The BoldBrush Show

28. Finding Inspiration — Jessica Oliveras

BoldBrush Season 2 Episode 28

Sign up for FASO and get over 50% off your first year using our special link!
https://www.FASO.com/podcast/ 

Become a Sovereign Artist today and take control of your sales!
https://sovereignartist.substack.com/
--
On this episode of the BoldBrush Podcast, we sat down with Jessica Oliveras to hear about her upcoming series Identity as well as how she finds inspiration both in her past career and in the faces of the people she cares for the most. We also hear some wise words about marketing yourself, having a website, and finding your voice as an artist above all else. We also hear about her upcoming mentorship on Mastrius and how you can become her student!

Follow Jessica on Instagram:
https://www.instagram.com/jessicaoliverasart/

Check out Jessica’s FASO website:
https://www.jessicaoliveras.com/

Become Jessica's mentee:
https://bit.ly/3G9hHID

Jessica Oliveras:

your whole career will be a journey. Because you might think, Okay, once I'll be able to become a full time painter able to pay the bills, I'll be happy but one when you get there, there's going to be something else then your goal will be I don't know getting into a major gallery or then you're in a major guys and your goal will be and technically speaking, as well, you will develop your style you will experiment new ways you will change because this is what time does change people and changes your art. So the whole life will be trying to explore more an experiment more and do things differently. Welcome to the

Laura Arango Baier:

BoldBrush podcast where we believe that fortune favors the bold brush. My name is Laura Arango Baier, and I'm your host. For those of you who are new to the podcast. We're a podcast that covers art marketing techniques, and all kinds of business tips specifically to help artists learn to better sell their work. We interview artists at all stages of their careers, as well as others who are in careers titled The art world in order to hear their advice and insights. On this episode of the BoldBrush podcast, we sat down with Jessica Oliveras, to hear about her upcoming series identity as well as how she finds inspiration, both in her past career. And in the faces of the people she cares for the most. We also hear some wise words about marketing yourself, having a website and finding your voice as an artist above all else. And finally, we hear about her upcoming mentorship on masteries. And how you can become one of her students. Hello, Jessica, how are you today?

Jessica Oliveras:

Hi, Laura. I'm very well. Thank you. I'm really excited to be here with you. And actually, just this morning, I got the commission. It started good. And hopefully we'll end good today. So really happy.

Laura Arango Baier:

I think so you're gonna sleep so well tonight? Yes, yeah. So that's exciting news. And so that people can know a little bit more about you do you mind giving us a little bit about your background and what you do?

Jessica Oliveras:

Sure. I'm so I'm originally from Spain. I was born in a little town on the P, the pre PT knees, which is the top east part of Spain very close to Barcelona. But we are actually closer to France and Barcelona. So since I was a child, I love drawing and painting. My father is a painter here in Spain. So I was always visiting him in his studio and asking him if I could do a brushstroke on his paintings. And I was trying to copy what he was painting and doing the same work. I mean, I was hoping I will do the same, but at my level. So it was really inspiring to have his output since the very early ages. And then my family was always trying to push me to improve in terms of technical skills and participating in children or competition and things like this. So I joined the art school of my town. And everything was a part of a school, very much focused in in arts and art supplies and exploring and experimenting with different materials. So I'm very grateful for this. And then, when I was starting to become a teenager, let's say I was interested in learning oils. But in this art school, they were very rigid with the program, which, to be honest, that was a little bit unfair for a 15 year old girl. Because I wanted to be introduced to this new medium that sound very professional. And they were telling me that I was too young for that. And I was not understanding why so like I'm not going to start to drink the turpentine. You know, like I'm not that old. I don't you know. So anyway, after a year of this fear and frustration, because that was a big limitation for me and emotionally I was growing up so I didn't have the skills to you know, be able to overcome that easily. This limits. My father say, okay, don't worry, you can drop the school and I'll teach you at home. But between these and the teenager hood, I started to be a little bit reluctant to switch acrylics to oils. So he continued teaching me but he was teaching acrylics, which was good, but I had a much more impressionistic approach like bigger brushstrokes was much more textured until after a lot of conversation with him and he managed to persuade me to start oils but I was over I'm 20 years old, so not that young anymore. And then it happened that by that time, I was moving to London for a while to study, midwifery there and for live experiences. So I had to then learn all on my own because I didn't have my dad with me, he was obviously in Spain. So so then I, after a lot of hours and efforts, I managed to find my own ways and develop my own technique and painting style with the oil. So I left actually behind. So it was interesting, because along the way, I had commissions with acrylics as well, and it was selling paintings. But I was a little bit scared of doing this change. And in this transition, because I was thinking now that I start to have, you know, some collectors and you know, we will start to live my work, then I'm doing this massive change that I don't know how people are going to react to that. So everything worked for good. But this was more or less my experience.

Laura Arango Baier:

Wow, that's quite a quite an experience. That's hilarious. Of course, you're not going to drink the turpentine. Oh, my God.

Jessica Oliveras:

You know, I don't know why I mean, you know, some of the educational like, models and the way that some organization our schools are set up are so rigid, and especially if you're working with children and teenagers, and you see that some of them they are super motivated to learn. Don't restrict them, you have to push them and cause them to fly, you know, like,

Laura Arango Baier:

Yeah, I mean, if someone shows interest, they're gonna be extra careful anyway. Like,

Jessica Oliveras:

I was not this crazy kid that was running around or anything like this. I always been, like, kind of introvert and very quiet. And I was doing was what I was told. So, you know, they were not reasons to not to trust me, you know?

Laura Arango Baier:

Exactly, exactly. So I'm really curious, because you're maybe like the only person I've ever met who has decided to study midwifery. And I think that's amazing. So can you tell us a little bit about why you decided to become to study midwifery? And then how do you connect it to your work? Sure.

Jessica Oliveras:

Um, well, because my father was a painter, and he was living off his paintings for 15 years. But then we had the big economical crisis here in Spain, where all the art galleries shut down. They had to overcome this problem by starting an editorial and finding their own ways aside from the painting world. So they were always concerned that I might have the same problems in the future, that we'll be able to sustain myself as a full time painter, of course. So, you know, I guess this problem happened. So many, many artists that the parents were concerned about our economical stability, and if so, um, the conversation with my family was always very encouraging in terms of painting. But in terms of studying, there was no options of going to an atelier or an art school, the conversation was always focused to university towards that. So it's like, you have to have a university degree. And you should study anything except fine arts because you will not learn how to become a good painter if you study Fine Arts.

Laura Arango Baier:

That's true, though. It's true. It's, it's brutal, but it's true. I mean, I don't know about you know, Spanish universities, but in general, universities suck at teaching you how to paint. They'll just tell you to paint what you feel. Which is fine for like, people who aren't in the realism world who want to study the foundations. So I understand where that's coming from. But they sound like my parents, like no, no, you need you need a real career, like me.

Jessica Oliveras:

So what did you do at the end? Did you succumb to their bias?

Laura Arango Baier:

No, I didn't. I was like, I'm just going to college because the college that I went to, they gave me a really good scholarship. So I only stuck with it because of that. And then they actually paid me to study there, which was great. So many, I took it and I was like, okay, but I'm going to Italy by exactly Um, so you studied Midwifery, right? Yes. Or how did you end up with midwifery and then in London of all places?

Jessica Oliveras:

So, um, well, I mean, I was actually good at school. I'm good at science. So and because of painting I have always been inclined to humans. I've been curious to human interaction, emotions anatomy. So the thing that under my, well 18 years old being made sense was to study something related to people. So I said, Okay, I think midwifery might be a good option, but in Spain, you have to do nursing first, you cannot access to midwifery sighs straightaway. So is it okay, so I'm going to study nursing, I went to nursing, I didn't like it, but I finish it too, in order to be able to do midwifery. I mean, I was bending, I was like bringing the two careers one next to the other, I was able to manage both somehow. And then, because midwifery in Spain is very medicalized, we still have a lot of like, barriers and limitations on how we care for women in normal pregnancies. I decided to go to the UK to London to study because they're much more developed into natural childbirth. And and well, protecting the choices of women and more pro, you know, natural ways of delivering if we are safe to do so. So without going too much into into midwifery. As well I decided like yes, this and personal experience, I want to move out of Spain. I was just coming back from my Erasmus in Finland. So I said, You know what I want to travel I want to live experiences and meet people from around the world. So with a better place in London. And so yes, I ended up there. I was then switching to oil. So I got my first studio separated from my apartment. And then I started to build up my artist community there. At the same time I was studying midwifery and working as a midwife. So then I combined part time midwifery job with part time artists until I was not able to keep up with both jobs. And I decided to drop me to a free of course, it was, it was amazing, it was really, really good experience and something that I was really not expected to feel or to experience it in that way before starting the program. But it really helped me to establish a very individualized like bu of women and the women that I was being in relation with, whether they are other midwives or other colleagues, or maybe the women that I was helping to give birth. So everything has a huge impact on the way I see beauty in the way I see women, and on the way that I want to portray them on my paintings. So it might feel like oh my god, that's the one related but in every experience in life, you can take something good out of it and apply it to your passion and apply it to the your main goals and the things that you want to achieve. So somehow, I managed to take the most of of all this experience and apply it to my art career.

Laura Arango Baier:

Wow. I mean, you you you took you basically learned about literal creation, which is and then you transfer that into more literal creation,

Jessica Oliveras:

which is painting like, jet Laura, I never thought that the like that way actually never occurred to me. Wow.

Laura Arango Baier:

Well, there you go. You're literally like you, you went into the real creative endeavor, and helping create, which is insane. And then it makes sense that you would apply that to your work. Because Don't you ever, like feel like a painting of yours is like a baby of yours. You just take care of it.

Jessica Oliveras:

It's so precious, isn't it? Because it's tied with like a very vague mental image or an idea that could be related to maybe somebody wanted to become a parent. And then slowly in the process of okay, how we make this work and how we organize it and what who I paint and how and the color palette, everything can be related to the planning of hiring a baby, right?

Laura Arango Baier:

Exactly. Yeah. I mean, it's not as painful as it was never. I've never fully compare it in that way. But it's still a form of creation. Anyway.

Jessica Oliveras:

Yes, yes. I mean, it's just a dog of panic comparison. But yeah, I think painting comes from like, so inside you. And it's something so personal and some price. So precious and you feel so vulnerable at some point on this creation that when it's finished, it's good. One of the most precious things, at least that happened recently to you. And I think every piece is so special, because you are full on emotionally and physically speaking on to this painting that I think it's each painting has a really like a very personal and vulnerable part of yourself reflected on

Laura Arango Baier:

it. Absolutely. I was gonna say vulnerable as well. Yeah, yeah. Yes. Yes. I mean, the act of giving birth is also a very vulnerable one. So there's something there. I think Carly would be like, Yes.

Jessica Oliveras:

And you know, what, Laura, analogy say that it's, it's so vulnerable, and it's so wild at the same time. But there are two adjectives that you will never thought that may happen at the same time. But think about that painting, it's the same how brave you have to be to say, I'm going to be a full time painter, and how vulnerable you feel at the same time, you know?

Laura Arango Baier:

Absolutely. Oh, my God. And that's also why we made this podcast because we know how vulnerable people are as artists, especially in like, economically. Which is so scary. Yeah. So we, with this podcast, what other artists to, you know, be vulnerable with their work, but then be strong when it comes to their economic income. So to give them tips and stuff so that they can continue to be vulnerable without worrying about their paycheck. Exactly, yes. Yes.

Jessica Oliveras:

Yeah. So totally.

Laura Arango Baier:

Yeah. So you mentioned you know, it being a personal thing, you know, painting and also midwifery. This brings us to your series, titled identity. So do you mind telling us a bit about your series, shorter,

Jessica Oliveras:

isn't pretty, it's the current series that I'm working on now. It started when I basically started the transition of moving from London back to Spain. That was actually a massive decision to make. Because I was in London since I was 21. And now I'm almost 31. So been in London for a while. And my personality, the beloved, they're my closest friends were there, my long term relationship was there. So my, let's say economical stability was there, except my family. My life was in London. But I didn't want to grow older without my sisters and my family, I wanted to have a live close to them. So after giving it a lot of thoughts, I decided to move back to Spain reconnected, reconnect with my roots with my family. But it has been so complicated, so many griefs that I was not expecting to experience. And the way that this serious helped me with a kind of like a therapy, of like, experiencing all the process. Throughout like the month of like, okay, I'm departing, I'm taking a two hours flight, and then everything changed. And as well, like, the way I felt like I had to construct my life again. So after, you know, I felt like somebody was having taken a knife and cutting it sharp, and the only constant thing it remained the same with the closest friends and the family, but the rest of the thing changed. And it's like, Oh, my God, I have to start everything all over again. It was not truly was just my sensation. But at the moment, it helped me to put this into my work. So the the women I'm painting there, either my ex colleagues or friends from London or my sisters in a way to connect everything, to try to feel that there is a connection. That's something that this decision actually makes sense. And then the surroundings the context that these figures are in. They're almost like a collage. They are like they have fun In relationship between constructing and deconstructing, you might see like elements floating in an abstract background with different perspective, different light sources. And the viewer might feel like whether these pieces might be coming together and bringing the whole picture realistic, or maybe like fading away, even the figure might fade away and disappear in a very chaotic and completely as abstract painting. Because this is how I was feeling. And thinking like I want to stay right in the middle, the middle of the uncertainty, the middle of you don't know what is going to happen that all the possibilities are possible. So I decided to dedicate a lot of time painting the figure with lots of detail, a lot of care. Because these are people that I love that they care for, and they are important to me. And as well, I put them in a more higher up position than the viewers. So almost like glorifying them and accentuating the the natural beauty and the like, the not the power that like a regular person might have, and how these and how them can impact to you positively. So I was hoping that I'm hoping that people that they see this word as well, they can see their own feelings and their experiences as well on them because it can be extrapolated in so many life situations. This feeling of like, fear, grief, uncertainty. Making changes, adapting to new ones is something that we all experience at some point in our lives. So yeah, so I'm still in the middle of the series. I think it will take me another probably like, a year or so. But I think it has really helped me to do this transition. And help has helped definitely has helped me to settle down back in Spain.

Laura Arango Baier:

Yeah, that sounds really therapeutic. Because you know, you're exploring the things like you said, the things that have stayed constant in your life, just family friends, which is that's all you can hold on to because you know, suddenly you're in a new place. I mean, not so new because it is your hometown, but new place in terms of maybe it's a new apartment, and then New Schedule, new surroundings. And I know how that feels? I bet you do. Yeah. It takes a while to get used to it. And I also had a hard time, my first few weeks moving here. Also, because my family is so far away, so it might have been like how you felt in London probably at first when you feel so alone. Yeah. And when we create and when we change, we are fundamentally alone. And that's okay. But it's something you can't escape. And it's nice that you're channeling all of that into this series.

Jessica Oliveras:

Thank you. Thanks, Laura. Yeah, because the process of creation, this solitude is so much necessary, but at the same time when you personally are going through difficult times, and maybe you're socially speaking as well, more alone because you have to do new friends and new you know, relationships, then it can be a tough thing.

Laura Arango Baier:

Yeah. Yeah, can be tough, very tough. Building your artists website can be a hassle. But with FASO, they make it easy to get online, sell more of your work and promote your art. Right now for our BoldBrush podcast listeners. You can get over 50% off your first year on FASO with our special link, simply visit faso.com forward slash podcast. FASO is a leading provider of fine art websites. They have online marketing tips that you get every week as well as online workshops and other tips and tricks to help you sell your work. So remember user link faster.com forward slash podcast to get over 50% off right now. That's f a s o.com forward slash podcast BoldBrush but also like to give a huge thank you and shout out to Chelsea classical studio for their continued support in this podcast. If you're interested in archival painting supplies handmade with a lot of patients go check out their Instagram at CCS fine art materials. So I saw on one of your Instagram posts that you had a muse for your series Who is your muse? Yeah, well.

Jessica Oliveras:

The latest person I painted actually twice is my sister. Were three sisters in my family Lee and she's the middle one. Because I felt like it was very important for me that both of my sisters are present on this series. Because they actually have given me so much ground to settling when I came back. And, yeah, I mean, they are one of the main reasons why I came back because of them. So it's very much important for me that they are present within my, my artwork, and for the rest of the music for the rest of the women. The rest, yeah, they're my closest friends, other midwives as well. So like people related to both worlds, it could be as well like other artists that I engage with. So I want to fuse both of my experiences both worlds into one as well. And to represent people that sometimes you can't really put a face on, because you know, unless you are going to a hospital giving birth, you might not know midwife. So try to be civilize, as well, like, regular professions and people that they are, they're supporting other people and making them part of the art world as well. And as well, pregnancy will be part of the series because some of my friends are pregnant. So they will be as well some of the paintings with with them within the pregnancy process. So I think it will be a beautiful thing to merge everything all together.

Laura Arango Baier:

Yeah, that's perfect. It's almost like you planned it. Oh, I love

Jessica Oliveras:

that's gonna be so that means you're like solos that you really need to move things all together. And then you, you just can bring the head around thing like anything, nothing makes sense. And then one of a sudden, you you see what you're doing on your work. And you say like, oh my god, like, look how everything is related. And how I'm like, reflecting all of these into into the paintings is amazing. And sometimes Oh, most of the times unconsciously.

Laura Arango Baier:

Yeah, I've had, I've had that happen with certain paintings from like, Oh, I just have this idea. And then it happens for like, I look at it later on. I'm like, oh, it's like everything I was going through, is in this painting. And it becomes obvious afterward, when you think about it. Or when you eat, something else is going on. And you look at that painting, you're like, ah, that's why. And then all of these put together just makes even Yes,

Jessica Oliveras:

yes. Totally.

Laura Arango Baier:

Yes. So now, since I heard that, you have that commission coming up, which is so exciting. It makes me wonder a bit more about how you have found success through your work.

Jessica Oliveras:

Okay. Well, success is a little bit difficult to define, because I think for each person can mean different things. At least on a personal level, I was, let's say, I felt I wouldn't like to, to say I felt successful. But I felt like it made sense what I was trying to achieve when I was able to sustain myself as a full time painter. On on a note on this, I would like to say that that's so basically having an economical stability as a painter that does not give you more or less credibility as an artist, because how many cases we know of like, masters that when they were alive, nobody was buying their paintings, and when they now that they are not here anymore, they are considered masters. You know, it's, I think, as a universal terms, this does not give a credibility to a person. But on a personal level, at least myself, it has helped me to say okay, at least I'm able to dedicate all of my time to that because I'm able to pay the bills, which is very important psychologically as well

Laura Arango Baier:

as sleeping at night, you know,

Jessica Oliveras:

exactly if you'd like to pay your bills, you know, like, without having to do strange things. So, yes, amazing. So, so yeah, so at least this was a huge thing for me. And as well to be able to paint what you want really important, to have the freedom to speak out, have the freedom to tell your story without any restrictions. Hmm, it's just the freedom of choice is so important. And, and I think, at least what I personally without being so much focused on the profession, but on a personal level. For me, success can as well mean being brave and have the strength to make changes. Because sometimes we might not do the step because we're scared to feel pain to feel grief to, you know, to feel lost. And this is so bad, because you're going to regret in the future. So to have this bravery to say, you know, what, I trust my work, I trust myself as an artist, I, you know, I think there is a market for it, I think people might benefit from seeing my paintings and from collecting it, I'm going for it. You know, it's like jumping off a cliff with unknown goods under, but it's a very necessary job. Without it, you will never know. So so, you know, sometimes the barriers that we put on ourselves are so big that overcoming them and saying, No, I am going to do that. And I'll make it somehow. This is a very, like a very successful event.

Laura Arango Baier:

Absolutely, yes. It's changing that mindset from I can't do this to I can do this, and I'm gonna do everything I can to do it.

Jessica Oliveras:

Yeah. Yes, totally. And as well, to add something into this law, I think like, as a society, we fail very much on on, like, failing. Because there is so much pressure on us. From the outside, you might think when you're going through a bad time, or it feels like everything is it doesn't make sense, everything is falling off. Like you're failing in life. Now, you might not have economic stability, you might not know how you're going to pay your bills in one or two years time or whatever, you know. But it's because the society has told us since we were children, that failing was a bad thing. But what happens if we actually see it as an opportunity, an opportunity to make things differently, to come out of our comfort zone, to believe in ourselves to find to think out of the box and find other ways to make it happen? And failure is just I think it just gives you so many options, and so many opportunities to to grow as a person and especially as a painter, that is

Laura Arango Baier:

amazingly true. Because it even with with like realistic painting, for example, if it's wrong, you know, like, on it, this is wrong. You know, so are you you feel like punished. But it is an opportunity to realize, hey, it's wrong, but what can I learn from this? You know, how can I use this to my benefit instead of just punishing myself?

Jessica Oliveras:

Exactly. Yes. Yeah. Yeah, completely.

Laura Arango Baier:

Yes. Absolutely. Beautiful. And then in terms of the the business side, though, because it is always an amazing thing, when artists can live from the work, like you said, and not worry about the next paycheck and not worry that Oh, I can't pay the bill. In professionally, do you have any tips, any marketing tips for other artists out there who are trying to reach that point where they can pay the bills and not worry?

Jessica Oliveras:

Sure. I mean, first of all, I think before jumping into into marketing, I like to say that building up a strong portfolio is very important. Sometimes we want to rush into something we might see other artists very successful or Instagram, or we know clearly where we want to arrive. But we're failing the basics, which is make sure your technique is good, that you like the way you are, your artist is going to the direction that you are getting to you you know the style you want to develop or explore more. So the majority of the time should be spent in the studio. This is the first step. And if if for any aspiring artists, they feel like they want to go very fast and they want to jump on the internet and Instagram and go big very fast. I would recommend like sometimes it's best to get like a part time job for a while. Make sure that you have time to develop your art and your studio in a very protected space experiment proving things until you find your way. And then when you're ready, you say okay, this works I'm proud of of course they always can be better goes, we're always learning until the very end, perfection does not exist. So you know, I'm not saying into until it's perfect, but at least until you're convinced that it's a good piece. And then you can focus on the rest marketing yourself being a good website. And myself, I really found that very much easier to rely on the services of companies and organizations that they already established. So for example, S or BoldBrush, has really helped me on that, because I had a website before, but they it was not a platform that was meant for artists only. So with my no knowledge on technical stuff, as you could see, before of me trying to join on the on the podcast, I had to, you know, really trying to investigate and try my best to do this and website, but we have so many services that they are all set up for us ready to go, it's so much easier when you have these platforms, and you make use of them. So this has really helped me to at least have first of all, the website was faster, so I could do my newsletter, my subscribers, everything is organized, everything is controlled, and then you can start things from from order from from things that can gives you a result the product instead of trying something really chaotic, which doesn't bring you anywhere. And then yes, as well like marketing my my art on Instagram, the way that BoldBrush gives tips and helps artists to do the video editing. And the photoshoots of the work has really, really helped me with the engagement of my page. And the followers, which is always very, very important to have a good presence on Instagram and then convert these followers into into art enthusiasts and collectors and buyers, and even students. So in terms of like, how you project yourself on social media on the website, I would recommend always look professional. Don't post anything too personal on your professional page. People you know, don't care maybe would you cook today, but maybe they do care what's in your studio. So try to always to be respectful. Never play like the rock star and don't answer people. I mean, you know, people, they like your work, they they love it. They spend time commenting on it, they spend time messaging you. So answer the DMS, answer them the comments, be grateful, be generous. So if they ask you questions, share with them, you know, I think this is very important. We in, in every stage, all artists we've been, you know, let's say in general is like within, not within all the information, it was not maybe available to us when we were starting. And now that social media is such a big thing. And we have so many platforms. It's it's good to guide people into them and say okay, maybe you can try these, why don't you try that without an economical proposals for helping each other. So yes, and then make use of your newsletter and try to engage into more private and personal conversations to people they are really engaged with what you do. So I think that really works as well. And eventually we are interested as well in art galleries and stuff, they will find you anyways, if you have a good portfolio and you have a strong presence on Instagram and a well designed website. The photos, they look nice, with like me good quality, you know, it's just, it's a journey. So everything will come up everything you know, will work out. But we have to work step by step. And this is the advice that we give to anybody who is listening to not to try to rush into you know, becoming this, like superstar artists but do things properly from the beginning and try to bring things slowly but steady.

Laura Arango Baier:

Yes. Absolutely. And that makes you know, you make a very good point. Because with social media, especially we're so used to this instant gratification where everything is fast, fast, fast, fast. So it feels like a very fast moving world. So it's, it is very good to tell people to slow down. Because I mean, if if your work isn't up to the standards that you want, right. It's like that's the fundamental part, right? It's like if you have like, you're trying to sell a water water bottle, but it has holes in it, you know, you can't do the worst water bottle salesman ever. So yes, it's an excellent tip. Chill out, you'll get there. Trust the journey.

Jessica Oliveras:

Yes. Wow, trust the journey. Yeah, you nail it is just about the journey. Because the whole, your whole career will be a journey. Because you might think, Okay, once I'll be able to become a full time painter able to pay the bills, I'll be happy. But when when you get that there's going to be something else, then your goal will be I don't know, getting into a major gallery, or then you're in a major guide, and your goal will be. And technically speaking, as well, you will develop your style, you will experiment new ways you will change. Because this is what Tom does change people and changes your art. So the whole life will be trying to explore more and experiment more and do things differently. So you know, would you say in social media, it's true, actually, you see these beautiful reels, and you say, Oh, my God, in one second appear this beautiful portray? How did they do that? Well, look, man the power.

Laura Arango Baier:

Yes. Yes. The problem. I mean, it's great. But it makes it seem like it's just like something that you do in two hours, which know, some things take months other paintings can take years even because, you know, yeah, bring it you work on it. And they're like, No, I need to put it aside and then goes to a corner for a little while. And then you go,

Jessica Oliveras:

yes. And it's part of the process, isn't it? Like you might have an idea of a future painting or a future series that you are planning, but it's not during the time? Maybe you you need more time to think about that how you do the composition, the colors, the narrative? Or maybe you don't feel yet to work in it, and then something will happen. There's Okay, now is the right time?

Laura Arango Baier:

Yes, that's exactly how I feel. Sometimes we're like, oh, I have this amazing idea. And then I start it, and then I'm like, okay, but maybe I'm not ready for this yet. You know, it's like, it's not the moment yet for this one. Exactly. But I'm saving it.

Jessica Oliveras:

Exactly. Because it might be a wonderful idea might be a really good one. But on the wreck moments, so you know, yeah. Do you make notes of this? Or how do you keep your?

Laura Arango Baier:

Yeah, if I get like a little idea, I'll do a quick little thumbnail sketch of it. And then I'll write down the colors they see or like the what the figures are doing, because sometimes I'll do a scribble and then in the future I look at I'm like, What the hell is? Is that a duck? You know, it's like, something else completely. So I'll describe with the what's going on in the image. Okay, and then I'll just, I'll put it aside. And sometimes I'll revisit it, and I'll be like, Oh, maybe it would be better if I did this to in standards. Like, I'll just like, have that idea bouncing in my head for a while. Or I'll forget about it. And then I can go back to the book and be like, oh, yeah, it's a great idea. Amazing. Yeah. Yeah. Do you have a similar process? Or how do you remember your ideas? Yeah,

Jessica Oliveras:

it's actually exactly the same. I mean, it's funny because my moleskin book is, there's no sketches. Actually, I just did text. And before I was when I was younger, and before I was in touch with so many fellow Artis, I was thinking, Oh, my God, you're so weird. I mean, you're an artist and you write down things doesn't make sense. And I was, you know, people are asking about sketches that are like, Well, I didn't do sketches I write. I don't think you there's nothing wrong with that. But now listening to many other artists, you know, everybody has its own thing. And the writing thing is not that uncommon. So now I can see say it out loud. Like I do write my ideas. Yes,

Laura Arango Baier:

yes. I also felt like such a weirdo because I went to an art High School, and all of my all of my colleagues and classmates, they'd be like, drawing on their sketchbook obsessively. And I'm like, What are you doing in there? I'll just be writing my ideas and making like sketches and like, what like, not little like, just like little thumbnails where it's literally just like, I don't see it's a stick figure. But it's like a really simple like circle or like oval for the head and like the arms Yeah, whatever. And then the description is like Yes.

Jessica Oliveras:

Um, the same

Laura Arango Baier:

story telling. It's like, oh,

Jessica Oliveras:

yeah, and I think it goes, well, at least personally. You If I try to decide to this cage because the you know, sometimes I okay maybe if I do it another way I will experience different sensations or get inspired by something else. And I joined this cage and I think it's because when I paint you know I'm so obsessed on being realistic putting a lot of effort into the details and the realistic look of stuff that when I tried to do sketch I, I am on the same mode of like this sketch needs to be beautiful. And then I lose the sense of it, then you know when you're doing for

Laura Arango Baier:

like, Ah, yes.

Jessica Oliveras:

So that's why I don't just catch No, because I'll try to do it good. And that's not the point of your at least my sketchbook. So when I write because I'm not a writer, I can do spelling mistakes. I can do a mix between Spanish, Catalan, English, all the languages there, which I only am the only person able to read it. My handwriting. My handwriting is not even good. So it's like this freedom of like, wow, it can be a horrible looking notebook, but it's full of amazing ideas.

Laura Arango Baier:

Oh my god. We're like, sketchbook soulmates honestly.

Jessica Oliveras:

We should have met before.

Laura Arango Baier:

We could just talk about like, our sketchbooks just being writing. Because really, I'm the same exact way. Like, I'll just be like, Why would I spend all my time on the sketch when I could just use all of that time and effort and energy in the real one? You know, the final piece?

Jessica Oliveras:

Yeah, yeah. Definitely, we should have met before you. At least I really hope that who is listening to the episode that you know if if somebody feels that way? Don't worry, you know, you can write your story.

Laura Arango Baier:

Yes, yes. If that's how you feel like you can better describe what you're trying to make. Then go for it. Yeah, right. Everyone has their own process for things. I mean, there's no right or wrong way. As long as you're just putting it down, and then taking it to where you want it to go. That's it.

Jessica Oliveras:

Exactly. Yeah.

Laura Arango Baier:

I wish 16 year old me could be hearing this because I felt so bad for years. Like, oh, my god, I just write. I feel you. So just to go back to what we were talking about. You mentioned earlier that through social media, you also have gotten an opportunity to get students even. And you mentioned to me that you are now a mentor on Master. Yes. So tell us about it.

Jessica Oliveras:

Yes. So we just literally started just a couple of days ago, we created the profile on the platform, basically, masters for who doesn't know them. And it's a platform made by artists, for artists or aspiring artists that they want a community group to talk about art or to discuss problems. Or maybe to learn some technical skills on having the opportunity to see live demos. And at least having a mentor have a figure of reference that they can access. And they can have a group discussions about different art stuff. So yes, so I've been approached to them recently. And the product sounded amazing to me. So I'll be having the first class on the 26th of January. And now we will be in the process of preparing the classes preparing the group and doing all the promo of marketing and stuff and letting everybody knows, but the group is it's open. So if anybody would be interested in plus is free to have a look on on on the platform. And if they are interested, they're super welcome to join in. It's a two hours session per month. But there is a navigator which is the the reference person that acts as a link between the students and the mentor. And they had Mittman session as well to follow them up and ask them if there is a topic that they will be really interested in. So then the artist has a time to prepare, prepare for the session. And it's a very individualized plan. So it's not just a teaching that I do this classes and if you like that good and if don'ts you know like they're prepared like that. It's something that is really personalized and and tailored to the group that you're having, which is really, really important. And it's, it's a very relaxed way. It's, it's a learning environment, but at the same time, it's a social environment, which is as well, very important as artists talking about this, you know, solitude, or maybe the inspiration or personal conflicts, you know, like, whether you do a sketch or you write in your notebook. So there's kind of things you know. So I think like, it's an amazing, amazing project, like, I wish, like when I was younger, something like this was was existed. And so yes, so really excited about that. If you're looking forward to get started,

Laura Arango Baier:

we will also include the link, so people can sign up to be your students that that will be in the show notes. If anyone wants to be Jessica, students and learn how she marries together realism and abstract, you can click the link Owaisi.

Jessica Oliveras:

Thank you. It's really good. Yeah. And I think we can cover lots of aspects of what it means to be a full time painter. As I said, you know, materials, technical issues with oil color theory, DeMars. But as well, we just talked about social media marketing branding website, you know, like, so many aspects that, you know, unless you are in the art world, you might not know of what's behind the scene.

Laura Arango Baier:

Absolutely. And even if you do go to an art school, whether it's a college or an atelier, you don't get any of that you don't like you just get like, Okay, this is how you, you can be accurate, technically, which is great. But there isn't much mention on the business side. I mean, you might get a few, like, maybe some teachers will share some of the things that they learned, but there isn't like an official like, okay, let's sit down, and then I will explain to you, you know, like how this works, which I think that's what I like about the idea of mentorship. It's much more, like you said, personalized, it's, like, tailored to the specific needs of each person and each artist. So it's like, hey, you know, I'm kind of struggling with this part. Okay, we'll help you with this specifically, then. And that's not something you can get from like, something that is like you said, like, Oh, this is my class. This is how we teach. You don't like it too bad. Exactly. Yes. So exciting.

Jessica Oliveras:

Yes, yes. I'm really looking forward to it. Yeah, really happy.

Laura Arango Baier:

And you're gonna be great. Honestly. No, thank you. That's so nice. Think so you, I think you would bring a lot of inspiration to to your students. And I think that's Thank you.

Jessica Oliveras:

I appreciate it. Thanks.

Laura Arango Baier:

Course. Is there anything else that's going on that you would like to mention on the episode? Before we close? Um,

Jessica Oliveras:

on a personal level, I don't think we missed anything that was brewing in the studio, like I'm now working on the Commission's for Christmas, and then my portfolio, so like, lots of like, little things ongoing, and then this, this new project with Masters. But so, so I think we cover pretty much everything. So, you know, towards the people that they are listening to us just be inspired by every day a little thing? Like, I think one of the biggest, like worries is like what happens about inspiration? Where do you take the inspiration from how you carry on for so many years finding what to paint? And, you know, sometimes people are looking for this majestic his story, you know, like something big happened to you, or you, you know, like, these, like super nice buyers, and they think that their lives are too regular to be an inspiring uninspired person and a good pain there. And this is not true, this is totally not true. Like, I think like, the little peculiarities of each person, it singularity is so important, and it can be explored so much. So always, like try to find these cracks and the little things and the little experiences because each one of them they can be magnified to a big artwork. So yes, I just wanted to pass on this this message and I hope that helps to whoever is is listening.

Laura Arango Baier:

Absolutely. Yes, I think it will. I think so. Because a lot of us do feel like very ordinary, but we don't. We don't know how extraordinary we are. Because we are in our cells all the time. You know like you You're so familiar with your own life that you think I owe this, whatever. But yeah, that's not true. You're the Yeah. There's only one of you living your life and seeing the world the way you see it. So use that.

Jessica Oliveras:

Yeah, exactly. Totally. Yeah, completely.

Laura Arango Baier:

So thank you so much, Jessica, for all your amazing information and all of your great advice. I'm going to use some of it to

Jessica Oliveras:

Oh, thank you so much, Laura. It has been a huge pleasure to be talking to you. So thanks for inviting me actually, the podcast is, it's been a lovely experience. Yes, it's

Laura Arango Baier:

been a very lovely experience. I agree. Thank you so much.

Jessica Oliveras:

Thank you and I hope that we carry on in touch because I think we have so many of these our presses so many things in common. So I'm really looking forward to this. New fellow artists relationship.

Laura Arango Baier:

new friendships.