“I draw, paint, sew, and make prints in my studio in Portland, Oregon … and I love to get email.” Betsy Walton is a woman after my own (and everyone else’s) heart! The quoted sentence is from Betsy’s short-but-sweet biography on her website. Who doesn’t love to get a nice e-mail?

There are oodles of folks out there who draw, paint, sew, and make prints; especially in Portland; so what makes Betsy special? If you have seen her work then you wouldn’t fathom asking that question. “I was hooked … on the soft vibrant color palettes she chooses, the dream-scapes she cleverly creates and the way her characters peek my imagination,” is what Jolayne of Urban Preschool had to say.

Along with running a successful Etsy.com store, Betsy Walton frequently features her work in gallery shows and most recently had her art mentioned on Domino Magazine’s website (#13). “I’ve always been interested in the ways art can have multi-layered meanings,” Betsy said to me during our interview. “I think my drawing style comes from both an aesthetic preference for clean lines and a reflection of my state of mind when I am working, which tends to be somewhat meditative and contemplative.”

Without furthur adieu, I share with you the intelligent and introspective interview I recently had with Betsy Walton. Read on for details about her casting off the shackles of cubicle life, what all those years in offices taught her, the joys of sewing, her connection with nature, meditative creation process, and what is coming up next.

I read online that you recently left behind your years of working in a cubicle to embrace your artistic side full-time. What types of work were you doing in offices these past few years? What does it feel like to finally be your own boss?

I went to art school at Milwaukee Institute of Art and Design with the intention of becoming a working artist. When I graduated, however, I wasn’t sure what direction to go. I needed a paycheck and I was curious about other fields; I ended up working for a financial services company in Milwaukee. It was a conservative, technical, and corporate environment. I was helping with a big two year software project. It was a challenging job and I got pretty hooked on the work we were doing. I eventually worked my way from a temp to regular full time employee.

That only lasted a little while though – I had an opportunity to move to Portland in the fall of 2002. The work I was doing in Milwaukee was satisfying on some levels, but it was missing the visual/creative aspects, so I knew it would not be a lifetime occupation for me.

When I moved to Portland, I started thinking about what I could do with the skills I had at the time. After a lot of brainstorming and research, I decided to open an online boutique, Morningcraft [which is now her homepage], which would specialize in merchandise produced by independent artists and designers. Morningcraft opened in November 2003. I learned a lot from curating the shop. I met some extremely talented artists and crafters. I also started to learn about all the other things that make a business run, from keeping customers happy to working with suppliers, contracts, taxes, bookkeeping … etc.

Morningcraft was a great experience and, overall, I’m happy with the results. Eventually, I got a little burned out though. I didn’t have much energy left over for my own creative work after taking care of the shop. I decided to go back and get a job where I could work while planning my next move. In 2004, I started working in the Admissions and Financial Aid office at Pacific Northwest College of Art. I wanted to get my life situated so that I could work on something that was more creatively fulfilling for me.

Over the summer of 2006, I finally started to see things coming together for me to be able to work full time as an artist. By this time, I had met and heard about so many amazing designers, illustrators, and artists that I finally started to be able to envision myself doing the creative work I loved as a career. I started working on my own in October 2006, [and] it’s shaping up to be one of the best decisions I’ve made.

As for being my own boss, this is the second time around for me. I really like running my own business – its challenging and rewarding and I have a lot of freedom to shape my career without feeling tied to the needs of a larger organization. My work in offices definitely helped me develop a sense of professionalism and an appreciation for what it takes to make businesses work.

Not much is reported about your creative background – have you had any professional training in illustration?

I earned a BFA from Milwaukee Institute of Art and Design in 2000. I majored in printmaking and took several drawing and painting courses there. My high school in Lawrence, Kansas had a great art program that laid the foundation for my interest in painting and drawing.

In addition to drawing, painting and making prints, I’ve heard that you like to sew as well. Do you ever turn your illustrations into actual crafty pieces? Do you have any hopes of adding handmade crafty pieces to your Etsy store?

My mother taught me to sew and took me to sewing classes. I remember making a pair of jams in sewing class. I sewed a lot for the Morningcraft shop. I enjoyed designing and making the goods.

I also made a couple of sewn sculptures and I can’t wait to make more. The first one I made was for a show in Milwaukee called Rust Spot. This was a really amazing group of artists including Kathryn E. Martin, Nate Page, JD Hooge, Shawn Stephany, Jeremy Wolf, Harvey Opgenorth and several others who collaborated on really interesting shows that were primarily installation-based. The shows were unique events that took place for one night only in raw warehouse spaces in Milwaukee’s Third Ward neighborhood.

The piece I made was a series of about 50 white forms ranging in size from about 3 inches to maybe 12 inches. The forms were vaguely figurative, and some were objects, for example there was a popsicle, and maybe some legs, among many other forms. I made them from an old white bed sheet and stuffed them with polyfill. The form of each element was made spontaneously when I cut it out. Many of them had holes somewhere in them so that they could be connected to form an infinite number of combinations. They were all laid out on an old green metal desk. Viewers were encouraged to fit the forms together like Lego’s or blocks to form their own sculptures. It was surprising to see how violently people tried to stuff them into each other. All the pieces were all super dirty afterwards. I put them through the wash and they turned out well. I now have them hanging in my studio.

The other piece that I made was called sprout. I made this to include in a show at Hive Modern in Portland. It was somewhat similar to the piece above. I made lots and lots of these leaf-ish shapes from all different fabrics in my collection. Each of these were stuffed with polyfill. I attached Velcro to the ends and then Velcro-ed it to a panel in a really tight configuration. The idea was inspired by grass. I have been dreaming of making a much larger version of this.

I think I will naturally turn back to sewing as a medium when the time is right.

Your works are often described as glimpses into a dream world, full of clean lines, color and layered shapes. What are your top 3 inspirations for your seemingly mismatched creations?

I’ve always been interested in the ways art can have multi-layered meanings. Lately, I’ve been working with symbols to try to create a scene of sorts in the image that is evocative of a state of mind or dynamic in the psyche. I imagine the image being a puzzle both for me and the viewer to try to interpret. I tend to be interested in what the viewer’s mind brings to the table in terms of associations and information that can illuminate the narrative of the image.

I look at the symbols I use as artifacts in our consciousness that come from contemporary everyday life or from our ancestral roots. I like to use layering to create visual interest and depth and to facilitate the illusion of a dream-state or imaginary space in the mind’s eye.

I’ve always loved drawing, it is just a really satisfying activity for me. I think my drawing style comes from both an aesthetic preference for clean lines and a reflection of my state of mind when I am working, which tends to be somewhat meditative and contemplative.

I also enjoy working with pattern. I like pattern because it is structured and it provides lots of opportunity both visually and conceptually in the image. To me, pattern references the underlying repetition and structures in nature, and I think that is why I find it so compelling. It’s almost like another character or symbol for me to work within the context of the image. In the broadest sense, my use of pattern reflects an interest in understanding how the universe fits together.

All the elements of nature figure prominently in your work; are you hoping to express a statement about our subconscious connections to our Mother Earth through your works?

I definitely work with the relationship between human consciousness and nature in my images. It is a such rich area for exploration. There are so many ways we impact nature and vice versa on so many levels: conscious, subconscious, physical, spiritual, etc. This is a big topic, and I think I am just at the beginning of engaging with it. At the moment I am particularly interested in the way our minds use natural elements to create meaning.

How would you describe your own work? Are they more illustrations or collage pieces?

I would describe my entire body of work as mixed media. The distinction can be a little fuzzy, but generally I consider my client work as illustration. Sometimes that can mean I make a collage or a painting, etc. Otherwise, I have my personal work. This work can be seen in galleries, or in my portfolio, or on Flickr. I try to post images of what I am working on pretty regularly on Flickr. As far as media goes, lately I flip back and forth between collage, painting and drawing as the spirit moves me.

Do you go through any sort of rituals or a planning process before beginning to create, or do you just sit down and give it a go?

It varies. I like a cup of tea and something to snack on while I am working. Sometimes I listen to music or old editions of Fresh Air, Studio 360 or This American Life. I tend to work best in the morning. I keep a sketchbook which I use from time to time to write ideas or draw little images really quickly.

When I am close to finishing a painting, I like to clean off my desk. It helps to reduce the visual clutter so I can see what is happening in the image with less distraction. I usually work on 2-3 images at once. If I reach a stopping point on one piece ,I can work on another piece and come back to it later.

As far as planning goes, I often get a little hint of an idea, often when I am not at my drawing table. Usually I try to carry that with me until I get back to drawing. Sometimes I have nothing, and I just have start with the blank page. I usually try not to wait for inspiration. I am more productive when I am consistent, and I often get inspired in the middle of a project. I usually just go step by step and paint what comes to mind until the image has a clear resolution. Sometimes there isn’t one, so I have lots of work that, to me, is not successful. Usually these pieces are instructive or inspirational in another way though, so I take a little something into the next piece.

The one thing I often plan is the size and quantity of images. This gives me a least some limits. Otherwise I just sit down and start working.

Living in what has been called the greenest city in the US, do you have any eco-conscious habits?

I’m definitely more aware of environmental issues. There is a lot of choice here in organic and sustainable products so it is relatively easy to integrate a green philosophy into daily life. I do the basics. I also recently moved my studio to my home, so I won’t have to commute.

Do you have any other nifty, secret projects in the works that you could hint at?

I’m hoping to have some new products on the market soon! I don’t want to reveal too much. I’ll be sure to let people know when the time is right.

[All images courtesy of Betsy Walton]