We caught up with the brilliant and insightful Karley Miller a few weeks ago and have shared our conversation below.

Hi Karley, thanks for joining us today. Are you happier as a creative? Do you sometimes think about what it would be like to just have a regular job? Can you talk to us about how you think through these emotions?

Overall? Absolutely. But there are those days that make you question the validity of what you’re doing for sure. I know the old adage is ”do what you love and you never work a day in your life”; I don’t buy it. I think it is often perceived by those outside of creative industries that a career in art of any sort is full of whimsey and divine inspiration, that we just happen to have that ‘thing’ in our DNA that makes us good at what we do. Being a creative is not a career path for the faint of heart. It’s years and years of hard work. All final creative projects aside, we are our own promotor, our own manager, our own secretary, our own accountant, our own teacher. Being a creative is having to muster that initiative and drive to practice and create results regardless of how you feel that day or what you’re going through. And is it difficult? Absolutely. Would I want to do anything else? Absolutely not. Having worked regular 9-5 office jobs a few times, and the jobs weren’t necessarily bad in and of themselves, it was just draining. Corporate atmospheres leave little room for thinking outside the box, it’s very much here is your task, do it this specific way, and do it over and over for 40 hours a week. It’s suffocating. It’s stable, I’ll give it that, but there’s something about making your own rules and seeing what sticks for a living that is just exciting. Being a creative really makes you feel like you are truly living, it’s more than just a job to pay the bills, it’s what feels right deep down. And when you find a community of other creatives that are just trying to see what sticks like you are, and you’re able to navigate this strange way of life as a community, it’s something that can’t be replicated. It’s incredibly rewarding.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’ve been an art maker my whole life, from goofy art awards in elementary school to now, having more than 10 years of full commitment to my creative endeavors, both professional and personal. Growing up in Erie, Pennsylvania, I pursued digital arts, participating in exhibitions and markets. Seeking more, I moved to Austin, Texas, in 2015, diving into diverse design jobs and artistic exploration. Despite success, I felt drawn back North and came to Lancaster City in 2021, finding an irreplaceable community. Over the past few years, I’ve reengaged in art vending, exhibited widely, and ventured into local retail, all while continuing my graphic design work.

The themes of my artwork haven’t really shifted too much over all these years and life changes; I love working with imagery and ideas that are perceived as dark or morbid, but I enjoy adding beauty and humor to them. I’ve always loved alternative cultures, styles, music, and more. Skulls and skeletons are prominent subjects in my work, and though I do branch out here and there, my work tends to gravitate around eerie aesthetics. It’s something you can really take and run with, be it with humor, fear, social commentary, or conveying life experiences, both happy and sad. I’ve always been the type of person to approach hardship with humor, and I think that makes sense for the work that I do and the visuals I find interesting. Things that seem a bit on the spookier side just seem to lend themselves to such a wide variety of interpretations that it’s hard to get bored working with them.

I’m really proud of the journey I’ve been on thus far, bumps in the road included, and I’m excited about what the next few years will bring. My goal is to be a self-sustaining art maker, 100%. Being in art shows, working markets, doing commissions, all of it, though hard work, makes me feel super accomplished. I can’t imagine a more fulfilling life path.

What can society do to ensure an environment that’s helpful to artists and creatives?

I believe that local support and involvement are crucial for positive cultural impact. Small businesses providing space for artists to showcase their work creates a mutually beneficial relationship. Establishments where people gather, like cafes, bars, or otherwise, are ideal venues for events featuring visual art and music. When businesses or organizations need new print advertisements, office interiors, or wish to host fundraisers, it’s imperative, in my opinion, that they engage creatives within their own community. This fosters trust, demonstrates pride in their locality, and reinvests money back into the community.

Outsourcing creative work to save money often sacrifices opportunities for local connections. Whether in a major metropolis or a small town, local officials should establish official art advisory boards to ensure proper funding for creative initiatives in every city’s budget. Gardens, murals, sculptures, interactive activities, and performances are essential for creating a sense of home in a city, and all require the expertise of local creatives, who should be compensated for their contributions.

I strongly oppose the notion of expecting artists to work for ‘exposure,’ especially in today’s economic climate where basic necessities are unaffordable. Fortunately, I see a gradual shift in this culture. Within creative communities themselves, inclusivity is paramount. I’ve encountered clique-like cultures and strict divisions between artists based on socioeconomic status or connections. Breaking down these barriers and judgments is crucial. We must embrace diversity within our creative circles, learning from each other’s unique perspectives and experiences. Each artist—whether queer, elderly, trans, black, from a small town or a big city, disabled, introverted, or extroverted, whatever—has valuable insights to offer. It would be a wasted opportunity for us to remain confined to our own circles.

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

I’ve experienced a lot of different types of pivots in life, both big and small. Moving across the country twice were major ones. It affected my friendships, family relationships, professional opportunities, all for better and for worse, like most significant changes. I think many creatives tend to make the most of these moments, as it forces us to go back to the drawing board, so to speak, and evaluate what we want out of our work and which paths we take.

During those pivots, though, it’s hard not to be tough on yourself. I’ve been laid off from work several times or have been searching for work in some capacity, and the truth is, the art profession is incredibly competitive. No matter how much work you put in or how much talent you have, you won’t always be the top choice. Sometimes you just have to take on something to keep a roof over your head. I’ve had my share of setbacks with design jobs, where I had to work in food or retail for a while. It’s hard not to feel like you’ve failed when things like that happen. But when they do, you have to buckle down and make the most of your time off the clock.

And it doesn’t have to be related to work either; I’ve experienced mental pivots too. Major depressive episodes have made it hard to even leave my home sometimes. I believe recovering from those things just takes life experience and a lot of trial and error. Sometimes, slow and steady really does win the race. When you’re a creative person with a desire to succeed and make your vision for success a reality, that drive tends to cloud your thinking. It’s easy to take on too many commitments, to be fighting too many deadlines, to suppress your panic or stress way down within yourself so you can get the job done. You can only go so far if you don’t learn to give yourself a certain amount of grace during those pivots.

Contact Info:

• Website: karleymiller.com
• Instagram: @artbykarleymiller
• Linkedin: www.linkedin.com/in/karleymiller/