Your Favorite Interior Design Podcast Ep. 47 Artist Brent Foreman

Artist, Brent Foreman of @phxartworks on Regional Design, Color Selection & Rethinking Art Culture

Your Favorite Interior Design Podcast with Stephanie Stuart 
S1 Ep 47

Explore the nuances of regional design with Phoenix, AZ based artist Brent Foreman, as we delve into the process of color selection, challenge traditional art culture norms and our throw-away furnishings culture. This episode unpacks the interplay of art, design, and regional influences, offering fresh perspectives for anyone looking to elevate their aesthetic.

Connect with Brent on Instagram https://www.instagram.com/phxartworks
To The Trade Phoenix Artist. Original & Commissioned Contemporary Artwork. Working with Designers since 2001.

A year from now, you’ll wish you had started today!

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Transcript

Welcome lovely listeners! Welcome back to your favorite interior design podcast. I’m your host, Stephanie Stuart. Today, I’m excited to bring you professional artist Brent Foreman from Phoenix, Arizona. We’re going to talk about the relevancy of original artwork in a technological age. I’ll start by letting Brent tell us a bit about himself, and then we’ll dive in.

Brent: I am a professional artist. I make pretty pictures for people and have been doing that since 2001. The market has changed a lot, and the relevance of original art has shifted. Most people nowadays prefer to go to places like Crate and Barrel or other big stores and put up something on their walls instead of commissioning a piece or buying from a gallery. It seems like nobody goes into galleries anymore. I’m certainly analog in a digital age, and it’s been challenging to come to terms with what feels like a dying profession.

I still like making art, seeing it up on walls, and being part of interior design projects. I enjoy seeing photos online or on designers’ websites and thinking, “I did that!” I still paint, like when I was five years old. I guess I always knew I’d be doing this, but I didn’t know how it would happen. When I started painting at 19 in college, I was either stubborn or conceited enough to think I could do this forever. I got my master’s as well and did all kinds of manual labor jobs, like everyone else, until I found my way to Phoenix Art Group when I was 28. I worked there for about two years, and they taught me how to make marketable, palatable originals for the masses.

Stephanie: That’s something I want to talk about! You and I met through collaborating because interior designers and artists work together all the time. We have clients who need artwork, and we don’t want to go to generic shops for something everyone has. When you told me your story about learning to make artwork that appeals to the masses, it resonated with me as an interior designer. I had someone recently say, “Designers have a hard time specializing in one style,” because we want to be able to do all styles. I tell my clients, “On your project, your style is my style.” It doesn’t always have to be that way; sometimes, you want to appeal to many people, but other times, it’s about making it personal.

Tell me about how you create artwork. Are you just creating widely popular originals, or do you also take commissions?

Brent: If I knew the answer to that, I’d be wealthier! For someone with an art background, it’s tough to reconcile the artistic ego with keeping someone else happy, especially in commissions. One thing we talked about was regional styles. That’s something we encounter as interior designers too. I even discuss the functionality of different regions with clients. For example, I once told a client their laundry room had to function more like a utility room because their garage couldn’t store certain items due to the climate.

So when you’re looking through a client’s lens, tell me about the different regions and their preferences.

Brent: For instance, if you live in Dallas, you’ll likely encounter folks who like extravagant, over-the-top designs with gold, metallics, and colors not found in nature. It’s a sign of wealth and the culture of Dallas and Texas. In Florida, it’s like a rainbow—people do whatever they want with colors and styles. If you paint for them, it needs to have a flair, a splash to it. In Minneapolis, it’s more reserved with earthy tones, and they shun showy things. That’s the Midwest for you.

When I’m in my studio, I have to think about where I want the piece to show. I have distributors on both coasts, and they send work to the appropriate galleries. Sometimes I miss the theme or style, but sometimes I hit on something, and they love it. I had a gallery in Oklahoma that wanted animal paintings with an abstract take. I’m not a traditional artist in that way, so you figure it out as you go. There are no rules or answers. It involves introspection and problem-solving, spending a lot of time in our heads.

Stephanie: Yes, and it’s all about our take on what someone asks for. When you send your pieces out, do galleries throughout the country ask you for specific sizes or styles? Are they acting like buyers and telling you what’s in or out?

Brent: I give them a lot of leeway. I ask what their clients are looking for, what void needs to be filled. That’s how I ended up doing cow paintings. They were lovely, but you won’t find them on my Instagram! Sometimes color palettes dictate what they want. Galleries often go by the mantra, “If it sold once, it’ll sell 50 times.” In your business, you probably have clients who see their neighbor’s home and say, “I love Tuscan style, too!”

Stephanie: It’s true. We do our best to figure it out, but we’re not always on target. Some successful artists have found their niche. There’s a guy in Atlanta who does pop art pieces that look like Marilyn Monroe from afar but up close are made of tiny stenciled figures. They’re hugely time-consuming, and he gets paid well because of it. It’s a niche every artist aspires to find. You need to find your hook, the thing people come to you for.

Brent: I’ve had people come to me for specific styles, but eventually, if I make another one of those paintings, I’ll want to run off into the woods! I have to change what I’m doing every six months to a year; otherwise, I get burned out.

Stephanie: I get that. There’s an evolution in our work, and we don’t want to do the same thing repeatedly. Unfortunately, clients often do. Then you have to balance getting paid with maintaining your integrity and sanity.

Brent: During COVID, I rediscovered watercolor. I hadn’t done it since college. I was obsessed with YouTube videos of artists who were magnificent at it. I’ve since been trying to make that washy watercolor process work with acrylics. I’ve never done landscapes, but now I’ve been asked to do transitional abstract landscapes. I find them entertaining and fun, without worrying about details.

Stephanie: That sounds so challenging. I sketch, but not well. I’ve tried on paper and the iPad, and paper is easier because of the tactile quality. It’s like an extension of you. Hearing you talk about watercolor and acrylics is fascinating.

Brent: It’s fun but super challenging. I even did pet portraits during COVID just to pass the time since there were no sales or open galleries. It was a way to retrain my brain to do pencil sketching. Eventually, I found joy in it and began thinking about transferring that joy into my everyday work.

Stephanie: How do you manage expectations with clients? In our work, we set expectations and allow some artistic freedom. We explain that certain decisions are up to us, like minor changes. There’s some trust involved, and sometimes you don’t even meet the client.

Brent: Ninety to ninety-five percent of the time, I never meet the client, and that’s intentional. Clients come to me because they don’t know how to do what I do. If they did, they wouldn’t need me. They can get possessive and hands-on, which is why I don’t interact with them directly. Having buffers, like you, helps.

Stephanie: How do you get clear direction from the designer or the person commissioning you? Do you tell them to look at your Instagram and identify what they like or dislike?

Brent: Yes, I usually ask the designer to hold hands with the client while I handle the artwork. I recommend they check out my Instagram gallery. If they like what they see, then we discuss sizes and prices. I also require a non-negotiable deposit upfront, which gets rid of a lot of looky-loos.

Stephanie: How do you use technology to stay relevant when people can shop for any piece of art online? How do you show them that it’s more than just colors on the wall?

Brent: It’s difficult to convince people of the value of what they’re getting for their money. Most working middle-class people I know wouldn’t spend money on original art because it’s a discretionary item. Wealthier people, who are my target audience, usually don’t have a problem paying for art. However, with all the noise from AI and stores like Crate and Barrel, the challenge is finding people who truly value what we do.

Stephanie: It’s similar in our business. We need to help clients understand the value of original artwork. We are curating designs, not just picking things out of a catalog. We had some success getting clients to think more about custom pieces, especially when explaining supply chain issues and the value of locally-made items.

Brent: Original art used to be a status symbol, but now it seems like people are okay with having what everyone else has. We have more millionaires than ever, yet I don’t know where their dollars are going if not toward original art, furniture, and accessories.

Stephanie: That’s why conversations like this are important. When was the last time anyone visited their local gallery? Art is so personal. It’s okay if you don’t know everything about art; it’s about how it makes you feel and connects with you.

Brent: The connection is everything. I often make pieces without commissions, just for the sake of creation. They happen more by accident while creating a new body of work.

Stephanie: I love the story of the series you’re working on with pieces that have traveled thousands of miles. Sharing that process and story would make it more interesting for people.

Brent: I’m my own worst PR person

. I grew up in the Midwest, where talking about yourself was frowned upon. I need to get better at telling these stories because people do want to know the intention behind the work.

Stephanie: Well, I’m a huge fan and grateful that you reached out to me. Before we wrap up, tell everyone where they can find you.

Brent: You can find me at PHX Artworks on Instagram.

Stephanie: Perfect! Support your local artist, especially Brent. Thank you for joining the podcast, and thank you to everyone for listening! If you know someone interested in commissioning art, reach out to Brent at PHX Artworks on Instagram, or contact a local designer or gallery to connect with an artist. Thanks again for listening to your favorite interior design podcast. Have a great day!