L.A.-based artist and recent S.F. resident Maysha Mohamedi talks about:

What she likes to listen to in the studio (over and over) while she’s working on a body of paintings; her time in SF, where she started her art career, met her husband and had two kids before leaving for L.A. (where she’s been since August ’16); her switch from a PhD in neuroscience at UC Davis to art; her aversion to critical conversations about her work, which started in grad school and didn’t end until after she was showing; we have a long exchange about abstraction (mostly thanks to my taking so long to ask the question I wanted to ask), and she clearly articulates her objective- of getting her viewers to feel emotions, to be moved,when they see her work—and she uses the analogy of music, specifically Nina Simone, that she aspires to move her viewers the way Nina Simone’s music moves her; how her parents have been supportive of her as an artist in their own ways, such as her dad making a custom studio-sitting bench for her; her origin story of when she decided to become a mother, something she’s ‘always’ wanted to do, and why; she weighs in as a parent on those who aren’t parents, and (somewhat tongue-in-cheek) how she’d like to lord her superiority of being a parent over non-parents, for the time-being at least; and she explains how when she’s in the studio, the only thing she’s thinking about his her work—no exceptions.

 

Los Angeles-based artist Claire Colette talks about:

Leaving San Francisco (the Mission neighborhood) after 10 years by essentially being priced out; her various perceptions about SF, including the fact that she still has friends who live there and goes back to visit and insists that not everything is over–that it will take a lot to beat the arts community there–it’s not just going to go away; how she has supported herself, including thru grad school, bartending as well as working at art galleries and non-profits, and the pros and cons to each job; her grad school education (Mills College in Oakland), which she chose with intent, and her undergrad, the for-profit Art Institute of Los Angeles, which she chose on her own naively because she didn’t know enough about the school/quality art institutions generally, until she got there, and wound up making the most of it despite its critical limitations (including  rounding out her education by taking more classes before going to grad school); the benefits of what more “sophisticated” schooling has been for her, having also taken classes at the SF Art Institute; her bartending, both in SF and L.A., how she prefers to work at bars that are more connected to artists/the art scene so she can be herself, the difference between bars during the week vs. over the weekend (which applies to ‘every bar ever’), and the pros and cons of it (pays well, but it’s a service job), and how ultimately neither bartending nor gallery work appears to be sustainable long-term (of course, a classic dilemma for most artists); how she believes that every artist should work in a gallery for at least six months, to see how it’s run on the other side; how she’s managed to sell her work both through shows and directly to collectors out of her studio, esp. out of grad school, even more recently–having been in L.A. for just two years; her arrival at abstraction, which is sourced from thought experiments and is rooted in everything from the existentialist philosophy and religion of her Catholic French early-upbringing, to science fiction, specifically Ursula Le Guin; and how she’s come to realize that, even having worked in activism, that her artwork in poetics and thought experiments through abstraction is still very important to her–she recognizes the futility in each, and yet that there needs to be room for each as well (we both acknowledge that it – activism, abstraction and the market, anti-capitalism, art as object – is, as a whole, problematic), and that the solution is not to stop painting/making art.