THE INSPIRATION PLACE PODCAST
Miriam Schulman:
Well, Hey there, my friend, this is Miriam Schulman and you’re listening to episode 162 of the Inspiration Place Podcast. I am so grateful that you’re here.
Today, we’re talking to a installation artist who sold out her sculptural collection in 2020. You’re going to love all of her juicy tips. Today’s guest is a Brazilian artist originally from Rio de Janeiro, who is now based in New York. She’s sculptor and a multimedia artist working in glass, ceramics and photography. Her work speaks to archetypical themes of life, death, love violence, and ambition. Her visual language is universal and a motor vehicle for all that cannot be articulated through words. This artist sees her sculpture as snapshots of the mind and soul at a particular point in time. Her work is humanist, often relating to the body, or the absence of the body. The ceramic, metal and glassworks grapple with global issues that spark strong emotions.
Please welcome to The Inspiration Place, Simone Kestelman. Well hey there, Simone, welcome to the show.
Simone Kestelman:
Hi. So, thank you for having me and including me. I can’t tell you how thankful I am to be here. This is my first experience in podcast and as an artist, I really like to be at my studio and I love to create. So, I’m happy to be here with you today to share a bit of myself with all those people.
Miriam Schulman:
My listeners don’t know, I know Simone in real life and I’ve been to her amazing studio and I’ve seen her amazing art. I can’t wait to bring this conversation to everyone. So, let’s talk about your incredible artwork. A lot of it is very much installation based. Would you say that’s true?
Simone Kestelman:
Yeah. So, I’m not a business woman, I am an artist. So, I use my medias to create works of art that exist somewhere between reality and fantasy. I use beauty and lightness to encourage people to face their relationships with love, life, fear of death and sadness, betrayal, all life things, everything that happens to us. I use fragile materials when a sturdiness is expected, to remind that we don’t always know what is resilient until it’s put under pressure. One of my famous artwork that I made in Brazil before I left, I showed in a big museum, they are called mobi museums, a Brazilian Museum of Sculpture. I had a series that I was using to remind everyone that we should protect those who are helpless.
So, [foreign language 00:03:53] in Portuguese means lullabies, the music that we used sing for our kids when they’re young. So, what I did, I got seven lullabies and I connected those lullabies to violence against children. This series presents real size of little girl’s ceramic dress put together with other symbolic elements of violence. This could throw us into a world of brutality against those children. The seven installation came together with three other installations. So, total was 10 plus the mural. The main entrance was a cage with a dress. That’s me. When I feel myself when I was young, because my father used to keep us protected, but he overprotected us.
Miriam Schulman:
What comes to mind is, there’s the book, The Memory Keeper’s Daughter, where they have on the cover, all you see, and maybe you’re not familiar with the book, but on the cover, all you have is that white christening dress with nothing in it. And that dress by itself, is such a powerful symbol, because the human element isn’t there and the absence of the human element actually brings more attention-
Simone Kestelman:
Mm-hmm (affirmative).
Miriam Schulman:
To the person who would occupy that dress. And the same experience is what I have with your work, with the dress and the cage. To me, and I’m not sure if these are some of the things you may have shared with me, and I just don’t remember you telling me, or if these are things that I actually [crosstalk 00:05:36]. To me, the femininity is our cage, what we put on to be women, is part of what is trapping us. And so, having the dress without the person, it actually calls more attention to the person, and then it can be anybody in that dress-
Simone Kestelman:
Yes.
Miriam Schulman:
It makes it feel very universal.
Simone Kestelman:
Yeah.
Miriam Schulman:
Would you like to say more about that? And please correct me when I-
Simone Kestelman:
Yes. [crosstalk 00:06:03].
Miriam Schulman:
Totally misinterpreted your art. Okay.
Simone Kestelman:
No, you’re perfect. That was the idea. So, I’m very emotional when I talk about my work. I never had any problem in my childhood. People think that I talk about this, because I had, but I did not have. You can put yourself in that place and feel whatever you need to feel to overcome, or to understand. The emptiness was to be filled with something.
I never read this book, but might be a book that I would love to read. What it said is exactly what I would like to show. So, all my dresses was made of ceram and I used my daughter’s dress to make them, so they are real-size dresses. I hung them in a way that people could see a girl in there. That’s perfect, what you said, and those emptiness of the dress to recall objects. And at the same time, to compel us to fill them with the consciousness of the pain of no being. So, when you can feel that pain, so then you can overcome. And that’s why I create this art piece, is that if a pain, or if a violence could inspire someone, because I don’t feel that inspired me. That was the way that I found to scream for people that can’t scream. I could get the point that I was looking for. So…
Miriam Schulman:
And as women, we don’t have to have had experienced violence in our life to feel the trappings of what it is to go through life, where you may not have… It’s that invisible cage that is around us. Whether it’s because, there are true things holding us back, or we’ve socialized ourselves-
Simone Kestelman:
Mm-hmm (affirmative).
Miriam Schulman:
To be small, to be quiet, to not take up space, to not make as many waves in the world, because women have been taught, and this is across cultures, to be quiet, to be small.
Simone Kestelman:
Uh-huh (affirmative). I don’t know if I mentioned to you, one of the installations that is not the seven, the seven lullabies. For this one, I had no lullaby, because I made a pile of shoes that reminds people about Holocaust, but it was not about that. There is a anchor that once she went to India and she posted a picture, that picture hurt myself. I thought about this work almost every day, but I made that after two year after she posted that image. That was a garbage for kids when they don’t want to have them. They’re pregnant, but if it’s a girl and they don’t want to have a girl, they can dispose of them alive. And at the end of the day, they fire them. They burn them. So, that hurts me.
So, I cried for a month and I cried a lot when I was making my sculpture, I called Undesired. So, the pile of girls’ shoes is about the girls that are not desired. People don’t don’t want them, just because they’re girls. So, I got a prize from United Nations in 2013 as the Artist Activist of The Year, because of this sculpture. And I was invited show in China, but they blocked me, because they don’t want to show this there.
Miriam Schulman:
Because, that’s where it’s a bigger problem, [crosstalk 00:09:43]. The girls that people don’t want, who end up get getting adopted by-
Simone Kestelman:
Yeah. And at the end, I think, you know what, I had a collector that wants to buy, but I didn’t sell any of this collection, because this work that I made is not to be sell. This work, I made to show for people. And I showed this in a lot of places in the US. Since I arrived, I had a lot of shows in museums and also in other places. In galleries and schools about Cantigas. Maybe, one day I will sell, but not now, because I want to show. And when you sell to some collector, then they keep them, they don’t want to show them. So, that’s why I decide to have this special one to show.
So, after that, I create Invisible. When I arrive to US, I continued to do that, to talk about other things that I am seeing, or feeling. So, I create an exhibition called Invisible, comprised by pieces made of ceramic, also glass and metal. Depicts of the way in which human emotion can sometimes seem almost supernatural. Occasionally, DéMonique manifest themselves. So, I use a lot of razors. I used barb wires. I used knives, I use everything that hurts. Sometimes hurts more, not the element, but those people that are feeling that. So, the words also, sometimes the words can hurt you more than everything.
Invisible was focused on what happens for those who have locked away, or shut their emotions. The piece of Invisible also captures barrier we manufacture and protect our bodies. So, that’s why I use a lot of razor blades. Because, for me, I’m addicted to razor blades, because my mom never allowed me to play with razor blades, not today, but the razor blades have been using. And sometimes for hurt ourselves, we don’t know. Sometimes, we don’t know how to overcome. And then, sometimes if you hurt yourself, you feel less pain that you are feeling. You know what I mean? The pain is higher than the pain you are feeling inside.
Miriam Schulman:
You’re referring to women and perhaps not just women who cut themselves to-
Simone Kestelman:
Mm-hmm (affirmative), yeah.
Miriam Schulman:
To alleviate the emotional pain by feeling a physical pain that may be-
Simone Kestelman:
Yes.
Miriam Schulman:
Greater than the emotional pain.
Simone Kestelman:
The emotional pain, yes. I’m so addicted to razor blades, that I have a six feet tall razor blade in my home. It’s like, for me, it’s like a protection.
Miriam Schulman:
When you say you’re addicted to razor blades, do you mean you’re addicted to the icon of the razor blade? You’re not saying that you cut yourself, right?
Simone Kestelman:
No, no, [crosstalk 00:12:41].
Miriam Schulman:
I just wanted to make sure that’s clear. Okay.
Simone Kestelman:
I’m addicted to-
Miriam Schulman:
Representing it in your art.
Simone Kestelman:
Yeah, because my mama never allowed me to play. I know this like five years ago, because she got hurt by a razor blade in a park kids’ place, in a see-saw. She told me when she saw, because I made a see-saw full of razor blades inside the glass. My goal in this collection Invisible, was to encourage viewers to face the fault structures that contain, or restrain, our emotions, if you understand me. Sometimes, repairing older ones, grow easier and healing from the trauma and may become more bearable. And I have it in my website, the sculptures, you can understand what I’m saying.
Miriam Schulman:
Okay. So, I have a couple very important questions, because I want to understand your inspiration.
Simone Kestelman:
Okay.
Miriam Schulman:
So, let’s use the razor blade as an example, what comes first for you? The icon of the razor blade? And then, making meaning out of all those things? Or, is it the meaning that you want to convey? And then, the razor blade comes to mind. What is your process with-
Simone Kestelman:
Yeah.
Miriam Schulman:
Your inspiration and communicating that idea?
Simone Kestelman:
I have to tell you, I never sketch any of my works. I don’t know what happens. I go to my studio with an idea and suddenly the idea change and I have a completely different work. So, sometimes I feel that someone is working through me. I have this feeling. As an artist, I know a lot of artists, if they are hearing me now, they’re going to say, “That’s me. Oh my God.” Because, I used to talk about that with other artists. And they say, “Simone, I feel the same.” So-
Miriam Schulman:
The Greeks had a word for this. It’s the way they talk about the muses. And that’s because it’s a phenomenon that a lot of artists feel that we-
Simone Kestelman:
Yeah.
Miriam Schulman:
Just being channeled. And I know with myself personally, when I’m able to turn off my conscious brain, which is why I like to actually distract myself when I do my art, I’ll listen to a podcast, something that’s completely different. And I might look up, and it’s like, “Oh, I did that? I don’t remember doing this.” [crosstalk 00:14:59].
Simone Kestelman:
Yeah, that’s true. Once I had this museum show, and they said, “Oh, Simone, we need your sketchbook to show.” And I said, “What? Sketchbook? I don’t have that.” “Oh, how you make your process? How you create everything?” And I said, “Oh, it comes from my mind, I think and I make everything. I don’t sketch them.” And then, I had to create a sketchbook to show, during the exhibition. Because, I didn’t have, so my response for you is that, I don’t have what comes first. Sometimes, I think about, “Oh, I’m going to make a stool with razor blades.” And at the end, I have something different, especially when I’m sculpting, when I have clay and tools in my hand, nothing that I think comes the way I want, it doesn’t come the way of thought, it’s different. So, it’s good, because I’m healing myself and I’m helping other people to heal themselves. It’s nice.
Miriam Schulman:
That’s beautiful. Okay, so I do want to talk about how you do sell and market your pieces. Because, now you are a self-representing artist and a lot of my listeners are as well.
Simone Kestelman:
Uh-huh (affirmative).
Miriam Schulman:
But, before we get there, I do want to talk more about one of my favorite installations of yours, which is the Pearl Necklace piece. Let’s talk about that.
Simone Kestelman:
Okay. So, the Pearl Necklace. Before Marilyn Monroe, the best friend of a woman was pearl. Coco Chanel, for example, why she used pearls in her collection? She used to have Pearls, because she used to wear a pearl necklace that she received as a gift, because she was a mistress. So, he gave to her a pearl necklace and she used to wear that. That’s why she made collection based on pearls, because to match with her pearls necklace. For me, pearls are very special, because somehow a pearl is a protection. The shell creates to protect herself from something that get into her. I create that pearl necklace, because I was always thinking about my husband, the first thing that he gave to me, was a pearl necklace. So, I’m wearing pearls now.
So, I love pearls and I think pearls is very unique, because beside they can make them, if you think about the real pearls, the real ones that comes from the shells, that they’re not doing anything different to make that, each one is different. So, it’s hard for you to match colors, match size, match sometimes, even if they are more round, more different. So, I create this pearl necklace to show my love to my husband, to show how much I love him and how much he’s important for me in the relationship, the marriage and everything that came after that. My kids, everything we have together.
Miriam Schulman:
So, let me describe it for our listeners who have not seen it. And Simone, if you have a picture of the installation, if you can send it to us, then we can include that on the show notes.
Simone Kestelman:
Okay, I will.
Miriam Schulman:
Pearl necklace, we know what a regular pearl necklace is, but these pearl necklaces, each pearl, it’s almost the size of a bowling ball. I would say-
Simone Kestelman:
Yup, eight inches.
Miriam Schulman:
Eight inches. So, each pearl is eight inches. And what Simone has done in the installation, is they’re usually hanging from a tree branch and the pearl necklace spills into the yard. The pearl necklace is also often broken, with some of those pearls loose from the rest of the chain. So, that begs a lot of questions about why you made those specific choices.
Simone Kestelman:
Yeah.
Miriam Schulman:
Why put it in a tree? Why have it broken? What do each of those pearl beads then represent? That have come loose from that chain.
Simone Kestelman:
Yeah, I made that first time I installed in front of my home. Then, I moved to the Chase Park, where we live there. There, I had to put together, I had problems in my home, because people that used to come take pictures and stop and kids used to play with the balls. So, then I decide to put them together. But, the seven balls, like my lucky number and everything I do, you can see in count, I have on number seven. So, it represents everything that attached me to my life and to my [foreign language 00:19:35]. So, I have seven pearls, then attached to the seven pearls, about love, endearment, rest, creation, blessing females and brides. So, it’s about this. It’s about the relationship, it’s about love, it’s about feelings, it’s about everything that is inside myself. But then, I put them together, because the kids were playing. But, it’s about that.
I made a play when the people stop, they understand that’s just not a strain. It’s much bigger than that, for me. Sometimes, art is like that. Some people see differently. And that’s the idea. My idea was to having a piece of art that I could show my happiness to be with my husband and my family, but for the people, they see it differently. So, my neighbor, she said, I used to come to the pearl necklace to pray, because my mom passed away two months before you installed the pearl necklace. So for me, she sent that pearl necklace close to me, to remind me that she’s still watching me. So, you see differently. She didn’t see a relationship of a husband and wife. She see a relationship between her and her mother. So, that makes me extremely happy, because I never thought about someone is coming to my pearls just to talk to her mom. And she said, “I used to come.” Now, that she told me, I used to see her there. So, it’s interesting.
Miriam Schulman:
It’s so amazing how our art takes on these meanings for other people. And I’m wondering if this person who was seeing art, did she have a connection to Catholicism and rose… What’s it called? Rose… Now, I’m showing my Jewishness. What are the beads that Catholics pray with?
Simone Kestelman:
Ah, I know. Yeah, I don’t know. [foreign language 00:21:35]. In Portuguese, it’s [foreign language 00:21:37].
Miriam Schulman:
Okay.
Simone Kestelman:
You count a count, and then I don’t know. I’m Jewish, I’m converted, but I never pray in [foreign language 00:21:46]. So, my mom knows everything, I don’t. I’m much more Jewish than Catholic.
Miriam Schulman:
Yeah. So, I’m wondering, if for that person, that’s what also had…
Simone Kestelman:
Uh-huh (affirmative).
Miriam Schulman:
Why it brought on a religious, prayerful state for her, was because of the connotation with the beads?
Simone Kestelman:
You know that, after the Invisible that I had, that show in my gallery, March 7th. Then, we have the lockdown on March 9th. So, after that I thought about, “Oh my God, what am I going to do?” Now, I have a space. I have my studio. I can work perfectly by myself, because I love to work by myself. And then, I decide to create something outdoor, because everybody loves the pearls. Everybody loves the balls that I have outside that is about the beginning of life. So, I also have seven big balls outside my home. So, then I create the show that I call Resiliart, because people used to come and drive by my home and stop by, because that’s the only thing that we could do, walk outdoor. And then, they say, “Oh, I love to stop here. I love to see this. I love to see that.”
And then, I thought, oh my God, “Why I’m doing? I have to help those people to have beauty in this horrible time.” And then, I create this project that I call Resiliart, that I invited people and our Facebook moms here, to say, “Who wants to have a sculpture outdoor that could bring us happiness?” I thought about, no one is going to say me. So, I have tons, I have lots of people wanting. And then, I hear, “Oh my God, I have only three, ones that I can and make.” But, at the end I made 17 and I installed those sculptures around our village and people could walk. So, I made a map and they walk and they see, and they love and they make comments and they write papers, put in my mailbox.
So, that made me so happy. So, so happy. I began the show in May. It’s supposed to end in August, but then the newspaper and the magazine from our place, they asking me if I could stay until October. So, then they could make a big publication, showing everybody the love that I was spreading. And so, at the end, I took the piece out in October. Not because, they don’t resist, because they are perfect during snow, during the hurricanes, I never lost one piece. So, they are made of glass and they are made of ceram. So, I have ceramic flowers garden, and I have wires. I create glass sculptures that is normally six feet tall. And they represent our inner selves, our strength during a moment that we don’t know that we can have. So, we’ll say, “Oh my God, what I’m going to do now? I can’t handle this.”
We can handle everything. We just need to stop, breath, and I’m going to do that. January, I began to receive messages from all my neighbors and collectors that say, “What is next? What are you going to have next? Can you repeat the same thing?” And I say, “Okay, I’m not going to repeat the same thing, but I’m going to make something close to that. That I call Restart.” Restart, is about flowers and about wars, because flowers never wilt. So, they are always beautiful, all the time. So, like we have to be, my artwork changed like we do, during the Summer, during the Spring, during the Fall, during the Winter, we change. And now, my work changes, like we do.
I create Restart, this time, I had more people applying. So, I made 25 house. So, it’s so grateful for me, because everybody love and why should we make beautiful things? Only, to have them put away from everybody eyes. Why I cannot share my art with people that wants to have and wants to… Even if it’s temporarily, they will have that. Anyone from all age, backgrounds and abilities, they can experience outdoor art and feel something. That’s why for me, was so emotion, so good.
Miriam Schulman:
That’s beautiful.
By the way, if you are a big fan of what we talk about here on the podcast every single week, then you absolutely can’t miss my free e-book. It’s called The Artist Profit Plan. I talk about the five things you must do to sell more art. Plus, let you know what you’re doing, that’s probably wasting our time. I’m giving this e-book to you for the very, very, very low price of absolutely free. So, head on over to schulmanart.com/profit and download it today.
All right. So, I have a lot of questions to ask you.
Simone Kestelman:
Okay.
Miriam Schulman:
So, you mentioned, first of all, you were in a gallery, was that gallery here in the US, or in Brazil? The gallery that you were in that closed?
Simone Kestelman:
Because, I had my own space to show my work that I called gallery.
Miriam Schulman:
Oh, so in other words, you were using your studio.
Simone Kestelman:
I have a studio and a gallery.
Miriam Schulman:
You were using your studio to bring collectors through?
Simone Kestelman:
Mm-hmm (affirmative).
Miriam Schulman:
To show your art. And you couldn’t do that anymore, because of the restrictions, right?
Simone Kestelman:
Yes, yes.
Miriam Schulman:
So, you were forced to bring it outdoors. You weren’t forced to, you chose to bring it outdoors. Thank you very much. Did this lead to sales and commissions?
Simone Kestelman:
Yeah. I sold almost everything, almost everything. I didn’t sell for those people that said, “I want, but I cannot afford.” And I say, “If you want, and you cannot afford, you’re going to have, even if it’s a temporary time.” When I made that, my idea was not to sell them. But, I became very happy of course, because I sold all of them. And after that, a lot of people, they begin see my work and say, “Oh my God, I love this. I love that.” And they begin to call me. So, I had tons of commissions. I had to suspend commissions during a certain time, because I cannot get everything.
Because, I like to think about people smiling at the blooming flowers in the early days of Spring. But, my flowers, they bring this joy year round to everyone. And especially, to those who are worn by the darkness. So, when you beginning the Winter, and you have all those poppy flowers in the middle of the snow, it’s so cool. People say, “Do you have pictures?” So, I have to take pictures of them to post, during the snow, during the Winter, during the Summer. So, each time is different and each time brings a different joy, it’s nice.
Miriam Schulman:
That’s fantastic. It was an outdoor installation, but it was also a marketing event, because people were talking about it. It was very Insta-worthy, all these sculptural gardens. Is that what you would call it a sculptural garden? Or…
Simone Kestelman:
Yeah, outdoor sculpture.
Miriam Schulman:
Okay. The outdoor sculpture-
Simone Kestelman:
Uh-huh (affirmative).
Miriam Schulman:
How do you use Instagram to help amplify what you’re doing artistically, and to market your work?
Simone Kestelman:
I begin to post on my Instagram. People that used to see my work, they used to repost, or they used to post pictures that they see and hashtag me. And then, other people begin to follow me and see me. And so, I got some clients, even I got clients from California, from Michigan, from different place, because they saw my work and they saw these outdoor sculptures. So, pretty cool, pretty amazing. So, then those people that buy, they used to post, and then other people begin to see. So, like I told you, I’m much better an artist, than a business woman.
Miriam Schulman:
I think you’re a better business woman, than you give yourself credit.
Simone Kestelman:
I cannot say this too loud, because if my husband hear me, he’s going to kill me. But, I don’t make my work to just sell. I make my work, because I have so many love inside myself. And I need to show this. I need to put this away. I need to express this.
Miriam Schulman:
Here’s the way I would put it. There’s nothing wrong with what you said, by the way. A long time ago, one of my kids’ elementary school teachers was at my house for an open studio and she was collecting art. And she said, “You’re not doing this for the money, right?” I forget exactly what she said, something like that.
Simone Kestelman:
Uh-huh (affirmative).
Miriam Schulman:
And I said to her, I am not making my art for the money, but I am selling my art for the money. So, the choice to make it has nothing to do with the monetary reasons. But, once I make the decision to sell it, then I am selling it-
Simone Kestelman:
Yeah.
Miriam Schulman:
For money. Yes, [crosstalk 00:30:58] 100%.
Simone Kestelman:
Yeah. Some of them I don’t want to sell.
Miriam Schulman:
Has this happened to you? This has totally happened to me. I have sold things where I’m like, “I want to get it back.” I was like, “Why did I sell that? I should have kept it.”
Simone Kestelman:
I have one of my sculptures that I made that’s super weird. If people can see on my Instagram, it looks like a chicken bone, with human feet and doll hands that… I have a collector, she has so many good artwork. She has one of the cage from Louis [inaudible 00:31:34]. She has one of them. And she said, “Tell me, how much you want for this piece?” And I didn’t sell to her. I said, “You know what? I’m not prepared to sell this work.” And she said, “Okay, take your time. When you are ready, let me know, because I want to buy this work.” So, she’s one of the biggest collector in New York. She invited me to see her collection and she has some of my works in her house. But, this one, I can’t sell. I don’t know if you, as an artist, understand me? And it’s in my house. I tell my housekeeper, “Don’t touch. Don’t get too close, because I’m very attached to that piece.”
Miriam Schulman:
Yeah. Usually, I don’t realize I don’t want to sell it until it’s gone. And then, I’m mad at myself. A lot of the art I do are paintings of my children, that I don’t sell. But, I have painted other things where I do miss those paintings. I miss them.
Simone Kestelman:
Yeah.
Miriam Schulman:
It’s almost like a child that I let get adopted.
Simone Kestelman:
I have to tell you something, it’s very secret. When we had the last hurricane here, I drove by the day after to all house that I sold, to check the artwork. People say, “Why you do that?” Because, they don’t understand that, even though I sold and I received the money, they’re still mine. I feel them, like one of my kids that married and is living in another place now. Two clients said, “Oh, I saw you here. What’s happening?” And I say, “I just came by to check them.” And she said, “Really? Why?” And I say, “Because. They are yours, but still mine.” I’m attached to my artwork. And I know most of the artists are like me, when we do art and we love what we do, no money pays.
Miriam Schulman:
It often makes me feel better when I’m selling to somebody who I’m friends with, because I know I can visit it. I can visit the artwork.
Simone Kestelman:
Yeah, that’s good. So, I have some of my works that I don’t know where they are now. I don’t even-
Miriam Schulman:
Yeah.
Simone Kestelman:
Know. I sold for a collector in French once. I don’t even remember his name, because I sold in one of the fairs that I was. I was there, he introduced himself to me, but then the gallery took place of everything. I don’t even know as the artist. It’s sad, but it’s okay.
Miriam Schulman:
All right, this is a great place to wrap up. We will try to include pictures of Simone’s art in our show notes. Don’t forget to check out my free e-book called The Artist Profit Plan. We’re going to dive deep going beyond the starving artist mindset to uncover what’s really sabotaging your success? To grab your copy, head on over to schulmanart.com/profit and download it today. I want to invite everyone to check out Simone’s Instagram, @KestelmanSimone, all one word. So, her last name, then her first name. We’ll put that in the show notes as well, so that everyone can take a look at these incredible installations and follow you and gain from being inspired by all of your inspiration. You’ll find all these places in the show notes at schulmanart.com/162. Simone, do you have any last words?
Simone Kestelman:
Don’t make art just to sell, make art that comes from your inner self. What comes from inside of you, it comes with a lot of love together, and a lot of feelings. The collectors, they see that feeling when they look into your art piece. They understand that something happened, or they sometimes put themselves in that place. Or, sometimes they feel that information, that sometimes even you don’t know that you put there. So, make art, because you love, don’t make art just to sell them. You’re going to sell them, I promise you, because it happens. Sometimes, it’s hard. It is what it is. We are artists, and we have to survive, and then we have to sell, but make from your heart, make from your feelings, make from your love. That’s what I want to say. And thank you for having me. I’m so happy to be here. Artists, would sometimes talk about, any language in there, we understand.
Miriam Schulman:
Well, all the artists listening to you are so happy that you spent this time with me today, so that they can benefit from your inspiration as well. All right, my friend, that is what I have for you today. Thank you so much for joining me. I’ll see you the same time, same place next week. Stay inspired.
Thank you for listening to the Inspiration Place Podcast. Connect with us on Facebook. Facebook.com/schulmanart, on Instagram, @schulmanart. And of course, on schulmanart.com.
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