Alyse Russell: 0:00

If you consistently put yourself out there, are taking that time to hone your skill and find your voice. I think that you know the sky's the limit. Really, it's it's about perseverance. If you can have all the skill skill in the world, and if no one sees your paintings, you're going to sell any of them.

Laura Arango Baier: 0:18

Welcome to the Faso podcast, where we believe that fortune favors a gold brush. My name is Laura Baier, and I'm your host. For those of you who are new to the podcast, we are a podcast that covers art marketing techniques and all sorts 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 tied to the art world, in order to hear their advice and insights. For today's episode, we sat down with Elise Firefly Russell, a figurative painter whose work blends realism with surreal, colorful, often floral elements, a style that was largely shaped by years of life painting at music festivals, where she learned to paint intuitively with the music. She explains that her path included attending an art magnet school, Art College, and then gradually building a career through live painting gigs that evolved into larger festivals and gallery shows. Returning to full time painting after a break for family health issues, she describes dealing with imposter syndrome and how winning the BoldBrush contest and reconnecting with a gallery reassured her that she is indeed a professional artist. Her core practical advice for becoming a full time artist is to maintain consistent studio hours, treat art like a real job, and avoid burning out by overworking Since regular rest actually helps the work improve. She also emphasizes the importance of putting yourself out there by showing up at events, talking to people and learning basic marketing, because even highly skilled artists won't sell if no one sees their work, while less technically skilled but visible, artists often do well. Elise also highlights nurturing relationships with collectors through newsletters, personal notes, holiday cards, and also reminds artists that careers usually grow gradually through small, steady steps rather than a single big break. Finally, Elise tells us about her upcoming group show, Bloom, a kaleidoscope of botanical beauty at three to Gallery in Denver, opening may 1 2026 and running through the end of May, with the show also viewable online at the gallery's website. Welcome Elise to the Faso podcast. How are you today?

Alyse Russell: 2:18

I'm good. I'm good. Thanks for having me. How are you?

Laura Arango Baier: 2:22

I'm good. I'm excited to have you, because I think your work is so beautiful. I love the blending of the surreal and the figurative, especially figurative because I am also a figurative artist, and I love seeing how other artists express all of the different ways that we can celebrate the human body and make it interesting and beautiful and decorative. So I am excited to chat with you, also because you recently won the BoldBrush contest, and that's actually how I saw your work, and was like, Oh my gosh, I got to interview her. So I'm happy to have you. So thank you for being here, and also thank you for being here with a very pained voice. So if you need to take little breaks, you can

Alyse Russell: 3:06

appreciate it,

Laura Arango Baier: 3:08

of course. And then before we dive into your actual work, your gorgeous work, do you mind telling us a bit about who you are and what you

Alyse Russell: 3:18

do? Well, I both times figurative artists. I actually recently dove back into painting full time, but it's been a part of my life for a long time now, and I enjoy working on studio and all different types of settings, live, painting, traveling. I love traveling and music, and that's pretty that's pretty much all I have time for in my life this point. So, you know, not, not much else, not much else to me. I have three dogs

Unknown: 4:00

that I love. And yes, that's, that's what encompasses most of my life.

Laura Arango Baier: 4:08

Awesome, yeah. And I really love the live music aspect, because you'd mentioned to me, actually, that that inadvertently led you into becoming a full time artist, which I am so curious to hear about that. But also, like, did your path to becoming an artist start before that? Or, how did that get going for you?

Alyse Russell: 4:28

Um, it did. Yeah, I went to, I mean, I've always been, like, creatively inclined, like my whole ever since I, you know, as a small child, I think, and so I then I went to, like a magnet Art High School, and that's where I have started learning more technique. It was very much just into the fun fundamentals, both realism and like design or design oriented. Said classes. And that's where I first started oil painting. We had like a figure day and a still life day. And I was always really drawn to the painting. The figure from, from, really from, from that point. It was a little bit, I think it got a little bit tiring just because of, you know, being in school and having it be repetitive and, like, demanding. But I always enjoyed, enjoyed the figurative classes,

Unknown: 5:35

and

Alyse Russell: 5:36

that's pretty much what started my my interest in realism and painting and then, but I didn't really see myself as just becoming a painter. I figured that I would go into, like, a art adjacent type of field that be a little more stable, like, I don't know what I hadn't really gotten that far yet in my but maybe something in, like, fashion design, or something like, I considered maybe like art therapist, you know. So something related, but that has a more defined, like, career trajectory, yeah. And then I I actually had had left. I did go to F where art college, and I left there my senior year. I had some family, and my mom was sick at the time, so I come home, and I was, you know, working a part time job, and I started meeting some people who were doing live painting at, like, small music and arts events in Baltimore and I, I had shared some of my work with them, and they invited me to paint, which is, is very fun. It's very different from a studio practice. So takes some getting used to, especially because, like everyone, at least at the time that I was painting with painted in acrylics, which is much more manageable when you're painting in a in a venue live. But I I don't like acrylics. I've actually gotten a little more into them in recent years, just as, like, a sort of under painting kind of basis, um, but at the time, I was like, No, I hate this plastic paint, and I don't, I want to bring oil to all the events, which I did. So that was a little bit of a learning curve to be able to, you know, cleaning up is kind of a mess, like when you don't have an art studio and everything. But yeah, it was, it was very fun. And it was, there's something about like I would paint a little bit more intuitively. I'm sort of going with the music, so to say, and I would like, I would have a figure reference, right, like, to kind of be the main focal point of the painting, and then for the rest of the painting, I would kind of intuitively add more surreal effects, or, like, floral that kind of thing, into the work. And that's kind of how my my voice developed, as far as, like, what I'd like to paint, and, yeah, you just kind of evolve from there. I yeah, I started doing more, more live painting. And it's something where, like, at parts with the small, smaller events. It's something where you might just, just be live painting, or you might have, you know, prints for sale, like, just, like paper prints for sale, something like that. And then from there that went to painting at larger but not huge festivals. I don't do any of the like, really large ones, but bigger festivals, which would have, like a whole gallery set up, and then the live painting as well. So which, yeah, it's super fun, and I still love to do. I don't do as as many anymore as I used to, but I still at least do a couple festivals a year. And, yeah, I still love it. It's, it's. Tiring, and it's a lot to kind of paint in that environment, but it's very fun, and I think you do get some you have to kind of think quickly, or you won't be putting a painting together. So it's it's a good place to kind of branch out and have more intuitive work and maybe surprise yourself a little bit with what you would want to put in a painting. Yeah, and I do like, I do a little like for the long for the festivals, it would be like three to three days of painting. So I do plan a little bit for the for the painting, but I don't plan like every detail like I would maybe a longer studio piece. So it can be kind of fun that way. And just being inspired by the other live painters and the music and just the different setting and like the, you know, it's definitely brings its own vibe to the painting. And, you know, it's is visually inspiring, and, you know, musically inspiring. And I think that does kind of come across in the in the work, or influence the work, which is, yeah, very enjoyable, I think, and something that a lot, not everyone, has gotten to experience, painting that way,

Laura Arango Baier: 11:32

yeah. I mean, just hearing about it, I feel a little bit stressed.

Alyse Russell: 11:38

It can be, oh my gosh, I will tell you, is a little bit of a side tangent. But the last year, I painted at Mountain Music Festival in West Virginia, and I was actually starting out with an acrylic under painting, which I've started doing now at festivals, just to make with the dry times and everything, just so I can get something down wet into wet paint the entire time. And I was asked, or they had given, a lot of the artists an opportunity to paint with one of the bands on stage. So that was very fun. I painted for a bluegrass band called Shadow grass, and I was on stage with them, like, not directly with them, but there was, like, a portion of the stage that they had kind of curtains off so that you were away from the band's stuff. And you know, it, it was, it was kind of last minute, like, I didn't know, going into this festival that I was going to be at this, and I was painting it acrylics that I was, I You couldn't, you know, bring oil onto the stage for like, safety reasons with the turpentine, like, you know, that kind of stuff. So I had to, like, I didn't have a lot of paint. That was, like, I had only brought, like, I think I was just doing under, under painting and like, a kind of terror about that sort of color. I don't think it was called, like, whatever the acrylic paints called, I don't know, but it was like, it was like, a terror about the color, and that's all I had brought. So basically, get gather a bunch of paint from other people so that I could have a, you know, a palette to continue the painting up there. And it was live, and there was, you know, a whole audience watching me. It was very stressful. It was very stressful. It was very fun, though. And I, you know, I don't think I've ever painted that quickly in my entire life, because it was like everyone is whole audience staring at me, and I'm, like, trying to make it look like fun for everyone, like I'm doing something, and I'm not just, you know how painting is, like, a lot of the time you're really just like, staring at your painting. So very entertaining for people, I don't think so. I was trying to, like, really be expressive and, like, to, you know, painting the whole time, and I got the entire figure blocked in, like, I think it was like a, it was even, I think it was a 24 by 30. Actually, it's a piece that I, I started. I started this piece at Mountain Music Festival last year. It's actually going in this upcoming show that I have as well. So, so yeah, so that's a fun coincidence. But yeah, it sorry. So side tangent, but talking about a big, stressful live painting that was about the most high stress situation. It was very fun, but it was definitely like I felt like a lot of pressure,

Laura Arango Baier: 14:58

for sure, for sure. Sure, which you know two things about that one, I bet you know, to some extent it's like, you probably don't get that much, you know, people looking at you the entire time when you're normally, you know, working on in your stall, like on your paintings at the music festivals. But also I feel like, uh, probably your experience at magnet school may have, uh, prepared you pretty well, because I know that this, I mean, I also went to a magnet school, so I know that it's extremely stressful and, like, demanding high it's like the amount of criticism and judgment and workload is insane, so it must be nice to at least channel it in a happier location.

Alyse Russell: 15:46

Yes, yes, for sure. Yeah, I think it said. I think that did prepare me for and just the gradual that, and like, getting ready for gallery shows and different things, like, there's other high stress situations definitely helped prepare me for that. And it's also, it's like, once I was up there, there wasn't anything I could do about it. So then I then I pretty much was just enjoying myself once I got kind of into it, you know? But, yeah, I would stop to like, you know, you naturally stop when you're painting to like, just like, observe your painting and see what your corrections you need to make, or, you know, whatever. And I would, every time I would stop, I'd be like, Oh no, I need to paint more, because there's all these people watching me, you know. And it was, it was, it was very fun.

Laura Arango Baier: 16:43

That's really awesome too, because, you know, like you mentioned before, there's a certain level of intuitive painting that has to happen. Since you're on the spot, you're being watched, and it's, of course, you can't, like you said, you plant some but then you also have all the unexpected things, like how that happened, where you're suddenly in front of everybody, or just like, I bet, also, because I did want to ask you about, you know, what your greatest inspiration and influence is, I'm assuming also, you know, to some extent, like the music itself also inspires you to move in a particular color range with your work or in a particular emotion, right?

Alyse Russell: 17:26

Yes, I guess they think so. It definitely has a has a big influence. I think it's more subconscious. Like, I don't put a lot of real thought into like, Oh, I'm hearing it, or I'm seeing that. It's kind of just a subconscious like process. I think that it's definitely made my paintings more colorful. Um, I think it's a very colorful environment, so I think that that has was definitely way that it influenced my work.

Unknown: 18:00

I Yeah,

Alyse Russell: 18:03

and then just, it's kind of a, you know, just the the feeling, like the emotional tone of the festival, I think is a big, big influence. Um, yeah. I otherwise, like I, you know, it's funny, I don't listen to music a lot when I paint anymore in the studio sometimes, but I don't know, I usually just have some random background noise on so that I don't get like. I'll either get like too hyper, focused, or what I'm doing forget to eat, or, you know, stuff like that, or I or I'm like, I'll stop because there's no background noise. So I just have like a TV on, or something like, I won't be paying attention to it, but I just have like, something on in the background. And, yeah, as far as other artists influence, um, I don't know. I think you know, of course, like any of the greats and like real, you know, John Singer, Sergeant, they call the normal things that everyone says, I guess, um, then I do love some oh my gosh, that's his name. Of course, it's like, I can never think of anyone's names when I want that, even if I'm very familiar. I

Laura Arango Baier: 19:33

really

Unknown: 19:34

Oh my

Alyse Russell: 19:37

gosh. Him is Oh. It'll come back to me. It'll come back to me later. Why my brain does that? But it's just like, I don't know.

Laura Arango Baier: 19:51

Yeah. Like you get asked, and suddenly you forget. It happens to me too. I swear I know things. Yeah. Know who I'm talking about. It'll come back. So no worries, when you remember, you can you can mention it

Alyse Russell: 20:06

got you, yeah, it'll when I stop trying to think of

Laura Arango Baier: 20:09

it Exactly, that's exactly how it works. But yeah, yeah, I think a lot of those old masters, and you know, the more recent masters, are also really great influences, especially for figurative and realistic work. And then I wanted to ask you as well, when you get an idea, you know, where does it begin? Does it start with, like an image or a feeling? How does, how does a piece start for you? And then, what is that process like?

Alyse Russell: 20:43

Um, I think there's two kinds of ways, usually like, depending on if I am shooting all my own reference photos or not. Because I don't always, like, I would love to have time and everything to to shoot everything myself, as far as the figure reference. Um, but when I don't, especially when I'm a lot of times when I'm live painting, or when I'm doing, like, these quick things, I don't have time to, like, prepare all of that beforehand. So I will use pose space, and I'll just, so basically, I'll think of, like, you know, it's going to be a figurative work. So I will kind of look through and until I find a pose that just like, strikes something with me. Like, Oh, that's really that makes me feel something like, that's a really nice pose. And then, usually when I work that way, I'll be a little bit more intuitive, and I will just kind of have like, like, compose something with the central figure where I want it, and then I'll kind of let the rest sort of just intuitively come into the painting, yeah, and I do end up making changes sometimes that way, because I'm like, Oh no, I didn't like that. Let me Yeah. Like, I think the painting, oh, my God, wait, break in the clouds, the one I with, the that I wanted a brush with, I think, with that one, I originally had more Laurel in the background, and it just wasn't working for me. So I changed all of that and changed color scheme. And yeah, I just, I'll just let myself make like, I think you can't be afraid to change your painting, or you never will get you know where you want to go, especially long term with your voice and how you want to paint. So yeah, like stuff like that will happen when I when I plan my own, like, this big thing behind me, basically, this is a friend of mine who models and did a shoot with her and I, so it's going to be kind of a under, underwater, underwater, and not underwater scene, if that makes any sense. Was like, I got a sky, but it's got like a like fish and coral and everything going on there. And for that, what I did was I I had my motto, and I bought a bunch of flowers that were, like coral colored, and I kind of arranged those around her, and then I had a tapestry in the back that was like a night sky. So I just had a suggestion of, like, you know, what the color scheme and painting was going to look like. So that's a little more how worked for my larger. For my larger, more like studio work. And for those I think, I don't know, I think it's more of, yeah, an idea just kind of like a suggestion about an idea just coming to me, and then I just kind of develop it. If you've

Laura Arango Baier: 24:15

been enjoying the podcast and also want to ask our guest live questions, then you might want to join our monthly webinar, the Faso show, where our guest artists discuss marketing tips, share inspiring stories and answer your burning questions in real time, whether you're a seasoned painter or just starting your creative journey, this is your chance to connect, learn and spark new ideas, and whether you're stuck on a canvas or building your creative business, this is where breakthroughs happen. Don't miss out. Ignite your passion and transform your art practice by joining us. Our next Faso show webinar is coming up on the 21st of May, with our special guest, Deborah Kearse, you can find us, sign up link in the show notes at BoldBrush, we inspire artists to inspire the world, because creating art creates magic, and the world is currently. In desperate need of magic. BoldBrush provides artists with free art marketing, creativity and business ideas and information. This show is an example. We also offer written resources, articles and a free monthly art contest open to all visual artists. We believe that fortune favors the bold brush, and if you believe that too, sign up completely free at BoldBrush show.com that's B, O, L, d, b, r, U, S, H show.com. The BoldBrush Show is sponsored by Faso. Now more than ever, it's crucial to have a website when you're an artist, especially if you want to be a professional in your career. Thankfully, with our special link, faso.com, forward slash podcast, you can make that come true and also get over 50% off your first year on your artist website. Yes, that's basically the price of 12 lattes in one year, which I think is a really great deal, considering that you get sleek and beautiful website templates that are also mobile friendly, e commerce, print on demand in certain countries, as well as access to our marketing center that has our brand new art marketing calendar. And the art marketing calendar is something that you won't get with our competitor. The art marketing calendar gives you day by day, step by step, guides on what you should be doing today right now, in order to get your artwork out there and seen by the right eyes, so that you can make more sales this year. So if you want to change your life and actually meet your sales goal this year, then start now by going to our special link, faso.com, forward slash podcast. That's F, A, S, o.com. Forward slash podcast, yeah, and I, again, I love how colorful it is, because I think it's, it's one of those things where it's it's very easy to be afraid of color, if that makes sense, but it's really clear that you know, you have this way of using it and applying it in a way that shows through really well. I think, the way that you you compose your colors and the way that they work together in a piece, you're welcome, and it just transmits so much joy also, which is why I really love looking at your work, because it's just like, Ah, yes, this, this makes sense. It's it's happy, it's beautiful, it's well composed, like color wise composition, like figurative composition, it's really great.

Alyse Russell: 27:24

You're

Laura Arango Baier: 27:25

welcome. Yeah. And then I wanted to ask you too, because since you've been doing this full time for some time, have you noticed that your process has evolved in a particular way since you've been like, working more and more

Alyse Russell: 27:41

full time. Yes, I think I'm still a little bit all over the place right now. It's just because I did take a period of time off from painting full time, just I had some family health issues going on, and I just didn't I felt like I needed to, like art takes a lot of focus and energy, and I felt like I needed to just take a step back to prioritize other things. So, you know, but before that, when I really was working very much full time, I I adjusted to having a very regular schedule, and I think that helped a lot, like, I would hate pretty much nine to five, five days a week, just, you know, get up in the morning. I had a home studio, but I actually this is funny, I think. But I I like to feel like I was, like, leaving the house for work. So I actually my studio is the front room of my house, and there was the side door. So I actually put my couch in front of the door into my studio. So I had to go around my house and unlock the front door to get into my studio, and it just made me feel like I was having to get up and go to work, and not just like walking into the other room, but that helped me keep focused. And I think, yeah, like having a full time practice, having a regulated schedule, really helped my work improve, because the tendency to overextend myself painting, like you get really into your painting, and you're like, oh, I can. I'll just paint another couple hours. It's fine, you know. And you like, haven't eaten dinner, and you're like, kitchens a mess, and you're, you know, so, and what would end up happening is, I paint so much, but then then you're, you're not really making up any time, because then you get, like, burnt out, putting in long hours, you know? So I just, yeah, really. I made myself keep a consistent schedule as just regular studio practice hours, and that really helped help improve my my paintings and how I worked, because I was giving myself rest. And I think that I improve faster with it's like you have time to absorb what you're learning from your paintings, when you have time to just process and not be actively working. So I think that was important, and that did just make things more regular. I think I actually produced more work that way. And was, you know, just able to be more consistent and have better work?

Laura Arango Baier: 30:47

Yeah, yeah, those are that's an excellent point, because I think there's many artists out there, including myself and maybe some of our listeners, who have probably painted into the very wee hours of six in the morning from the previous day, and then it takes a few days to, like, properly recover from that, so suddenly it's like, all these hours you put in, you could have just, like, put them in in a different way, where you weren't putting your health, like, in a whirlwind of mess. So I totally relate, I think, and I totally agree there's it's so important to be consistent and to have that compartmentalization, right? Like, how you were saying having your studio separate, or, like, feeling like it's a separate space that you're stepping into. Because I think it's also happened to me where it's like, oh, it's not room over there. I'm just gonna, like, I just walk in, but there's no real sense of I'm walking into my workplace now. And I think that's something else that maybe some of us struggle with. So it's a great point as well. And then I wonder, yes, oh, yeah,

Alyse Russell: 31:56

oh, sorry. I was just gonna say that that's, you know, having taken time off and going, like, that's what I'm actually trying to take my own advice right now and get back to that. Because I, I was nervous. I had a little bit of imposter syndrome coming. So I was like, am I a full time I'm not a full time artist anymore. Am I a professional artist? Like, I don't know, you know. So I, I start. I took a lot when I made the decision, this is only back in December of last year, so I really only been painting full time again, quote, unquote, since January of this year. And I was very nervous about it, because I, yeah, I had that little bit of imposter syndrome. And it was very affirming when the when the BoldBrush, just that movie works. I was like, Oh no, I'm good. I'm good. Like, I'm I'm a professional. I can do this, you know. And, and then I picked up a gallery that I had worked with reached out to me right after that. So I was like, okay, like, oh, it's like a big relief off of me to like, okay, I can start. I can build this back up again. And so, yeah, now I'm working on, I took a big workload just trying to get myself back in the door. But now I'm working on trying to regulate my schedule back to how it was and have more consistent same hours. Yeah, it could be a lot. And of course, like having the consistent hours always does go out the window a little bit. I think when you have, like, a big deadline or something, because what are you going to do? You

Unknown: 33:36

know?

Alyse Russell: 33:37

Yeah, I think it's important that I'm working on getting back to that,

Laura Arango Baier: 33:42

yeah, yeah. And I think, you know, catching you in this very particular window of time is also very interesting, because I think it is also it happens. And it will happen to every artist, really you have this period of time or like, work, work, work, work, work, and then life happens, right? And you have to step away for a little while. For some people might be having kids, for some people might be an accident. So I think it's what you're going through now, is literally, like, Ah, of course, you know, like being able to have, like, a reliable way to step back into the studio, like having that consistency again, having, you know the support system for yourself, because it can be really hard as a self employed person, like, no one's telling you what to do. No one's telling you what time to show up, right? Like being a good boss with yourself without being a mean boss. Like, no, no, you're only working this hour to this hour, right? For example, I think catching you in this time is is really great, because it's an interesting transitional phase, right? Because you went full time and then took a pause and now back to full time. So I think it's Yeah, I think it's a testament too, because I've also been a bit of a hiatus, and hearing you say, Oh, well, I. Was able to get back into it, and I'm still alive, and it's going well, it's like, oh, that kind of, you know, makes me feel like, Oh, of course. I mean, yeah, you're consistent. And you tell yourself, I can do this and I can go back into the studio, and even if I'm not painting, I'm still an artist, which I think is another thing that many of us struggle with. It's like, How can I be an artist if I don't paint? I think it's good to hear that it is okay to take a break, and it is okay to get back into it, and to feel a little funny about it at first, but to just keep going. You know,

Alyse Russell: 35:33

yeah, for sure, I It's definitely been I didn't imagine that it was gonna go jinx myself right? Like, you know, but it went, it went a lot quicker than I imagined. I was like, I don't see it almost a little overwhelming, because I was like, Oh yeah, it is okay, you know. But I'm, I'm very grateful. Like, I could not be more grateful at how, how smoothly it's gone so far, and especially because I was nervous, you know? And, yeah, just, I'm grateful for all my recent opportunities and this opportunity, and I'm super happy to be painting again full time, like it's it's been, really, I've missed that. I, you know, I'm definitely one of those people, like, I need to paint or I'll be a little bit insane. So it's been, it's been very nice, despite a little hectic, but it's been very nice. And I'm hoping I'll, yeah, get into a little more easy flow schedule here soon.

Laura Arango Baier: 36:42

Yeah, that's awesome. Um, and then I wanted to ask you, so the first time you became full time, what? What was the moment where you realize, excuse me, the moment where you realize, oh my gosh, I'm making a living from this. I'm, like, full time. Like, what was that like for you?

Unknown: 36:58

Um,

Alyse Russell: 37:01

I mean, it's, it's a good feeling. I think that when I, like, I probably quit my part time job before I really should have, but, you know, because so there was a little bit of a rough transition the first time around there where was painting full time. But I don't know if I was super comfortable thinking, though, but that's okay, but, you know, I got through it. It was very exciting, but it was, it was a lot of it was a lot of stress. I just it's hard to, unfortunately, have even a part time job and try to be a full time artist, because it's kind of like there's only, feels like there's only time for one or the other, or at least for me, like some people can have, oh, I do this job, and then I do this job, and then I do this, and it's I, but I'm not that person, you know. So it, I think it went a little I had a period where I kind of said to myself, like, you know what? Because I had been down on myself after just struggling, like, a little bit financially, with only having art as an income. And there was just a moment where I said to myself, like, I, you know, I am art, like plenty of artists make good plenty good money selling art full time. And there's no reason, because I was kind of thinking like, oh, I should have stayed in school. I should have done this or that, you know, I was like, You know what? Like, I don't there's no reason like I was like, I need to just really concentrate, start keeping make sure I have consistent hours. I need to really start paying more attention to marketing. You know, really be smart about the work I'm doing. And not just because a lot of you know, being a painter, you're just like, you know, you're like, obsessed, or like, I, you know, I think most people, you're like, obsessed with your work and and just like, the process of working, and it's kind of like, I mean, I think for me, it's something I sort of would have to have to do to some degree. I'm not making any money on it, you know. So I think because I get to a place where I was like, Okay, I have to be smarter about this and and think about the financial aspect more strategically, and really make a commitment to that. And then I think once I did that, it was very free flowing, and it felt really good, you know. And, yeah, things became more consistent. And just over time, like, you kind of think there's going to be this big break moment, but for me, it's, it wasn't like that. It was just like little steps, you know, until I was like, oh, you know what, I'm actually. Uncomfortable, like, I'm good, you know. So, yeah,

Laura Arango Baier: 40:08

awesome, yeah. And I find that, you know, for most people, I think that's how it is, because I feel like I totally agree with the you think there's going to be, like, a moment where, like, there's a windfall of, like, I don't know, like, a ton of shows or, like, bunch of sales. But I think just focusing on, like, those consistent little steps is so I feel like it is so stabilizing, you know, it's so like, Okay, this is the solid ground that I can rely on. And if there is, like, a sudden windfall where, like, I sell a bunch of work, that's awesome. But that's the hard part about being an artist as well. You know, like, the you're gonna have, like, times for there's a lot coming in, and there's gonna be times when you don't have too much coming in. So you have to find, you know, all those ways to fill in the gaps, especially now economically, we're in the craziest time. Yes, but I also wanted to ask you, you know, what is something that you wish you knew when you started out that you now, know,

Alyse Russell: 41:09

um, you know, honestly, I think that would pretty much be it like that, you know, you just have to, there's not going to be a moment. Or at least for me, there wasn't where you're like, Oh, I've made it now. Like, it's very gradual. It kind of happened before I even noticed. I thought to myself, like, one day, like, Oh, I was actually putting, like, a new commission in my calendar. And I was like, Oh, I have six months of commissions right now. Like, books. Like, I don't like, I, you know what I mean? And I was like, Oh, I like, Oh, I like, do this full time, like, all my money is good, like, I'm, you know, it's like, so happened so gradually, it's like I didn't even notice, like, I didn't even notice at first that that that's where I was, you know, I think it would have been helpful at the start of my career to know that, like, it was going to be so gradual, like that. Because it's not like I was expecting, like, to just blow up overnight or something, but you kind of, I guess I was thinking, like I would get into a really good gallery or something, and then it would be, like, smooth sailing, or like, it would be this kind of moment, but no, just kind of, like, consistency, yeah,

Laura Arango Baier: 42:30

nice, yeah, no, it's, it's how I think, I think that's a hard part too, that it is so gradual that for Anyone, like, in early stages of the career, right, where they're still getting their footing, it almost feels like nothing's happening, until, you know, you have that moment like you where it's like, oh, my calendar is full. Like I I'm doing this all day, like I'm I don't have my job anymore, of course. So this is my job. And I think you know, having that patience as well to, like, settle down and realize, okay, what's the next project, what's the next thing, and also putting yourself out there, which actually, this leads me to my next question, which is, how did you find your first collectors, and what have you learned from that process of finding these collectors?

Alyse Russell: 43:21

So my first collector, who's been one of my biggest supporters, and he he still collects my work. He has, he has a lot of my pieces. Actually, I think he's pretty much gotten something from every like major show or exhibition or something like that I've done. And I met him at one of the first music festivals that I like painted at. I actually have some large original work there, which is a little risky, because it's now I don't take the big pieces out to shows anymore. I just bring like chic, like prints, you know. But he, he bought it. Was a four by five foot large painting. And he, he bought that. I think he actually gave me a deposit there. And then, you know, we, you know, exchanged information, and he purchased that after the festival. And that was, yeah, that was a big help. And I think, as far as collectors, I think what's really important is, you know, it's buying art is a very like personal, personal thing. And you know, when people purchase your work, it's, it's such a good feeling, because they a lot of times feel so emotionally connected to it. And you. For me, sometimes doing a painting is like, it's like, I just have to get this out of me, this expression. And like, once the painting is done, like I kind of, I'm like, I have, like, a moment, a few moments where, like, a day or two, where I'm like, oh so happy with my piece. And then after that, I'm kind of like, okay, like, I don't want this anymore. Like, I don't want to look at this ever again. And so it's, it's great to have someone be like, I love this. And it makes me feel, you know, this type of way. It reminds me of this or, you know, and and I want to look at this in my home for the rest of my life, you know, essentially. And like, it's such a wonderful feeling. And so, yeah, so it's very, I think, very, very personal having collectors, and especially like repeat collectors, you know, and you know, they're very invested in you, I think. And so I like to really show that you know that I appreciate that. And I used to be very consistent with, like, my email newsletters again, getting something I'm getting back into again. But I think that's important for me. I also like to do, I'll send Christmas cards to all my collectors, and I'll do like, a little, you know, tiny, like sketch painting that's like our original sketch, and I'll sign it and have a little note and send those. And I think things like that, things like that, are important to show you know, how much I appreciate my collectives, and that sometimes I feel like I care more about my work than I do, like whatever you know, like, get this out of here, and that you know that. So it's just nice to have people feel moved by my work. And, yeah, I think that's that's just just maintaining that. So just letting them know that you you appreciate them is important. I think how you maintain and keep keep them coming back to to buy more work, or look at more work, or, you know, any, anything, or just, or, you know, like, I've had a I've had a few repeats, quite a few repeat, like, commission collectors, too. So I think that's nice. And I think it's, yeah, just making it personal, and, you know, letting them know that you appreciate them?

Laura Arango Baier: 47:42

Yeah, yeah, definitely. And I think the other really cool thing that you mentioned there is, you know, you met one of them at a live music show, right? Like, it's one of those things that I've mentioned many times, actually, on the podcast, and it always comes up, and that is the importance of physically going out there and talking to people. You know, if someone's asking about one of your pieces, or if you have, like, a show exhibition, anything your work is there, someone comes up and looks at the painting. Talk to them. You know, like it's so important to talk to people, because you might, you know, learn something from this person. Maybe they buy something, maybe they don't. But I think you know, most collectors, and you might attest to this, most collectors, they buy the work, not just because they love it, but because they also got to know the artist and appreciate who the artist is as a person, right? So you know that really highlights the importance of networking, you know, putting yourself out there, talking to people, you know,

Alyse Russell: 48:45

yeah, for sure, yeah, I think that it's really important. I tried to get to all my show openings, if possible. It's not always possible. I'm excited to go. I've never been to the gallery at the next show I have upcoming. I've never been to this gallery, and I'm going, it's in Denver, and I'm going out, so I've never been. I'm excited. I haven't met any of these people yet because, just because Denver is far from me, but, yeah, very exciting. And, you know, it's, it's so much fun to meet everyone and hear, I love to hear people's perspective on my work, because I like to leave, I mean, I think there are, of course, like meetings in my work, but I like to leave it a little bit open to interpretation, because sometimes I'll have a collector or or just someone come up and talk to me about my work, and they'll say something about it that I hadn't even thought of, but then I'm like, Oh my God, that's so true. And I was actually going through something like that at the time that I made this painting. And, you know, so it's so funny that you should mention that, and I never even thought about that, you know. And. So I think that really adds to the work and makes it just more of a, you know, like you think a painting is done, but it's kind of adds on to that process of the painting and like what the painting is about. And I love hearing what what other people have to say with their interpretations. And I think that people do that's something that's big, live painting. A lot of I usually don't sell the live painting like at the event, because it's, it's going to come home with me and get, you know, touched up and signed and varnished and all that. But a lot of the paintings I have sold to someone from the festival, and it being that they came and chatted with me about the painting and what it was about, and how they were interpreting it, and and then, of course, they got to see me. I don't finish them per se at the festival, but I try to get them, like, locked in in a way that's everything that's going to kind of be in the finished painting is in there, and you can tell what's going on. And, like, maybe the focal point is kind of a little more finished. And so, yeah, people really like to they felt connected to the work that way. It's really fun. It makes the paintings that are done that way, I think, a little bit special, extra special, you know,

Laura Arango Baier: 51:29

yeah, yeah. And also, because it's a moment that you shared with some of the people who have observed it, right? It's like, oh my gosh, yeah. It's like that one time that I met you at that festival, and this is like the physical memory of like having been there and having had a great time. And I think that's the other beautiful thing with painting, especially when you're painting, something that really comes from your soul, right from from within, from that inner voice, is that it speaks to someone else, and also it creates a connection, through memory, through sense, through all of these things that you know, if you hadn't been there and you'd been painting in your studio, wouldn't quite be the same. There's, of course, people still love studio paintings, and they'll buy them. But there is something extra special about you know, you know collectors, or possible collectors, just people watching a piece that they might be interested in in person like not a lot of people get the privilege of watching an artist paint live, mostly because we're reclusive and we don't want to be looked at. But hey, that could just be me.

Alyse Russell: 52:39

Yeah, yeah, no, it's so it's so true, and, you know, it's funny, because I'm very, I don't, I'm not live painting. I don't want anybody, but, like, I hate recording my process and stuff, so it's funny. I don't want anybody in my studio, you know. So it really is something like, a little little bit special, a little different, dating, live, you know?

Laura Arango Baier: 53:02

Yeah, and actually, I wanted to ask you as well, do you have any final advice for someone who wants to become a full time artist?

Alyse Russell: 53:19

Yeah. I mean, I think really just consistency is the key. Like, if you consistently put yourself out there and you know are taking that time to hone your skill and find your voice, I think that you know the sky's the limit. Really, it's, it's just, it's about perseverance, you know, it, I think it's really just about putting yourself out there, because, like, ultimately, like, like, you know, if you, if you're gonna have all the skill scale in the world, and if no one sees your paintings, you're not going to sell any of them. So. And then, you know, on the flip side of that, you'll see artists who, like, you know, I'm not saying anything about the you know, that to maybe not be my personal favorite, or I don't think have the most technical skill, you know, but do very well, and you know, it's because they put themselves out there and they learned how to market themselves, and they took chances, you know, to get where they are. Thank you. Just consistency, putting yourself, putting yourself out there and and that helps you, yeah, find your voice as well, just consistently keeping going,

Laura Arango Baier: 54:49

absolutely, absolutely. And then you get all of the crazy opportunities by putting yourself out there, which is what you said as well. And speaking of opportunities, do you mind telling us about your. Upcoming show?

Alyse Russell: 55:02

Yeah, of course. Upcoming show is that gallery called tereda. I hope I'm not. It's one of such funny things where I've never heard anyone say it, so I hope that's how you pronounce it. I've only ever seen it written down the Rada, and it's kind of a psychedelic art gallery in Denver, Colorado, and, yeah, it's, it's, I haven't been there in person, so I'm actually really excited to go. I've seen a lot of pictures. There's a lot of artists that I whose work I really love, and, you know who I've looked up to, have have worked there, have shown there, and they're, they're really wonderful gallery. They're always very professional and do a great job with everything. I'm very excited to see the show. It's a group show. It is called Bloom, a kaleidoscope of botanical beauty. It is a group show, opening may 1, 2026, and then I doesn't stay here, but I believe it's just running through the rest of the month, May to June, and the opening reception is May 1. And then can it's Yeah, once it's up, you can view all the work from the show. You'll be able to view all the work from the show on a website to be ww.sereda.com, T, H, R, E, y, D,

Unknown: 56:45

A, and, yeah, very excited about that. Awesome. And, yeah, I'm excited to see everyone else's work. Of course, I haven't seen anybody yet, so, yeah, very exciting. Yeah, see real paintings in real life is like the best thing ever?

Alyse Russell: 57:03

Yes, yes, for sure. Yeah, yeah, I'm looking forward. It'll be a it'll be a good show. And, yeah, there's not many upcoming, and that's the only gallery that I'm currently working with as of right now, and just really have nothing else going on yet.

Laura Arango Baier: 57:33

Not yet, exactly,

Alyse Russell: 57:34

yeah, but

Laura Arango Baier: 57:35

yeah. But if someone does want to see more of your work and maybe stay up to date, where can they do

Alyse Russell: 57:43

that? My website, www Elise firefly.com and Instagram would be at Elise Firefly arts and, yeah, keep up with me on both of theirs. I'm pretty up to date on Instagram, usually my website. I am starting up my new email newsletter again. So if anyone, it's usually like monthly to bi monthly. Usually send out, but that will have all the updates on upcoming shows, studio sales, anything like that, and just kind of behind the scenes of my work process, yeah,

Laura Arango Baier: 58:29

and then I'll include all your links as well in the show notes, and then your newsletter link, and then the show link so people can go check out your your upcoming show. But yeah, well, thank you so much, Elise for the conversation. I feel very, very seen and validated and inspired. So thank you so much.

Alyse Russell: 58:51

Yes, thank you that was, that was that was great. That was very fun. I feel that, yeah, that felt very validating for me as well. So thank you so much for having me,

Laura Arango Baier: 59:04

of course, and I'm excited to see your future work as well.

Alyse Russell: 59:08

Thank you. Yes, I'm very excited. Got to finish this large piece back here next I think. So that'll be fun, and I'll have Yeah, I'm very excited to be back at it.

Laura Arango Baier: 59:23

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