We were lucky to catch up with Devann Donovan recently and have shared our conversation below.

Hi Devann, thanks for joining us today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

I attended art schools and participated heavily in my art communities, learning as much as I could across various media—painting, sculpture, welding, video, and performance. I’ve always had an obsession with experimenting and trying new things. The more I learn, the more I realize how much there is still to discover.

Looking back, I saw that textiles and fiber were always present in my work as an accent, but it wasn’t until I left school and found myself in a new environment that I recognized they should be my foundation. Textiles are inherently malleable and can be manipulated in many of the same ways as the other materials I explored, making them a natural fit for my conceptual focus on memory’s fluidity and distortion.

If I had turned my attention to textiles sooner, I might have a deeper knowledge of the medium by now. However, I also value the space of discovery—learning new tools like the sewing machine, techniques like trapunto, and finding ways to merge textiles with my love of painting and sculpture.

The most essential skill I’ve developed is knowing how to learn or research. Even if I don’t know a technique yet, I know how to seek it out—through other artists, workshops, online resources—and incorporate it into my work.

One of my biggest obstacles was the assumption that I had to fit into a defined box of what my work was supposed to be. My work is always rooted in memory and material exploration, and while that fluidity can make it harder to “sell” myself in traditional art spaces, I see it as a strength. My work is always something new and interesting, whether that be the final product or the journey of the process for me.

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 originally from Murrells Inlet, SC, but moved to Rock Hill to earn my MFA from Winthrop University 5 years ago. My work blends nostalgia, pop culture, and memory into artworks that explore many different mediums.

My work studies the malleability of memory, using textile techniques to materialize personal and collective recollections. Through painting, textile, and sculpture, I reimagine everyday imagery, turning the ordinary into the extraordinary. My work playfully amplifies the scale of nostalgia, engaging audiences in a dialogue about truth, reality, and the distortions of memory.
I invite viewers to not only see but experience my art. Often, my work incorporates an element of discomfort, prompting deeper contemplation and emotional resonance.

Beyond original pieces, I also create prints, stickers, and crochet novelties, aiming for accessibility for everyone. I understand that not everyone has the space or means for a large-scale work, but I want each viewer to take a piece of the memory with them. My interactive approach encourages viewers to engage with my work, whether through touch at a gallery or conversation at a vendor table.

I have exhibited across the U.S., from North Carolina to California, with recent work showcased in Sovereign: Honoring Bodily Autonomy at the McColl Center in Charlotte and my solo exhibition, Forget Me Knots, in Rock Hill, SC. I still currently live in Rock Hill with my husband and three dogs and work full time as the Art Instructor at York Technical College. I also adjunct with Winthrop and teach children’s art classes with the Arts Council of York County.

I became an artist not just because art has been a lifelong passion, but because, as I often joke, I was terrible at every other extracurricular I tried. I thrive with hands-on creativity and enjoy exploring various disciplines to inform my work. I love knowing a little about everything—and everything about art. Teaching is also an essential part of my artistic journey. I gravitate towards spaces where I can share my knowledge and talk about art, believing that learning should be a reciprocal experience.

I am most proud of the relationships I’ve built because I value them so deeply. My partner, family, peers, colleagues, students, and audiences all inform my work and it only feels right to share that with them. My work is playful and inviting, with slight unserious tones but creating it is something I take very seriously. You can find me and chat on instagram: @devanndonovan or read more on my website www.devanndonovan.com

How about pivoting – can you share the story of a time you’ve had to pivot?

I am learning to say no while still being a yes. For the past five years, I’ve never had fewer than three jobs at a time, teaching, managing a gallery, working vendor shows, all while trying to sustain my own art practice. I took on these roles for the experience and exposure, and while I loved them, I knew it wasn’t a sustainable long-term path.

Through it all, I faced constant rejection, job interviews, show applications, even social hangouts. Any artist knows rejection is part of the norm, and no matter how much it stings, you can’t let it stop you. That one “yes” is what you’re working for. When I finally got a yes to a new opportunity, I had to make a choice: what would I let go of to make space for it?

I stepped away from my Gallery Manager position, reduced my teaching load at a university, and took a break from vendor shows. I was terrified that leaving those roles meant leaving my community, that without those titles, I wouldn’t hold the same value. But in stepping back, I gained something even greater: time. Time to be in those spaces on my own terms, to show up for my peers, and to return home with the energy to put into my own practice.

It’s only been two months, but I already see that my value was never tied to a position, it’s in me. I’ve attended more events, supported more artists, and felt more connected than ever. This shift has reminded me that saying no isn’t a loss; it’s making room for the things that truly matter.

Any resources you can share with us that might be helpful to other creatives?

Social media is definitely a resource I wish I had understood as a tool earlier in my career. While it’s constantly evolving and can be overwhelming to keep up with, I now see its potential for connection and opportunity. I wish I had been more proactive in following and reaching out to accounts that aligned with my career path—whether individual artists or organizations supporting creatives.

One of the biggest lessons I’ve learned is to approach social media with a mindset of community rather than competition. I’ve built friendships with artists from around the world who have generously shared techniques, and I try to pay it forward by sharing calls for art and opportunities with my own network.

Taking the time to search for organizations, explore their websites, and check their event calendars has been invaluable. That’s how I discover events, get involved, and build connections. It all creates a domino effect, saving a post leads to attending an event, which leads to meeting new people, and before I know it, my schedule is filled with my favorite thing: art and friends!

Contact Info:

• Website: https://www.devanndonovan.com
• Instagram: @devanndonovan
• Facebook: https://www.facebook.com/DevannBDonovan
• Other: Etsy: DammitDevann

Image Credits

Photo featuring Devann Donovan teaching Sketching Stories courtesy of Arts Council of York County