THE INSPIRATION PLACE PODCAST
Miriam Schulman: It’s a big problem. If I can look at your art and say, oh, you took a class with Flora Boley, for example. If I can look at your art and say that there’s something wrong with it, it looks like your teachers.
Speaker2: It’s the Inspiration Place podcast with artist Miriam Schulman. Welcome to the Inspiration Place podcast, an art World insider podcast for artists by an artist, where each week we go behind the scenes to uncover the perspiration and inspiration behind the art. And now your host, Miriam Schulman.
Miriam Schulman: Well hey there, it’s Miriam Schulman here, your curator of inspiration. And welcome to the Inspiration Place podcast. This is episode number 330. And today’s episode is inspired by the question I get so much. And that is, I wonder if there’s something wrong with my art. People who have trouble selling and they begin to wonder, is there just something wrong with it? And I have good news and bad news. So a lot of the times there isn’t anything wrong with your art, you’re just not marketing it properly. And that’s what most of the episodes on this podcast cover. But today we’re going to talk about what could be wrong with your art in the way you present it. So don’t worry, you’re not going to be in tears by the end of this episode. It’s not that like your art stinks or anything. It’s not that. It’s there’s other things that might be going on with you. So the key themes that I see where the art portfolio kind of lacks focus, either lack of focus and style, or maybe they don’t stick with an idea, or maybe you’re imitating your teacher too closely. So those are the kinds of things we’re going to cover today. So there are three main areas that we’re going to be talking about today. So the first one is about dabbling. Let’s first talk about what a dabbler is. So a dabbler is somebody who’s going to jump from one style to another, one medium to another, one subject to another without committing.
Miriam Schulman: It’s kind of like a serial dater or somebody who cannot commit to one person. Now, the problem is not so much experimenting. I do encourage experimentation, of course. However, dabbling is when you jump from one thing to the next and you never quite master any idea, any style or technique. So I’m going to share with you a couple of examples of artists who started off as Dabblers. But once they committed to a style, that is when they got success. The first one actually is Pablo Picasso. So early in his career, Picasso did explore various styles, techniques, and subjects. He dabbled in movements of symbolism. He dabbled in Post-Impressionism. He experimented with different themes, including portraits, landscapes, even realism. However, it wasn’t until he narrowed his focus and fully committed to, well, at first Cubism or like even his blue period was a full commitment, or his rose period was a full commitment. So committing fully where you can actually identify this was the period of time he was working in this style. Blue period, rose period, Cubism. And then he moved on to other things. So when he focused on Cubism, he was able to master this approach of form, light, perspective. And he created a style that became recognizable. He committed to Cubism, pushing its boundaries. And that’s what really started establishing him as one of the most influential artists. So it was this decision to narrow down and explore a single radical style that elevated him.
Miriam Schulman: And then he moved on from those early Cubist paintings that, you know, the ones with the guitars or the the three musicians. He moved on from that to something that was more expressive and extract that we can recognize today. And he stayed in that style, and then he would experiment with mediums such as he experimented with sculpture. But if you put a sculpture, a Picasso sculpture, next to a Picasso painting of the same era, you can see the similarities. It feels like it’s the same artist. Okay, here’s another example, not a painter. Another great example is David Bowie. Early in his career. Bowie struggled to find his identity, and he also dabbled in different musical styles, including folk, pop and rock, and several of his early releases also failed to gain much traction, and he experimented with a lot of different personas and genres, trying to find his place in the musical world. Now, one of the more humorous examples of this if you watch the document, it’s not really a documentary, it’s a mockumentary. Spinal tap, which predates The Office as being like one of the first fake documentaries. It’s a brilliant movie. It tries to follow this band through kind of their decline of popularity, but it also as part of the documentary shows the early days and it shows, okay, here they are like Beatles and here they are like glam rock. So really taking on different types of personas without fully committing.
Miriam Schulman: It’s a great movie. But anyway, back to David Bowie. His career soared when he focused on the persona of Ziggy Stardust, and he embraced the glam rock of the 1970s. So by narrowing down his artistic vision to this character, that’s when he created this blend of music and fashion and performance art that became his signature style. So that was the release of The Rise and Fall of Ziggy Stardust and the spiders from Mars, and that is what catapulted him to international stardom once he committed to this focused vision. His confidence grew, and he became known as one of the most iconic, innovative musicians of his time. So this is a great case study that shows how honing in on a specific identity and style will lead to mastery and a longer lasting career. I’m going to give you one more case study that falls into this category. So another example is Coco Chanel. So early in her career, Chanel also explored various roles in the fashion world, from hat making to costume design, and she was also a dabbler. Different aspects of the industry. However, it wasn’t until she narrowed her focus And revolutionized women’s fashion by rejecting the restrictive, ornate styles of her time that her career soared, so she embraced the elegance and practicality. Famously introducing the little black dress, the Chanel suit, and the use of jersey fabric for women’s clothing. So focusing on this timeless, minimalist designs liberated women from the corsets and excessive embellishments, and she defined a new era of fashion and built an empire.
Miriam Schulman: So this is what made her legendary. And it shows how narrowing down to a specific, bold vision can lead to a breakthrough and establish long lasting legacy. Okay, so now let’s talk about why sticking with a genre or a theme matters. So deep focus, deep work usually comes from revisiting the same idea, or the same genre, or the subject until you understand its nuances. So I’m going to give you some real world examples. Successful artists who also became known for a particular subject or style because they dedicated themselves to mastering it. I already gave you a few. I’m going to give you basically three more. So the first one I want to share is Octavia Butler. So she is an African-American science fiction writer. I think she’s passed away, actually. She initially explored a variety of genres, but she found her voice when she dedicated herself to fantasy fiction. So her works consistently explore themes of race, gender, power and survival. But she does it within this dystopian settings. The one book I did read of hers. The character basically goes back and forth between being a slave in the 1800s to present day. Very interesting. So her commitment to this niche genre, infused with her personal and cultural themes, allows her to break through and stand out. So this is an industry that is not known for its diversity.
Miriam Schulman: And she stands out that way. And another one I want to share with you is Quentin Tarantino. So he also dabbled in various aspects of filmmaking early in his career, including screenplays for various genres. But then once he became known as a master filmmaker on creating films that mixed crime and violence and dark humor movies like Pulp Fiction or Kill Bill. These are consistent themes of revenge, justice, anti-heroes, all within this very stylized, non-linear narrative. By the way, I didn’t see either of those two movies. I’m generally not like a violent moviegoer. In fact, I’ve gone to two movies that I walked out on and I decided, like, I am not going to this type of genre again. One movie I walked out on was defiance. That’s the one that was about the Nazi killers, I think. And then the other one I walked out on was Cape Fear. And both of them I walked out on within 20 minutes. And the first one defines my husband really wanted to see it, so I said I told him I would meet him. This is back in the day when everybody went to the movie theater, by the way. Not when we were streaming. So I walked out like, you know, now you can just walk, leave the room. So then I said, I’ll meet you in the Barnes and Noble downstairs. But I have to say that I do like dystopian stuff when it’s not too violent.
Miriam Schulman: So, for example, I really did like the movie Megan. That one was a little bit, a little bit violent, but more like satire, violence. And then the other movie I just saw that I really, really liked was The Substance, and I saw it with my friend who’s been a guest on the podcast, Lynya Floyd. She hated it, just, you know, she absolutely hated it. I loved it, and I want to see it again. It’s kind of billed as a horror movie, but really, the only person who gets killed in the entire movie is Demi Moore. But I know that’s kind of a spoiler alert, but not really. I think usually you figure out that the the monster gets killed at the end of a movie. So anyway, back to our idea was sticking with a theme. Sometimes if you’re known for theme and you try to experiment and move away from it. People aren’t going to like it as much. So Casual Vacancy, that was written by J.K. Rowling. I’m sure it did very well, actually, but not as well obviously, as her Harry Potter books. I never read it, and it’s sitting on my shelf even now, and I’ve read the Harry Potter books multiple times. I don’t know why. I just don’t feel compelled to pick up Casual Vacancy. And it’s not that I don’t like mystery mystery stories. I just, I don’t know, I just figure it’s JK Rowling. If there’s not a magic wand in it, I’m not interested.
Miriam Schulman: So this is something that you need to reflect on with your own art. Oh, I have one more example. So we had in this section six examples of people who dabbled and really hit their stride by focusing seven, if you count J.K. Rowling. So we have Picasso, Chanel. David Bowie. Octavia Butler. Quentin Tarantino. That’s five. J.k. Rowling is six, and I’m going to round out the number with number seven is John Michel Basquiat. He started his career as a street artist in New York City, experimenting with graffiti, poetry, abstract imagery. I kind of feel like he, though, is somebody who really had that in what he had from the start, is pretty much what he had at the end, too. But he did not live a long life. But when he started focusing on merging street art with fine art, honing that signature style of raw, energetic paintings that explored themes of race, identity and social issues. When he stuck to that genre, bold, expressive works that confront power structures and cultural histories. That’s when he became a pioneering force with the contemporary art world, and his art sells in the hundreds of millions of dollars now. Of course, unfortunately can’t live to enjoy that. But that is example number seven. And if we go back also, by the way, to the substance, because I just feel like talking about it, that is also it’s not really just a horror movie for the sake of horror movies, and neither is Megan, by the way.
Miriam Schulman: I think that’s why I like both of those two movies. Megan is more of a commentary on AI gone wrong, and what I liked about the substance. It’s really about kind of like over plastic surgery and ozempic and all those things kind of gone wrong and women’s violence against ourselves for the aging process and a commentary on ageism. So I like the intellectual aspects of it. That’s why I like that movie. If you liked the substance to DM me over on Instagram. I’m at Schulman Art because I just need to find other people who liked it as much as me. All right, so when we come back, we’re going to talk about how to curate your feed to attract ideal customers by sticking more to themes rather than looking like a dabbler. But first, these words. One of the benefits of joining the Artist Incubator program is our accountability pods. And I had the opportunity to do a mastermind session inside one of those pods. And so I’m going to share their win with you so that you can hear from them how much results they are getting out of this program. You’re going to hear from Tammy, Tatum, Grace, Paula, Jackie, and Stephanie. And we’re going to make sure that we tag all the artists that have contributed to this in the show notes so that you can check out their amazing art. All right, listen in.
Tammy Tatum: I have a show coming up in December that I’m working on a solo show. This is big for me because I applied and I didn’t think I was going to get in until 2025. And I actually have the month of December with a kickoff. I’m super, super excited about that opportunity.
Grace Marquez: I was interviewed by Shark Trust in the UK, and I have gotten so much publicity because it’s a traveling exhibition and it traveled. The publicity has been phenomenal because I’ve been watching my. Every time it moves to a new location, I announce it and then another win.
Paula Manning-Lewis: This week I just got to 600 people on my email list, and my last email I sent out got 65% opens on it. And then I have a art fair coming up next weekend.
Jackie Flanagan Pangelinan: I did start a welcome sequence and because of that I sold two pieces from the welcome sequence extend out a few emails and no one’s yelled at me for sending them out, so that’s good. Back on my lily pad has been like this gold platinum experience in this program. I’ve learned so much from my partners in this, and I’m growing in my mailing list a lot, so that feels good.
Stefanie Rapoza: I got into a gallery and it’s on a high street where there’s like tons of foot traffic. I feel really good about the emails I’m sending, and I was not sending emails at all before I started with your program. My contact list is small, but I feel like I’ve doubled it, almost doubled it since I started a few months ago.
Miriam Schulman: Okay, and now back to the show. All right, so let’s talk about how this would show up inside of your social media. First of all, if you are posting lots of different things on social media, it definitely will signal to potential collectors indecisiveness. If you’re not sure what art is good. So you keep showing different kinds of art. Your potential collectors will also feel unsure about investing in your art. When artists share vastly different types of work, it looks like they haven’t found their artistic voice. So the problem is that you’re sending out a mixed message and your art collectors or your buyers, they don’t know what to expect from you. So here are your marching orders. I want you to clean up your social media feed. So if we’re going to break this down into steps, let’s break this down into five steps. Step one is audit your feed. You don’t have to go all the way back to the beginning of time, because it’s okay to have different periods of your art. It’s okay to have like Picasso. The rose period and the blue period and Cubism. All right. But I want you to look back over your last 12 posts and ask yourself, if someone saw only these 12 posts, would they know what my art is about? You want your work to tell a consistent story. Next, I want you to identify the outliers.
Miriam Schulman: Do you notice any posts that seem disconnected from your primary style, medium, or theme? If a piece stands out from the others, it will disrupt the flow of your work and it might be sending mixed signals to your audience. So if you are known as a watercolor artist and now you have ten cartoons on your feed, that’s confusing. If you are known as a colored pencil artist and suddenly you’re posting digital artworks, that’s confusing. So those abrupt change in styles are very confusing to your audience. Group similar posts. Look for patterns. Are there certain subjects, colors, or styles that repeat? These are your strengths. Lean into them. Again, it’s not about not experimenting. I have one client, Grace Marquez. I think we talked about her in the last podcast episode, actually. So she normally works in I think it’s acrylics on canvas. I don’t think it’s oil. I think it’s acrylic on canvas. Abstract underwater art. And lately she’s been doing gouache and watercolor, so it has a different feel to it, but it’s still the same themes. So it’s kind of more like what Picasso did, where it’s you can see it’s the same artist, but now it’s a sculpture instead of a painting. That’s okay. But I told her, stick to this for a while before. Don’t, like, switch back and forth in terms of what she’s sharing.
Miriam Schulman: She can switch back and forth as she goes into her studio. Step two is evaluate your artistic voice. Ask yourself, what do I want to be known for? Be clear about that. Be clear about the genre, the subject, the style you want to focus on. Are your posts consistently aligned with that? I had to make that decision myself with what do I want to be known for when I wrote the book? Artpreneur I made a definite decision to step away from being an online art teacher, and now I only teach business. Yeah, I still have classes available and I’m not even sure if you can get them on my website anymore. We might have hidden the ability to do that. Um, so I don’t think, but we certainly aren’t updating those classes anymore, and we definitely aren’t promoting any art classes anymore. So when you go through my social media feeds, you’re not going to see content related to painting. You’re only going to see how to build your art business and how to be inspired. We’re only really focusing on the Inspiration Place content, because I decided that’s how I can leave my greatest legacy in the world in this moment, in different seasons of my life. My biggest legacy was in teaching painting or in making paintings of other people. But right now I’m focused on this, this period of my life.
Miriam Schulman: Again, like Picasso, there’s nothing wrong with the blue period. There’s nothing wrong with the Rose period. There’s nothing wrong with Cubism. What would have been wrong is if he was cycling through all three of those. Okay, when you go through social media feed, check for distractions. If you post personal content or experimental work or unrelated subjects, is that confusing or does it feel consistent if you want to post that very personal stuff. Maybe you want to have a second channel, a separate account that’s private. Yesterday, I knitted a baby hat as a gift for my. I have a housekeeper who cleans my house once a week. By the way, I’m very happy as a woman who makes my own money to be able to pay another woman a good wage to clean my home so that I can be recording this podcast. And she’s just a recent grandmother, and I made a baby hat as a gift for her new grandson. So I knitted it myself, and my husband was like, oh, you should share that on social media. I was like, no, honey, no, I’m not going to share that on social media. Now, occasionally I will use my stories to share that kind of stuff because the stories expire after 24 hours. If you don’t want them to expire, you can always make them a highlight reel. By the way, you know about that on the top.
Miriam Schulman: But I knew that sharing the knitted thing, that’s something I sell. It’s not part of my brand. It’s not part of my brand story. It’s not something that I’m sharing. So that’s the kind of thing. Yeah, I’m not going to post that. It’s confusing. Step three. Step three is about making some hard decisions and cutting. Now again, you do not have to go back to the beginning of time. You can just work on the 12 posts you have right now and you can remove posts. You can archive posts I actually regularly go through, and I will archive posts that don’t perform well. Actually, Addie, who’s listening to this, she’s she does both my podcast management and my social media management. Just so you know, Addie, sometimes if a post doesn’t do well, I will archive it. So I like to keep the ones on the top that do well. I remember I had on a guest, Angela Laura, and she was talking about her daughter, who’s like a cool girl, and she said that her daughter only has one picture on her Instagram at a time, and that’s it. And it has to be whatever that moment of the picture is right now. And that’s an interesting way to think about it. Like not to have the entire history of your social media available ever.
Miriam Schulman: Maybe you only want to keep 16 posts up there. Just a thought. I’m not suggesting you do that. That’s something to just like, ponder and marinate on and think about, like what that would be like. But if you look at your feed and you find some unfinished experiments, if you have some random pieces on there, if you shared a knitted hat when your brand is not about knitting, not about fiber, maybe you should archive that. I don’t want you to spend too much time going back in time. So in terms of editing the captions, I would only look at the ones that are the top 3 or 4 posts, the ones on the top feed top of your feed. Are you telling the same story about your art? Are your captions your messaging off? If you’re using AI to write your captions, it may be inconsistent. If you have a VA as I do, it may be inconsistent because sometimes Addie’s voice kind of enters in rather than my voice. Sometimes, you know, we’re trying to save time and we use AI, and it doesn’t sound like me. It doesn’t sound like anybody. Which isn’t good. So this is where it pays to spend a little bit more time on it and make sure that what you have is consistent and reinforces your artistic identity. So sometimes, like I’ll see something that Addie’s doing either because I haven’t instructed her the right way, or maybe she’s using AI or whatever.
Miriam Schulman: And I’ll have to say to her, hey, Addie, when you schedule this, make sure you’re talking in this way so that it stays consistent. So if you’re using anyone to help you with this, make sure it sounds like you. Whether that is AI or a person. Step four is about curating with purpose. So you want to think of social media as kind of like your lookbook. Having a visual or thematic guide for your posts and plan ahead. So again, I don’t want you guys to feel as though I’m telling you, wait a minute. This isn’t consistent. She’s already telling us not to spend so much time on social media. What is she doing now? Just know people are going to check you out on social media, and you want to make sure those top nine posts do reflect you because they are going to check you out. They are what is on that and is it going to confuse anybody? Are there things on those top nine posts that nine grid feed that’s going to confuse somebody. Not to save time. Plan ahead. We use social media scheduling tools. I know that Facebook has its own native version of it. I still kind of like only post to help us schedule it. Sometimes I’ll go in there if I notice something that, like I said earlier, that gets posted on social media before I had checked it or I checked and I missed it, then I might myself go into only post and edit the ones my team has scheduled for me.
Miriam Schulman: So if you’re using a team you you may want to do that. Also, if you’re not using a team, social media planning tools are a huge help. And I’m going to say step five is stay committed to your artistic voice. So stick with it. If you’re consistent, it will make you more confident, and your audience will recognize you as the one to go to in your Niche. Okay. I’m just going to add one more thought about this. So this was we’re still on segment one. By the way of the biggest problems I see with people portfolios, which is that this whole dabbling thing. I did portfolio reviews. I’m not sure if it’s open right now while you’re listening to it, but we’ll link it in the show notes. Or you can go to SchulmanArt.com forward Slash Pro review. Right now, I believe I’m only offering live portfolio reviews, which are a little more of an investment than the recorded ones. A few months ago I did offer recorded reviews, and I found it very difficult for me to really help people when I couldn’t talk to them about what their problems were.
Miriam Schulman: That’s why right now I am only offering the recorded ones, and if you’re interested in that, it’s linked up for you. Okay, so let me just wrap up this segment about really sticking with something. And that is it’s going to make you a better artist. It’s going to make you a better artist. It’s going to make you more confident. All right. Segment number two. This is the problem with mimicking your teacher’s style. Now when I did portfolio reviews in the last round, there were a few people who I could tell who their teacher was, who their online art teacher was. And now I’m not familiar with every online art teacher in the world, even some of the most popular ones. But there’s a few that I know. And it’s a big problem. If I can look at your art and say, oh, you took a class with Flora Boli, for example, or Carrie Schmitt, if I can look at your art and say, oh, she took Christy Tomlinson’s classes. If I can look at your art and say that there’s something wrong with it. So if you’re wondering what’s wrong with my art, it looks like your teachers and the problem with people like that is they just don’t ever develop the confidence to do it in their own way. They are really using their teacher as a crutch, and it becomes hard for them to evolve again.
Miriam Schulman: Does this mean you should not take other people’s art classes? Of course, that’s not what I mean. I look at some of the greatest artists in the world. They also use their art teachers as a crutch before they moved on, as did the musicians we talked about earlier, as did Coco Chanel, who we talked about earlier. They at first worked in the styles of their teachers, but you’re never going to get anywhere if you’re using them as training wheels. So you need to take your training wheels off, and you may fall down a few times when you learn to ride that two Wheeler in your own style. But this is really the way you’re going to gain success. So let’s talk about the problem with that. It is normal to emulate a teacher, but you want to evolve beyond that, because mimicking a teacher too closely is going to stifle your own voice and originality. Our last segment is about staying consistent with your booth. When we come back, we’re going to talk about staying consistent with your booth in your art show. But first these words. Okay, so I also want to share another part of that session I did with this accountability pod. I did this session with them because they were winners of one of our challenges, and Paula had shared with us this recently.
Paula Manning-Lewis: I applied for a show that’s a big art Fair in Tubac, Arizona. It’s like number eight on the top ten Sunshine Artists list of shows or whatever. Um, I got that application in. I was kind of afraid to do it as my pod members know. It was. You know, it’s one of those that, you know, it’s like says 350 people apply and only 200 get in. And so I was just like, I’m never going to get in. But it’s like, screw it. I’m just going to do it.
Miriam Schulman: Okay. So as I was preparing this podcast, we actually got an email from Paula, and I’m going to read to you her email because wow, I’m just so excited for her. So Paula manning Lewis wrote in, I had a huge win today and I had to share. I am so excited. I applied to a big art fair in Arizona last month. It is on the list of the top ten art fairs in the US. I was accepted. This win is not only that, but I finally faced my fear of rejection and did it anyway. I had no thoughts of actually making it into the show, but I did it. I have to thank my accountability pod for their encouragement. I don’t know that I would have gone for it without their encouragement. So congratulations Paula! I am so thrilled for you. And also big shout outs and thanks to the rest of her pod. So this is the same pod that you heard earlier from that commercial break. And yay, we’re going to link all those artists who are inside her accountability pod in the show notes so that you can check out their art or follow them on Instagram. And now back to the show. Okay, so welcome back. So it’s not just about social media. It’s also about having a cohesive booth. If you have too many styles in your booth, it’s going to make you appear unfocused and having a booth cohesion where your theme, your color palette, your subject matter that if it’s all cohesive, it’s going to create a stronger impact and it’s going to attract more collectors.
Miriam Schulman: Early in my career, I would try to show too many different kinds of things in my booth, and it really hurt me. I would have like my charcoal life drawings. I would have my watercolors, I would have my Christie Tomlinson collages, and people would look at it and say, is this all done by the same artist? And if you say yes, they go, mhm. Do you have a card which is really their way of saying, can I get out of here. I’m so sorry. I’m here. So you don’t want to do that. You want to show up with just one cohesive message. One clearly defined style have the confidence to show a unified collection. What I tell the artists I work with now is pretend you’re a museum curator and you’re curating an art show for yourself. And unless it is a sweeping retrospective of the artist’s work, where you have the early days all the way up to present time, they usually don’t show too many different things. So, you know, there usually are not going to show a realistic Picasso if it’s a Cubism exhibit. All right. So it’s okay again, to explore different styles or mediums. But when you are presenting in public or online, curating what you show is key. So not only should your art be Consistent common subject mood theme with a limited number of techniques that are being presented all at once. Also think about how your style will affect your booth presentation. So when I was exploring a lot of mixed media art with the collage and the whimsy, that’s when I got the chevron tablecloth.
Miriam Schulman: If I was only wanting to present myself as a portrait artist, then the presentation is very different than instead of a chevron tablecloth, like I might choose a gold velvet tablecloth or a black velvet tablecloth. Like, really present myself as a high end artist if you’re a jeweler. Same thing. Does your tablecloth reflect the kind of jewelry that you’re showing? If you’re a boho jewelry designer, you can have a very whimsical gypsy style tablecloth, but if you’re presenting high end jewelry with stones and gold, then the tablecloth needs to be likewise a luxury look and feel. Okay, so let us recap what we’ve talked about. First of all, dangers of dabbling. Pitfalls of mimicking your teacher too closely, and also the importance of presenting a cohesive look of your style, your art and your merchandizing, whether you’re online or in person. I encourage you to reflect on your own presentation, and if you’re not sure, I encourage you to show your art, your Instagram feed to a kind friend and say, does it look like all of these things go together? You’re not inviting them to criticize your art, by the way, but you’re just asking them, do these things go together? Ask yourself, are you leaning too much on a teacher’s style? How can you improve using the tips from today? Listen. Mastery, consistency and originality are the cornerstones of a successful art career. Be unafraid to lean into what makes you special, original, and different and embrace that inner weirdo. All right, my friend. That’s it for today. Until next time, stay inspired. Bye for now.
Speaker2: Thank you for listening to the Inspiration Place podcast. Connect with us on Facebook at facebook.com, slash Schulman Art on Instagram at Schulman Art, and of course, on SchulmanArt.com.
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