We’re excited to introduce you to the always interesting and insightful Caroline Belanger. We hope you’ll enjoy our conversation with Caroline below.

Caroline, looking forward to hearing all of your stories today. What’s been the most meaningful project you’ve worked on?

To be an artist and make a living is quite a challenge. Option A: get an MFA, take advantage of all the exhibition opportunities available to you, secure gallery representation, score a solo show, create and hope for the best! For some, a long career unfolds itself, securing you collectors and patrons that will provide you creative and financial support. Option B: you have talent, initiative, a social network, and hopefully business acumen to market yourself. To pursue either option is hard work. Neither is better than the other. In both scenarios, artists can fall in to the trap of making the same thing over and over, because it is what sells.

I want to make art with meaning. I started Paper Scissors Art to create bespoke art, which means that I customize an artwork to fit your taste. Originally, my niche had been taking children’s art that might otherwise be disposed of and transforming it into a work of art with deep personal meaning. Over the past three years, my projects have evolved. Very few of my artworks are derived from children’s art, but I have painted with multi-generational families and worked closely with each client to make a meaningful piece for them. This makes it significant for me, as I usually get to know them so well throughout the process. Ultimately, calling them friends, not just clients.

I cannot limit myself to one project, since there have been so many! My first commission was during COVID lockdown and I was asked to create The Butterfly Effect using papers painted by three generations of a family on both sides. We painted outside on a hot summer day, in masks. I remember one family member telling me she was a horrible artist, but I thought her work was the most inspired of everyone! Since that day, one member of the family has passed away and the family tells me all the time how much they cherish the artwork knowing he contributed to it. Most recently, I made a piece for a dear family friend’s 80th birthday. This fine gentleman is from India and on your 80th birthday you celebrate having seen one thousand full moons. I delicately painted papers with pearlescent watercolor, cut out one thousand circles and arranged them in a circle. One thousand full moons to make up one big full moon. He hung it in his study and tells me how much peace it brings him.

Great, appreciate you sharing that with us. Before we ask you to share more of your insights, can you take a moment to introduce yourself and how you got to where you are today to our readers

I am an artist and entrepreneur living and working in Dallas, Texas. To make a long story short, I’ve always been creative. I grew up all over the world (Australia, Colombia, England just to name a few) and studied painting in Paris en-route to London, where I earned my master’s degree in art history. I proceeded to work on the business side of the art world, first as a gallerist and then as a consultant, where I’ve had the privilege to work with some truly wonderful artists, collectors, curators, and dealers. Thanks to studio visits and deep conversations, I’ve continued my art education. I’m fascinated with artistic process and absorb all that I can.

Beyond making my own original artworks, I create bespoke three dimensional paper collages. I use collected paper materials provided by the client, like children’s art, magazines, books, shopping bags, etc. I also paint papers and create my own ephemera from which to cut. I cut these papers into motifs ranging from butterflies to flower petals or even Chinese zodiac animals. I arrange these pieces in a design agreed upon with the client. In a culture seeking to purge and also recycle, I saw a niche for those that wanted to recycle paper with meaning into art. I have a colorful and contemporary aesthetic, but I work carefully with each client to create what they envision within my wheelhouse.

My butterfly pieces, in particular, are very popular. Butterflies are beautiful and colorful creatures that symbolize life and transformation. Many artists depict butterflies, but I think my works are different because I use materials with personal meaning to each client. I am most proud when a client tells me how much joy the art brings them when they look at it everyday. That satisfaction is what motivates me to keep brainstorming and developing new motifs and designs. For example, a client requested a camping theme. Yes. I can do that. I think. After a lot of brainstorming, I came up with an abstract concept representing white tents around a campfire on a deep midnight blue. It ended up looking like a very architectural flower.

I believe everyone deserves art in their lives, no matter their budget. I work very hard with clients to make something they can afford. We consider the materials and size, as well as my engagement in the creative process, so that we get as close as possible to what they want. I make original artworks from $35 to $1k+. Obviously I cannot make a huge piece for nothing, but I do try my best to meet every client where they feel comfortable financially. I am always happy to extend payment plans too.

Do you think there is something that non-creatives might struggle to understand about your journey as a creative? Maybe you can shed some light?

I love this question. I have felt so misunderstood as a creative professional. When I worked in galleries and museums, people never seemed to understood what I did. They would jump to the conclusion that I was an artist. No, at the time I was not a practicing artist, but I worked with artists to foster their careers and present their ideas to the world. My tasks were quite similar to most jobs: accounting, customer service, data entry, website design and maintenance, sales, public relations, and more.

I presumed that telling people I am an artist would be easier. I am often met with amazement, but also a complete lack of understanding. Though they might appreciate the value of the materials and skill, it is difficult for them to quantify the creative process. Art is only worth what someone is willing to pay for it, but as an artist you constantly fight for the value of your ideas and time. In my case, I still do all the above mentioned tasks for myself, so not only am I very busy making art, I am my own one-woman business.

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

I am fascinated that creativity is so valued in children. We spend years cultivating their creativity through art, music, and performance as a conduit to learning. In adulthood, the rug is ripped out from underneath you. I remember walking into the career center at college to discuss my options post graduation. I was met with blank stares about how to help me find a job with an art history degree. It’s time to be practical, they said. What about jobs in the art world? Though there are jobs in museums and galleries, nobody knew how to get me in front of the right people. The career center was only bringing in recruiters from big corporations. I had to do it all by myself. I had to work for free for at least a year, before one museum offered to pay me minimum wage. I was privileged to have a supportive family, because most people cannot afford to do this, hence why art is considered an impractical avenue.

To be an artist or creative is often a financial struggle. Working in creative jobs frequently means less pay. Sadly, finance and business classes are not required curriculum when you study art and art history, but they should be. Fortunately, a lot of this can be learned through experience.

Here’s the other tricky part of the puzzle: Art is both for profit and non-profit. I could write a dissertation on the financial inequities within the art world, but here I mostly want to address the value of creatives out in the rest of the world

Essentially, I do not think the average non-creative appreciates how much creativity is required to build a successful brand. Have you ever noticed that companies don’t have CCOs (Chief Creative Officers)? Logos, commercials, book covers, songs on the radio, and the list goes on and on are all brought to you by creatives. This needs to change.

Basically, society’s best way to support artists and a thriving creative ecosystem is just to stop viewing creativity as impractical. Creatives should be an integral part of every business with the same professional trajectories within organizations for success. Artists show us the world that is, as it was, and the world we want it to be. Absorb that. Collect that. It makes you a better person. Art is practical. Art is a commodity. Art is an investment. Art is beauty. If we do not support the “dream”, we will live in a very bleak world. Instead of dismissing the value of creativity, let’s equip the creatives with practical skills. Imagine that.

Contact Info:

• Website: www.paperscissorsart.com
• Instagram: @paper_scissors_art
• Facebook: https://www.facebook.com/paprscsrsart/
• Linkedin: https://www.linkedin.com/in/caroline-finlay-belanger-8806044/
• Youtube: @paperscissorsart5679