We were lucky to catch up with Cynthia Grilli recently and have shared our conversation below.

Alright, Cynthia thanks for taking the time to share your stories and insights with us today. Can you recount a story of an unexpected problem you’ve faced along the way?

Absolutely.  Like everyone else on the planet, when the pandemic hit there was an immediate need to adapt to an unforeseen, catastrophic event. For me, it meant finding alternative ways to teach classes that require in class participation. At first it was unfathomable, how one could teach figure drawing and painting without being in the same room with anyone. Teaching online meant trying to coordinate a with a model posing in their bedroom, and students huddled over their drawing boards in tiny spaces with little siblings zooming in the same room. All while drawing and demonstrating myself, hoping that the internet connection would be solid enough that I wasn’t freezing on screen every few minutes. My private classes were also challenging as older students did not know how to use the new technologies. It was insanely stressful for all involved. I learned so much from that period and while I would not want to do it again, I am glad I had the experience. I think most classes are better now because some of the necessary accommodations proved to be very effective teaching tools. It was a good reminder that I can rise to just about any occasion and creatively adjust to difficult circumstances, even when the odds feel overwhelming.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I am originally from the east coast, New Jersey specifically but I moved around quite a bit growing up. I went to the Rhode Island School of Design for college and the New York Academy of Art for to get my MFA. I moved to southern California from NYC in 2001 and now it is home. I teach at Cal State Long Beach and from my studio in Costa Mesa. I have always worked two jobs, one as a painter and one as a teacher and tried to keep a balance between the two. I often work on commissions in collaboration with designers and clients. I will paint just about anything – landscapes, animals, and still lives but my focus is primarily figures. I offer a contemporary take on traditional portraiture and work within the client’s parameters to create something completely unique and personal. If I don’t think I can make something that satisfies us both I won’t take on the work. Most commissions take about 3 months to complete depending on the size, the largest I have done was 6′ x 13′ and it took me a solid year to finish. There is great satisfaction in creating a custom piece families can have for generations.

What do you find most rewarding about being a creative?

I think the most rewarding aspect of being a creative for me is that I really enjoy every aspect of my professional life. There is a nice balance between teaching, commissions, and my personal work that keep me busy and fulfilled. Teaching continues to be a source of joy for me, even after almost thirty years. My students teach me so much and keep me in touch with what young people are going through today. Commissioned work is rewarding when a piece really enhances a home. With collaborative work I end up painting things that I would not normally paint and that keeps things interesting. However, without my own private studio time, none of the other aspects would work. Solo time in the studio is essential for my painting practice. I post on social media and try to keep my website up to date with new work. A lot of experiments never see the light of day. Scores of paintings have been placed in time out and I have taken truckloads to the dump. Trial and error are an important part of the creative process, as is spending time alone. At this stage of life, I feel lucky to have a career so well suited to my personality.

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

I think that society can best support artists by purchasing their work and attending/supporting their exhibitions and events. There are so many ways that art contributes to society, most people would not argue that. However, some art appreciators never consider becoming collectors because there is an erroneous belief that all art is expensive. It is so easy these days to make direct contact with creators via social media. Most artists/creatives have websites and Instagram accounts where you can see available work. There is no shame in inquiring about a piece, if it is out of your price range the artist might have a similar piece available that they could sell you for less. If nothing else, you will have shown interest and that is always appreciated. People buy expensive framed prints when they could be getting something custom and special. The right painting can completely transform a room. If you buy from a gallery, they are taking a 50 percent cut of the sale, more cost to you and less money for the artist. Purchasing directly from an artist ensures that you are supporting them entirely. Follow your favorite artists on Instagram, share a piece that you like, spread the word! The artists will be grateful.

Contact Info:

• Website: cynthiagrilli.com
• Instagram: @cynthiagrilli
• Facebook: https://www.facebook.com/cynthia.grilli.1
• Linkedin: www.linkedin.com/in/cynthia-grilli-95aaa71b
• Youtube: @cynthiagrilli2074

Image Credits
Vic Wahby Marni Sugerman – Decorating Den Interiors