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

Hi Pete, thanks for joining us today. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.

I loved my career in engineering and product development, and over the years, rose to being the CEO of a global company that made computer ergonomic devices- something to be proud of. And as CEO, of course compensation was very good. The job had recently become very stressful, and I had planned to retire in three years, but after a surprise return of cancer, I decided that I was going to take that as a sign, and quit immediately to pursue my passion- making metal sculptures.

While the financial risk was moderate, I still had to leave everything- my career, my work friends, my networking group, etc. But the upside was the ability to go do something I had no experience with, meet all new people, start my own business, and live an artist’s life. Lots of people were surprised, and I was met with a mixed level of appreciation and support.

In retrospect, I see that I had an inflated sense of my talents, and underscoped the difficulty I would have selling my creations. The early days of my new creative career were not the freewheeling artistic life I had envisioned, rather I spent my time figuring out how to start a business, create a web site, and begin selling some of the sculpture i had already made.

5 years later, I am now recognized regionally as a legitimate public artist, with works placed around the region, and a strong network of artists that I value. But that is only because I continuously failed and failed and failed. Weak sculptures, no marketing path, a naive view of how much dealers would need to take, and a lack of basic skills like how to find public art opportunities, how to use CAD and design tools to create professional proposals, etc. But I continued to recognize each weakness, and take classes, research online, practice, and talk to colleagues to refine my skills. And I am not yet done.

My view of my own work, is that I make very unique and well made sculptures that very few people will buy. A success? I don’t know. A happy person- for sure. Would I do it again- yes but….. And the but is that I would be more realistic about how long it would take and how much talent would be required in so many areas before starting the business.

So…advice to someone looking to take a risk? First of all, financial security is a personal thing, but do not risk your families happiness for your own. If you do a full analysis of what it really takes, and/or have a sound backup plan, then go! But consider what will happen if you cannot generate the revenue you hope, because that could happen. And what is the most likely outcome is that you can generate revenue, but it will take much longer than you had hoped. Can you live with it?

And second, make sure you have skills (or a partner with the skills) in all the key areas you need- financial, tax, web, design, marketing, selling, etc. And continually refine your skills in all these areas as you mature your plan.

Pete, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I make large scale public sculptures and commissioned sculptures for midwest region people, cities, and businesses. My business operates under the name Metalcrafters LLC. I have a web site, www.metalcraftersus.com, and an email metalcrafters [email protected], and a Facebook site @MetalcraftersUS. These all provide some modest connection to customers, but more importantly, provide background and context for my work for prospective public art customers and referred commissions. As such, it is a fairly cheap and simple approach that works moderately well, and has kept me as busy as I would like to be for 5 years.

My greatest pleasure is seeing people fall in love with a public art work. The one that has received the most attention so far is “Bear in 16,000 Nails”, a life sized back bear with a nail coat, Lake Superior Agate eyes, rifle shell casings for claws. People love it and cannot keep their fingers from touching it. Very fun. I’ve wanted to create something even better, and just recently released “Woody the Moose, a Different Kind of Topiary”. Several early viewers have said it is the best yet.

Looking back, are there any resources you wish you knew about earlier in your creative journey?

Every large city has a huge resource of experts in almost every area, but you may not yet know them. I learned to weld and create metal art from the Chicago Avenue Fire Arts Center in Minneapolis. (Interesting backstory is that George Floyd was killed in front of CAFAC, and it now is a central focus for Minneapolis and the neighborhood) I had never heard of them before that, and by luck found them on a web search. They are know close colleagues, friends, and I serve on their board.

Look for help everywhere- web, colleagues etc. Youtube is great, but don’t let that be your only place to learn- some of it is garbage. Find experts, take classes, seek mentorship. Spend time on the things you are not in love with so they do not detract from the important things.

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

My views are developing in this area, but overall, I think that much of the support should come as public art funding for art works reflecting critical societal issues, diversity and inclusion, equity, justice.

Contact Info:

• Website: www.metalcraftersus.com
• Facebook: @metalcraftersus
• Linkedin: Pete Segar

Image Credits
Pete Segar