and creating large work wasn’t an option. About seven years after graduation, I wanted to start making larger, ambitious works. I also wanted a home in which I could invest and friends I don’t eventually leave.
I sought an affordable city where I could support myself with my art and a flexible part-time job. Avoiding full-time work was important because I wanted to attend one artist-in-residence program a year to satisfy my wanderlust. I’m so happy I chose Maine! I can support myself on my art (picking up part-time work here and there). I devote most of my time to painting and am making large works in a proper studio space, and I travel to one AiR a year. Portland has a vibrant arts community, natural beauty, and is a drive away from Boston and New York City. I married a local in 2019, so I am here to stay.
I’ve actually painted about Maine a lot, but haven’t shared it online yet. Since my pictorial travelogue has been published, I’m trying to promote that work and stay on-theme. Artwork about Maine is in production and will be shared soon!
12. One of the great aspects of art is that it allows us to connect and engage with like-minded people, and your currently in the process of continuing a series of work, Postal Art For All, in which you send art postcards to anyone who sends you their mailing address. I think that in these current times (especially this quarantine), this is an amazing and selfless thing for you to do. Can you talk a bit about what initially inspired this concept of posting art and what are your thoughts are on the sociability of art? What do you hope to achieve or highlight by creating this body of work and where can people donate to fund this?
My larger artwork takes a long time to create, so it can get quite expensive. However, I don’t want money to keep anyone from having art in their lives. I believe art is a human necessity and everyone should have access to it. Postal Art For All is a great way for me to make sure my artwork is accessible to everyone. I had been toying with the idea for a while, and Covid seemed like the right time to start the project. It has been a lot of work, but it’s also been very fulfilling. I love to travel and regrettably had to cancel my plans in 2020 and 2021. Thanks to Postal Art For All, my art is traveling more than ever, all over the world!
Postal Art for All was awarded grants from the Maine Arts Commission and the Boston Chapter of the Awesome Foundation in 2020. Their generous support has kept the project running for a whole year, so I don’t expect to seek funds again until this fall. At that time, people can donate postage on my website (missydunaway.com/printshop)
Additionally, do you think that people should be more informed or engaged with the process of creating art, as opposed to just bowing the final image?
I love creating artwork because it gives me so much freedom and autonomy. In a world that asks for so much compromise, I get to make all the decisions in my imagined, painted world. For this reason, I do not like sharing my process with others and bristle at collaborative work. I admire other artists that can share their art process with others. Postal Art For All is probably the most collaborative project I’ve taken on— but I still get to make all of the creative choices.
In terms of informing viewers about my painting process, that’s a tricky question. Thanks to social media, it’s practically expected that artists share photos of works in process. Creating artwork can be a very frustrating, challenging, emotional, and vulnerable process, so I find this expectation to be very invasive and distracting.
However, I’ve discovered that most people who follow my artwork are students, so I share process photos and videos for their benefit. My process in particular is messy and requires several false starts. On its journey from birth to adulthood, a painting can linger in an awkward teenage phase for a long time. I know that watching a professional artist mess up and start over can be encouraging to a timid beginner. It’s reassuring to see that impressive paintings don’t look beautiful at every step.
13. Can anyone be an artist and it is worth creating art if it’s not commercial?
My definition of “artist” is pretty straight-forward. If you make art, you are an artist. If you make art in the privacy of your home, and nobody sees it except you, you are still an artist. I certainly do not correlate the value of art with commercial success!
14. What are you currently working on and where can people find out more about you and your work?
My travel journal is being published this month and it has demanded all of my attention this past year. The Traveling Artist: A Visual Journal is available through major retailers. My website has a handy list of links, more information, and a preview of the artwork: missydunaway.com/thetravelingartist
