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

Alright, Reginald thanks for taking the time to share your stories and insights with us today. If you’re open to it, can you talk to us about the best (or worst) investment you’ve made. What’s the backstory and the relevant context behind why you made the investment?

I believe the best investment I ever made was in myself. I worked in corporate America for many years, while simultaneously forging a career as a visual artist. As with any job, they offered a 401 as incentives to gain my employ. In that investment scenario, my money is being managed by entities unknown to me, and the investments are volatile and subject to market conditions that can negatively impact my return. I invested nominally in their program, but I invested heavily in art supplies.

I realized a long time ago that there is not a stock, mutual fund, real estate investment or anything else that is capable of getting the return I am capable of getting by investing in art materials, for the purpose of creating and selling my original art. Respectfully, at this point in my career I can take a $30 on-sale 48×60 canvas and turn it into an $8000 to $10,000 painting in one day. Find me a stock that can do that, and I’ll invest. Well, I did. I am that stock.

My salary from corporate America allowed me to pay all of my financial obligations, and sales from my art proceeds all went back into materials to create more art. My ex-wife once asked me, “Why are you constantly painting and creating so much art, and you haven’t sold what you have?” I told her that every time I create a work of art, it is the equivalent of putting a deposit in the bank. I don’t need the money now. I know at some point I will be able to withdraw it, and the longer it “seasons” the more valuable it will be when it is time to withdraw via sales. This strategy has been successful.

I lost my job due to the pandemic in September 2020. When I got a call from my manager telling me that my position had been eliminated, my demeanor had an eerie calm. I logged off and immediately went to my studio and started painting, wholly unscathed by the loss of a job that paid me well. I knew that it was time to maximize the investment I made in myself, and two years later I am thriving.

This mentality forged my idea of educating, marketing and promoting my art to collectors as a viable addition to their financial portfolios. It also spawned my idea to create “Artmodity” ™ , which I trademarked as an expression for what original art represents. My mission is to market original art as the commodity it rightfully is.

Art is no different than most commodities, except it is less volatile, not tied to market fluctuations and typically appreciates at 8% each year. Art is an investment you can enjoy aesthetically as it adorns your walls, yet it still has value like any other portfolio asset. Investing in art is a safe haven from the current stock fluctuations and burgeoning losses many have experienced. As the artist, I am figuratively “the stock” they are investing in.

While I never considered myself a gambler, I took a bet on myself early on. I never wavered from my long-term goal of allowing my art to financially support me during my “retirement” years. The investment I made in myself has by far been the best investment I ever made.

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

After living in Chicago all of my life, I moved to Atlanta at the age of 24. Art was not a part of my life, not even a remote idea. When I witnessed my first Fall in Atlanta, I saw colors I had never seen before, and it prompted my desire to paint landscapes. My foray as an artist started as a hobbyist painting landscapes, ala Bob Ross style. It didn’t take long for me to get proficient in landscapes. To break the monotony of making them realistic, they started taking on an abstract look.

I started creating abstracts mostly using organic and geometric shapes. I later enhanced each figure with details and what came to be is what I now term my “DNA” art style, which is what most people recognize as my main art form. My art took on a life of its own after I was invited to exhibit in a few small, local galleries. Over the years my art career has blossomed into something I could never imagine, hence a 2021 triptych titled, “Things Beyond My Dreams”.

Early on I was very much against being recognized for a single art style. I deemed that self-limiting due to the vast array of ideas I had for future works in various mediums. During a juried group exhibit/artist market, after viewing my set-up of landscapes, abstracts, pastels, art furniture etc. I was asked by juror Dr. Larry Walker, (Kara Walker’s Dad)”When people think of Reginald Laurent’s art, what image do you think comes to mind?” I told him I didn’t know. He said, “Exactly, you’re confusing people.” He then asked me to follow him to the gallery where the juried works hung. I discovered that he had just placed a 2nd place ribbon on my 48×60 piece, “Mental Menagerie”. I was in awe! He told me, “This is your art. This is you. This is uniquely yours and what you should pursue”. It was the best advice I ever received.

I had a solidified art style that was recognizable and branded, but I wasn’t smart enough to realize the value in having that brand recognition. Based on Larry’s advice, I started painting large DNA series works exclusively and garnered several successful solo exhibits and the sales and attention they garner. My DNA series is by far my main road in art, but fortunately at this point in in my career, the “side streets” of mixed media works I create have been fully embraced and collected.

I have two distinct art voices, both stemming from places I lived. My DNA series is my Chicago voice. It is bold, colorful, energetic and laden with detail. It forces your eyes to dart from place to place and these works are an amalgamation of color and energy like the city I grew up in. These works are an exaggerated product of “doodles” I did as a child, hence why I call it my DNA style. I had the seed for art implanted in my soul as a child, however the hard streets of Chicago did not provide what it needed to grow. A seed can’t grow on concrete. I needed the rich, fertile Georgia soil for my “artistic” seed to take root, and it did. This style now extends to paper collages and wooden assemblages as well.

My palette knife renderings stem from my “Georgia” voice where nature influences the strokes, colors and balance that create a soft, quiet, inviting visual retreat. In this style the freedom of blending colors, adding texture and placement of my strokes is a stark contrast to the mechanical detail the DNA series works require. These works are calm, draw you in and allow your thoughts to provide the narrative.

The things that I am most proud of as an artist, and the things that feeds my soul are the Zoom sessions I have with schools all across the USA and beyond. This is my unintended legacy, and it fuels my desire to motivate children to create. Through art I am fulfilling my passion and purpose. I could not have planned this phenomenon as it occurred in a very organic way. One day a teacher who liked my art sent me an email and asked if I could Skype with her class. I complied and the rest is history.

My DNA style is created with geometric and organic shapes, the foundation for all art, and where most elementary teachers start teaching their students. I offer informative and informative/interactive sessions where we create my DNA style together in a paper collage format. Last year alone I interacted with over 28 schools and touched the lives of 15,000 students. I view this as my true legacy, and it ranks over and above being in museum and private collections.

I believe the relationship I have with teachers sets me apart from other artists and gives me a platform most artists don’t have access to. I never wanted to emulate someone else’s success because every artist’s journey is different. I absolutely love the successes some of my contemporaries are experiencing. However, I like my journey, and it does not have to conform to the status quo template of how an artist becomes successful because I never gauged my success in monetary terms or by acquisitions.

I realize that I am but a vessel who holds the brush. In many ways, since I am God led (not self-taught) I am a silent partner in the process. I want my collectors to know that when they acquire a work of art, they have made a sound investment. I want everyone to know that above all else creating art is the most important thing, and anything it provides is ancillary. Inspiring and motivating children to create is my true soul food, and it feeds me in a way money can’t. I create work without the benefit of knowing where it will live after I create it. It doesn’t matter. As long as I do my part, which is to create, God handles all of my business and provides me the opportunities to show and sell my work.

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

After losing my well-paying job due to the pandemic in September 2020, I had to transition from a lifetime of biweekly direct deposits to the stark reality of needing art to fully support me. I had to forego the stability a regular job provides, even when it’s not what you’re worth. Instead of 100% of the funds from art sales going back into materials, the sales now had to replace an 85K a year income.

I have always been business minded and customer service oriented. Getting geared up to be a full-time artist meant approaching my art like any other job. I wake up and handle all administrative functions before heading to the studio. Applying for public commissions, grants, shows etc. are all part of what a fulltime artist has to do to stay relevant. I had to ramp up my social media presence and I also formed Laurent Originals, LLC. I increased my availability for Zoom sessions to provide additional revenue, which definitely helps. Due to Black history month, I am usually booked solid in February and March.

I work every day, but it never feels like work. I simply do everything necessary to be a viable, successful artist. As a sole proprietor, I don’t have any help, so being organized and intentional is key. This also includes going to other art openings, being seen and self-promoting at every opportunity.

I have had to make family and friends understand that when I am in the studio, I am working. They deem it as a “job” where I can do what I want, whenever I want, but that’s not the case. I am wholly accountable to myself in a way I never had to be. Most days I am in my studio for 8 to 12 hours. Once you get to the point where you have to personally generate every dollar to survive from art sales, the game, your demeanor, everything changes.

How did you put together the initial capital you needed to start your business?

I knew early on while in corporate America that at some point I would transition to art full time. In lieu of maximizing my 401K contributions, I invested heavily in in art materials, hence investing in myself. After over 20 years of exhibiting, selling and creating extensive inventory, what I currently have amassed in my “vault” is conservatively valued in the high six-figures. Two of the works I have created have prices that exceed $100,000. As long as it sells steadily, I will be fine

After losing my job, investments in my lackluster, tanking stocks were sold and parlayed into materials, which allowed me to create inventory valued in excess of ten times my withdrawals. I have provided everything I needed to thrive, mostly because I invested in myself for so many years and had a good head start. I wasn’t as motivated to sell my work when I had a job. I didn’t need the income. I always felt that if I held out, the work would be worth more, and that has paid dividends as my value has increased.

A few investors (collectors) have offered to help me, but I feel that I am better of being wholly independent and self-supportive for now. I like being accountable to myself. Art is tricky and finicky, and I like the security of knowing that the risk is 100% mine, and so are the rewards.

Contact Info:

• Website: www.laurentoriginals.com
• Instagram: Laurentoriginals
• Facebook: Laurent Originals

Image Credits
All images provided by artist.