Tia Nichols
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| The artist: Tia Nichols All images are courtesy of the artist |
My name is Tia Nichols and was born in Newport News, Virginia, raised abroad, and now based in Detroit. I consider myself an afro futurist, interdisciplinary artist exploring experience, memories, and dreams through surreal landscapes incorporating female figures.
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What do you love about making art?
Art for me is an escape. Not to claim myself as an escapist, but art provides a means to augment reality and travel distances into new and alternative realities. Making art offers moments of solace and remedy to the mundane of life, feeding my passion for life, encouraging me to persevere. Making art gives me a sense of purpose, giving me the freedom to express myself unapologetically. It is therapy.
Which mediums do you like working with the most? What are some of the more unusual ones you've used in the past?
As an interdisciplinary artist I find myself performing alchemy and introducing a plethora of media into my work. I enjoy working with intaglio methods of printmaking such as etching and engraving on and into metals like zinc, copper, and aluminum. The most unusual medium I have worked with is tobacco. I created a series of work called "Formidable Formaldehyde" that focused on the inevitable state of climate change and how fumes are constantly emitted externally, but a major contributor to the deterioration of the internal body is smoking. Tobacco is of the nicotiana plant that is made up of nicotine, the addictive chemical that gets one hooked on cigarettes, cigars, or vapes. Tobacco is also used medicinally and for ceremonial purposes such as to relieve constipation or bring one closer to the ancestors through ingestion or inhaling. Tobacco has a long history of being grown in my Powhatan family in Kentucky since the 1910's. Like many plants, tobacco is interesting to look at, but maybe not so extraordinary. I have used Canadian and Virginian fluke to develop paper, sculptures, and mixed media works on paper just because of my quirky fascination with the substance. I figured I'd take something often misused and abused and turn it into something beautiful.
How do you evaluate your work?
When in academic, collective, or cooperative settings, I evaluate my work through the lens of others. I ask for feedback, honest critique, and critical analysis of my work to encourage and solicit growth or reassurance. When alone in my studio, my room, or outside in the backyard I evaluate my work starting in this odd way of first walking away from the work then returning with my eyes closed. I then open my eyes really quickly and whatever major components stick out to me first I think to myself why am I drawn to these areas first? What caught my eye? Is this good? Is it just the color? Is it the level of detail? After I've jotted down some notes on those things that stood out to me more immediately I assess the rest of the composition in relation to those moments in my work. I consider the works of contemporary, master artists and whether or not I am creating in a relevant way or relative to those in the field and community. In the end, I evaluate my work and its success based on my level of interest in the work. If I am not interested in or excited by the work, it doesn't necessarily make it bad art or reduced art, but ultimately it isn't something I am proud of and would want presented. That brings up another point, does all art have to created for exhibition and display?
Where is your studio, and what is your primary work area?
I currently do not have a studio. My work area now is in a sunroom/living room where I sit on the couch and prop a canvas or drawing board up on my lap. Maybe not the most idealized space, but it allows me to get the job done.
What is your favorite guilty pleasure?
My favorite guilty pleasure is mixing paint directly on the canvas and not using a palette.
"Take some time to sit with why you're frustrated, jot down some notes on what is bothersome. --- Are these things solvable? Forward thinking is key."
How do you define success as a creative? How do you hold yourself accountable?
The answer to this question is ever changing for me. At first I thought my success was reliant on the number of works I produced. Then I assumed the number of exhibitions and pop up shows was successful. Then I figured the number of solo shows I got meant more success as a creative. Then I thought the number of works I sold made me more successful. Now, I have found myself with a full ouvre of artwork that is unsold, waiting for turns in the rotation for the next art happening or call for art. It has gotten to the point where I give away work. I think now my success is gauged by my level of making and wanting to be a creative. I believed I was going to be a full time artist and that has not seemed to play itself out. So instead I am driven by learning discipline and maintaining momentum to hold myself accountable.
When do you discuss things with your inner critic?
When staring at images of my work on my phone or laptop, when submitting for a new call for art or invitation to exhibit, when working through monumental applications for grants or fellowships, when my work is up on the wall.
What advice do you have about throwing away work?
Great question. I think I will always experience a palpable feeling in my stomach when work is thrown out. The question that should be asked before looking to discard one's work of any form is why? If you find yourself boarded up in the house drowning by a mountain of work then I understand, but if you're throwing away the work just because you don't "like it", maybe reconsider how you define what is good or bad. Maybe redefine who your audience is and who is the reason you are creating for. Are you making for you? Or are you making for validation? Are you throwing the piece away out of frustration? If so, is there something you can do to improve it and make that one tweak to the composition or layer that would set it off in the right direction?
What advice can you share for artists who want to sell their work {online}?
Be consistent. Marketing management and SEO data analytics is important. Consider yourself as your number one fan and brand ambassador. With consistency you can and have to demonstrate why your product stands out from others. A legible website often helps to make this a possibility, but there are third party sources like etsy or even square point of sale that may work. But then again, I am not too versed in the successes of selling work online. I often use social media as a platform to publicly share work that will often get an inquiry for a completed sale.
What would you tell other artists when they get frustrated with a project?
Step away for a second, get some fresh air, go for a walk, watch a new tv show, listen to your favorite song, take a nap, make some food, or all of the above. Sometimes a break and returning with a fresh eye and mind goes a long way. Take some time to sit with why you're frustrated, jot down some notes on what is bothersome. Are these things solvable? Forward thinking is key.
Who are your creative influences, and whose work are you admiring now?
Mickalene Thomas, Kara Walker, Kerry James Marshall, Sam Gilliam, Judy Chicago, Frida Kahlo, Diego Rivera, Salvador Dali, Sydney James, Tylonn Sawyer, Peter Paul Rubens, Jean Du Buffet. There is no one at the moment that I can look into too much to say I admire right now, but that will change.
How can people follow you and your work?
Website: www.moemoeproco.com ,
Instagram: @moemoeproductions
Thank you for spending some time with me/us, Tia. I appreciate your generosity in chatting today. This has been such a fun conversation! Know that you have an open invitation to return whenever you have something to share with the ChC audience!
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