When I was a student the question that I most wanted answered was how exactly did an artist make a living? The art would take care of itself, but how to make money? For me, the answer was secretarial jobs, clerk jobs, and later for ten years I taught painting and drawing as a sessional instructor at the University of Alberta. I didn’t know any artists who seemed to make a living from selling their art.
When children are added to the mix, the situation becomes even more complicated, something that occupied me enough to mention it in an interview with my friend Russell Bingham, in 2006.
There are challenges to being married to a fellow artist, but never having to explain why you are spending all this time and money on painting is a fundamental bond. From our first years, studio time was built into our relationship, first evenings and weekends, then shifts to accommodate young children. In our studios, we are fellow artists and offer criticism, severe and otherwise, unreservedly. Mitch has helped me as well with the practical details of stretching and framing, owing to my inept carpentry skills.
Forty-five years ago Mitch and I met in art school. I am very grateful that I have had Mitch’s unending and generous support for our entire relationship. - SL, 2024