We recently connected with Margaret Shipman and have shared our conversation below.

Alright, Margaret thanks for taking the time to share your stories and insights with us today. Are you able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen?

Yes, I now earn an income as a full-time artist that is comparable to my last full-time job. Every now and then I’ll remember that this is my real job now and I’ll have a moment of panic. I’ll think, “Am I really making this work?” And after a moment of assessing it I confirm to myself that it is working and everything is okay. I have much further that I want to take this, but I’m so grateful and amazed that my time is spent making and marketing my own work.

My life as an artist didn’t start this way however. For over a decade, I worked part-time, staying home with my son after he was born and dedicating every spare moment to my art practice. I moved my easel into a corner of the kitchen and if I had ten minutes between household tasks, I would spend them painting. I spent years painting like this without actively trying to sell or exhibit much. Instead, I focused on experimentation and learning. I made plenty of bad art alongside some decent work, but I set aside the pieces I was proud of and dove deeper into the parts of the process that resonated with me. Over time, I became more intentional about what I was painting and why. I noticed recurring themes, which led me to further research and, ultimately, a deeper connection to my subject matter.

Once I had a body of work I felt proud of, I started applying to juried shows, local grants, and residency programs. While I received some positive feedback, I also faced a lot of rejection, which set me back emotionally. It forced me to confront the reality that my work might not appeal to the traditional spaces I was aiming for.

Even though those rejections were difficult, I still believed in the value of my work. I realized I needed to find the right audience rather than try to fit into the wrong ones. Eventually, I found my audience at art festivals.

Two years ago, I attended a high-end art festival with my husband, who was interested in seeing a client’s work there. It was an inspiring event, filled with artists whose work I felt was on par with mine. I also bumped into friends who encouraged me to apply for the next year. That experience changed everything. I applied and was accepted into some of the most respected art festivals in the area. With a full schedule, I left my part-time job and threw myself into my art full-time. I built a booth, gave the festival circuit a try, and began selling the work I had been accumulating over the years.

Now in my second year as a full-time artist, I’ve added a presence at three galleries to my efforts. All of my various endeavors have allowed me to cover my expenses and make a profit, and I’m continuing to grow both creatively and professionally.

Margaret, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I’m a painter whose work is deeply rooted in the natural world, particularly wildflowers and herbs. My art draws inspiration from 19th-century botanical illustration, as well as elements of mandalas and landscapes. What sets my paintings apart is my interest in the stories behind the plants I paint—their historical uses, folklore, and the deep connections our ancestors had with them.

When I paint a plant, I also immerse myself in research. I read about the plant’s role in folklore, the music it has inspired, and the medicinal qualities it holds. These insights often find their way into my artwork in the form of text integrated directly into the painting. My goal is to capture the wild essence of the flowers and herbs and to convey the energy each plant embodies. I aim for my paintings to be something viewers can keep discovering each time they look, finding new details and layers of meaning.

I primarily work with oil on canvas, but I also experiment by incorporating oil on paper, vintage photography, and fabric into my paintings as collage elements. This adds another layer of texture and depth to my work.

I am trying for a fusion of art and storytelling in my paintings. By combining visual beauty with rich historical context, I hope to inspire a deeper appreciation for the natural world and our connection to it. I’m especially proud of how my work honors both the aesthetic and the cultural significance of the plants I paint.

For potential collectors or followers of my work, I want them to know that my paintings aren’t just about decoration—they are about connecting to something deeper. I aim to create pieces that resonate on both an emotional and intellectual level, offering beauty, history, and a bit of the wildness of nature to the spaces they inhabit.

Is there a particular goal or mission driving your creative journey?

In addition to my passion for painting and learning about wild plants and the folklore surrounding them – and deepening my own connection to nature, I have a goal to never again have a job where my time is controlled by someone else.

I experience pure joy in the challenges, successes, and even failures of my time painting. I direct where my energy is best spent every day. I make the decisions about where my financial resources should go and, even though its scary to be the one making all of the decisions, it is exhilarating to try something and see what happens.

Going deeper into research on the topics that interest me and experimenting with my paintings is a thrill and there is no one directing me. For someone who has had a lot of problems with self confidence, seeing my efforts succeed is healing and empowering.

Doing whatever it takes to keep this freedom is certainly a large part of my mission.

How can we best help foster a strong, supportive environment for artists and creatives?

Normalize buying art. In my view, the best way society can support artists and foster a thriving creative ecosystem is by actively seeking out and engaging with local artists. Their work is often right in front of us—hanging in local cafés, libraries, and at community markets. Find an artist whose work resonates with you and buy it. There’s a misconception that only certain types of people can or should buy art. Don’t fall for that—it’s not just for elites.

Instead of purchasing mass-produced, soulless prints from department stores, consider investing in original art created by someone who is experimenting, taking risks, and putting themselves out there for all to see. The cost of original art might be a little higher than factory-made pieces, but often, it’s not by much—and sometimes it’s even less. Plus, your purchase could be the encouragement an artist needs to keep creating. You’ll also gain something truly special, made by human hands, which carries a unique energy you can feel when you hold it.

Don’t buy into the narrative that all good art is expensive. The pieces being auctioned for astronomical sums in New York are only a tiny fraction of the art world. Most art is much more accessible, and supporting local artists helps sustain creativity within your own community.

Contact Info:

• Website: https://www.margaretshipmanart.com/
• Instagram: https://www.instagram.com/margaret.shipman.art/?next=%2F
• Facebook: https://www.facebook.com/MargaretShipmanArt
• Linkedin: https://www.linkedin.com/in/margaret-shipman-1618b398/