Artist Spotlight: Carrie Gillen

I think you'll really enjoy getting to know more about Carrie through this blog post—it’s inspiring to hear about her creative path,  process, and the ways she’s challenged herself to reach new heights in her work. You’ll get an inside look at her recent accomplishment, her creative inspirations, and how she’s overcome obstacles to pursue a full-time career as an artist.

I recently completed a series of some of my largest works to date. The Foundry Arts Center, located near where I live in St. Louis, commissioned three pieces as part of their year-long indoor mural program. They offer purchase awards for the project, and the works will stay on display in the space for a year. I really pushed myself in terms of both scale and style. The series includes two fabric diptychs and one sheetrock triptych. Before I began working with fabric twisting, which most people recognize, I explored a variety of materials in my art. It was really fun to get back into breaking sheetrock.

I can’t remember a time when I didn’t love making things, but turning that passion into ‘being an artist’ never felt entirely realistic. My grandmother was a figurative oil painter—more of a hobbyist, really—but incredibly talented, and she began teaching me at a young age. Even though I loved making art, I didn’t fully understand what it could look like as a career. While in school, I briefly ventured into the world of advertising, hoping to find a more practical way to apply my creativity. It turns out, I was a lousy ad person and, at best, a mediocre graphic designer.

I think all my work stems from a fascination with materials and exploring what I can make them do. I felt really limited by canvas, so I asked myself, What else can I use? I enjoy the physicality of creating paintings that require me to stretch, pull, and break. I prefer this type of mark-making over just painting on canvas. That said, I’m obsessed with color and color theory—its possibilities and nuances are limitless. Paint still plays a critical role in my work.

Fear. There are so many aspects of being an artist that feel vulnerable and unsteady: public criticism, frequent rejection, and financial struggle. I don’t know any successful artist who hasn’t spent years grappling with the tough parts of this work. We mostly see artists’ careers after they’ve reached a certain level of success, but I’d wager that most of us spend at least ten years in the early stages of our practice wondering: Why are we doing this? Why does it matter? This is hard.

I wish it were more inspiring, romantic, or something—but it’s truly not. Many days, I’m not inspired. I think my motivation comes from the habit of working. Occasionally, I’ll have an idea I feel compelled to bring to life, but more often, it’s just about going to the studio and getting started. Once I begin, those first steps usually guide me to the next. I don’t follow strict schedules or timelines because I love the freedom my practice provides. Sometimes, I’ll work from 9 a.m. to 5 p.m., and other times, I’ll arrive at 4 p.m. and stay in the studio until midnight. I suppose the common thread is that I consistently show up for the work.

The pandemic really pushed me toward making art full-time and trying to exhibit and sell my work more regularly. I had been working part-time as a set designer/builder, but that work, along with all my planned exhibitions, pretty much disappeared that year. I was left with a studio full of artwork and nowhere for it to go. So, I started an online auction of my available work through Instagram, with proceeds going to benefit local businesses and nonprofits in my town that were struggling in the early months of the pandemic. The response truly surprised me. That year, I continued to grow and connect with people online, and I became more comfortable sharing my art in this way. Before long, I could see the possibilities of being a full-time artist.

This question almost feels unfair—the whole roster is chock-full of inventors, color wizards, and truly the most joyful collection of artwork. Since I’m an absolute sucker for sculpture, I have to mention Rebecca Stern and Paige Barnes Dorsey. I love a textured canvas, and Rebecca’s focus on form is truly dreamy. And I never knew I needed a floral ceramic snake on my shelf, but Paige’s snakes definitely changed that. I’m saving my pennies!

If you haven't seen them already, Carrie’s pieces are truly awe-inspiring in person, and she’ll be unveiling new work at our Abstract Expressionist Show on December 6th. Join Carrie’s Presale List for first dibs!