One of the most frequent commentaries on artists pays attention to the struggle that comes with striking a balance between creating art and generating business in doing so. For many, the negatively cast ideas of ‘selling out’ and ‘taking money on behalf of The Man’ create such anxiety that subsequently it either inhibits the creative or restricts the business portion of an artist’s existence. Not so much the case with British photographer and director, Laura Little, who has little patience for people (and not just artists) who are unwilling to take advantage of the opportunities that can come from the non-mutually exclusive fields of art and business.

For someone who is now entrenched in technology and the creative field, Laura knew very little of such things growing up in the English countryside. Born and raised in Norfolk, a place described as ‘where the country bumpkins live’, Laura wasn’t exposed to a very much art in her youth - her family didn’t even own a television until she was twelve years old. 

And yet, there were always certain creative parts to her parents and home-life. Her mom, a local teacher, made sure to keep her lesson plans interesting and her students entertained. Her dad, an accountant with a dry but spot-on sense of humor, at one point painted the walls of the family’s basement in alternating patterns of purple and green. He was also the one who would begin his only child’s career in the arts. After being told that dance was a good entrance route to modeling, he enrolled Laura at the local dance company when she was ten. She quickly fell in love with performance art and her afternoons spent at the studio.

After finishing her A-level studies in Cambridge, where she focused on media studies, literature, dance and drama, Laura was ready for university and to continue her pursuance of dance. Requiring a rigorous audition process for all of its dance applicants, the prestigious Liverpool Institute for Performing Arts was no ordinary university experience, but it was the one Laura wanted and so she made it happen. However, through her studies and other experiences there, other interests would be discovered and she eventually realized that she wanted to do more in life than what she felt dance could provide. A trip to New York City her senior year would show her the true business and creative potential of the photography industry, glamour and all - convincing her that her time with dance was in fact over.

The city and her experience made such an impression that Laura decided to stay, and she has remained ever since. Through ups and downs, from internships to studio ownerships, and now to her first solo show as an artist-photographer, Laura has navigated the creative waters with forward-thinking and ambition. As we discovered, much of how she has established herself in the United States comes from her understanding of the American system, where entrepreneurship still flourishes, combined with her British sensibilities, which place a strong value on a ‘get on with it’ mentality.  

Laura’s performance art past together with her knowledge of the creative industry is very evident in her personality and work today. She is animated, engaging, and entertaining to be around, but also practical and shrewd. The photography behind her ‘Paradise’ show is enchanting and beautiful, while the project as a whole is very business-savvy and progressive. Altogether, Laura Little has us curious about how she has arrived at this point in her career and what her next project, business, idea, collaboration and/or artworks will be. 

 Self-Portrait - Laura Little

So Laura, you moved to the United States before finishing your university studies in Liverpool – What was it like to attend the Liverpool Institute for Performing Arts?

Well, I don’t really like saying that the school was a big deal, but it was! For me at least - especially since I had to audition, which wasn’t easy. 

The university was actually started by Paul McCartney. He basically renovated his old high school and turned it into a university. He decked it out – everything top of the line.

You started dancing (jazz, ballet, etc.) at age 10 - What was it about dance that really connected with you?

First, when I was young, it was the performance side of it – being a character and being involved with musical theatre. Also, it was a very social activity - so it became something to do in my small town.

And I was good at it!

As I got older and was exposed to more of its possibilities, dance became more contemporary. I would go to shows and through my studies would learn how to use objects in space, duplicate movements, and the power of interpretive dance (how certain moves can mean something). It wasn’t just put on a hat and pretend to be a witch. Dance became more abstract.

So what caused your focus to shift away from dance?

It was really in the second year of my degree. I just wasn’t that happy. Maybe I thought more of myself, but I wasn’t feeling fulfilled with my education.

Also, I felt that I had taken [dance] as far as I could. In that type of environment, whatever the thing is that people do, they are really amazing at it – some of the best around. So if it’s dance, they are really dancers - all the way. I wasn’t sure if dance was that for me. In my hometown, it was, because I was known as a dancer, but at university I realized I had other passions, like technology. 

And so when did you begin to get into photography?

My dad had bought me a video camera during my time at university, and I was using it for a web technology class at the time, to capture motion image stills.

Shortly after that, I got my first real camera, took some pictures of my friend who was a musician, and people really liked the nature of the work.

So was it photography that brought you here to New York?

No – it was still dance. I had set up an internship with a dance company here in New York in my final year at university.

I remember arriving and having to begin work on my dissertation but as it happened, I met someone who was involved with video production and I became his PA. Suddenly, I began seeing everything in a different mode.

What do you mean by that, ‘mode’?

I can remember being in an Escalade riding across the Brooklyn Bridge on the way to a shoot and not even knowing what an Escalade was, but riding in this car with TV’s in it, and rims on – all decked out- just having the feeling of being in a different world.

The country girl had arrived in the big city, and everything was such a culture shock to me. I didn’t want to leave it. Everything was so glamorous.

And that’s when I realized, ‘I’m not going back to England.’

And you haven’t been back since? What did your parents think?

I have not. I never went back to college and I never went back to England. I did turn in my dissertation though, which wasn’t very good [Laughs] but it was important for me to graduate.

I thought my parents were going to be really upset, perhaps just mad, but they weren’t. My dad even went back to school to collect my things! They’ve always been very supportive.

I remember my dad saying to me, “This obviously means something, so go for it”. And that meant a lot. 

Do things here in New York still have the same glamour as before?

Well, that was 10 years ago. I think now, imagining myself in that same Escalade, I would probably say, ”Who the hell wants to be stuck in a car on the Brooklyn Bridge?!”

But back then I can even remember what the sun felt like and the excitement of going to all these new places and seeing big photography shoots and studios.

The glamour may not be what it was, but I’m also who I was. I’m older. And I have more responsibility now. Things are different. 

But there still is glamour – I especially see it again when people come to visit from out of town – ‘Look! The taxi’s are yellow!’ - that type deal.

So what happened in the years following?

Well, I mucked about the city for a while doing different things – a lot of the New York experience. Some photography here and there – I had a few things published.

But my break came when I got an internship with the igroup agency. That’s when I really began to learn the business side of photography.

And what were some of the things you learned about commercial photography?

I gained a lot about the business of photography and its production. I mean ‘who knew’ that just to take a photo of a Coca-Cola can you’ve got all these people involved on set and massive amounts of post-production work as well. 

And ‘who knew’ there was a prop stylist whose job it is to make sure the straw stays clean. Or that ice cubes aren’t really ice, they’re actually glass and are hung from wire. Or that the Coke pouring into the glass sequence is actually controlled by a machine! 

There are all these components to commercial photography that many people don’t realize. 

What about creatively?

The people there showed me that it’s all about putting together and having ‘a book’. 

I knew for my book and beyond that I wanted to shoot fashion. I figured it would allow me the most creative freedom in my work. 

Laura Little – From her first ‘book’

How did you first start creating your book?

So, that’s when I set up my first little studio. It was this small one that I put together in my apartment in Bed-Stuy, which had just enough space. 

I did a few small shoots with friends in styles similar to the ones I’d seen in magazines. Then I used those photographs as a carrot to hold out to the model agencies with the promise of shooting their models for free, which I knew would ultimately elevate the look of my photography and my book.

Then I started getting better models, which meant I could start approaching stylists (who also need books).

It’s a very collaborative and organic process when you’re putting together your first book.

What was your photography like during that period?

I look back at that period and am amazed at how many pictures I took – I don’t know how I even did it. I don’t know if I could replicate that amount of work again. I’m not sure whether it’s because I have more going on now or whether it’s because of how driven I was then – maybe both.

Perhaps it’s because I had a destination. The goal was to create and have a book.

Laura Little – From her first ‘book’

So what did you do once you had arrived at that destination – book in hand?

That’s when I hired an agent and told him to get me work. I also became an art buyer for the Gap, but it wasn’t the right fit, so I decided to open my own studio.

That being your former studio space, the one before 28 on 27, correct?

Yeah - it was located downtown in Tribecca, and it was massive (over 6,000 ft sq).

A lot of my priorities came down to, ‘how can I continue to keep this space open?’ and ‘how can I continue to pay all of my employees?’ I felt like I was always chasing the overhead cost.

So a lot of my focus shifted from marketing myself and my photography to managing the business side of photography and my studio.

And when did you move to 28 on 27, and what was the goal?

I set everything up and moved in last year. The goal was to not lose any of my existing workflow – I didn’t want to give up any of the clients I had worked to build.

Much of the income from my business now comes from space rentals. I never thought I’d be like a ‘commercial landlord’ [Laughs], but it gives me freedom and it allows me to have a day-job while doing a lot of different things – meeting people, having a space to shoot, and being my own boss.

What’s the biggest difference between commercial and personal photography?

The question of ‘What are these pictures for?’

When you’re shooting, say fashion, everything has to be planned out – ‘what will the models be doing’; if it’s for a magazine, ‘what brands will be worn’; etc. When you get to a certain caliber, everybody wants to know what you’re doing – it’s a lot harder to just create a beautiful project.

Very rarely, now, do I ever get someone who just says ‘Fuck it, let’s just shoot something’. In the early days, that’s what used to be so wicked.

The more you know, the more constrained you are.

Laura Little – From her first ‘book’

Can you elaborate on that idea?

I’ll use dance as an example. My first year at college was my most creative. But as I started to learn more about how to be a technical dancer (and how to choreograph) – sure the final product became more polished – but the less free it was.

Adding structure will give you polish, but you will also lose genuineness – the raw.

And what do you find are the biggest differences between America and England?

I think the biggest is that even though there is a class divide in America, you can still make a million dollars here and come from anywhere. The idea and energy of ‘the dollar and the dream’ is really alive here. The American Dream. 

It’s not like that in England. You can’t just switch hats and try new things. You’re much more on a set track. It also means a lot more (carries significance) to come from money.

Also, America is very convenient and you’re not punished for having or wanting access to that.

Speaking of pursuing your own thing - let’s talk about what’s been happening with your own, personal photography and projects. 

Well, I got to a point where I wasn’t shooting for myself much anymore - that was about a year or so ago, and I wasn’t happy with that.

If I was shooting fashion, I felt like I had been there before – the energy had gone away.

And here I had this big space to showcase work and to shoot and yet I wasn’t really using it for myself. The creative part of me wanted more. And I don’t think business and creative have to be mutually exclusive.

Many artists struggle with that idea: the balance between their art and the art of business – How do you feel?

For me, there is no way you can sustain yourself without money. Artists need money. And the sooner that artists get that they need to make money in order to generate, the better they’ll be.

Whatever it is – whether it’s selling your prints on the street, or corporate collaboration. You will not succeed unless you get a handle on business.

So you need to be able to sell people on your ideas, and you have to be willing to as well.

There are so many opportunities now with social media and companies being open to artists’ creative direction.

Laura Little - From ’ Paradise’

It seems like you’re striking a balance now between freedom and structure / creative and business with this new project and exhibition - ‘Paradise’ – opening this week.

Definitely - I feel very blessed about the work I’m doing for the ‘Paradise’ show and the direction I’m heading in now with my work. It is very much a balance.

One of the major attractions of the show is your surfboard installation - which takes your photography and combines it with a surfboard, also incorporating a built-in iPad. Where did that idea come from? 

The idea for the iPad in the Surfboard was really a ‘What if’ type moment – ‘What if we put an iPad in a surfboard? Wouldn’t that be cool?’

It was the type of free, creative moment that you just have.

And then you had a company back your artistic idea - How did that happen?

After the idea occurred, I wanted to see if someone else was interested in it as well. It was through a chance encounter at a creative event that I met Runa (a tea company), and they connected with the idea so I decided to do it. It was a natural fit really with the design of the project. 

Having the support from Runa (as this big company) really pushed me to move forward with it all.

Laura Little – From ‘Paradise’

And what was the source inspiration for your work featured in the ‘Paradise’ exhibition?

I’ve always liked water and have been fascinated by the landscapes surrounding it. My husband surfs, so we always take trips to ocean areas. Our last trip was to Mexico.

And what part of Mexico do the ‘Paradise’ works reflect?

It’s this little secret surf spot located in the North-East coast of the Yucatan Peninsula. It’s gorgeous. Seeing the light on the water and the way the sun rests on the horizon…

If you could imagine a picture of what Heaven might look like, to me, that’s it - It just is paradise.

And what does the future look like for you? What’s your motto as you begin this new direction?

You have to just, ‘Get on with it’. 

Laura Little owns and operates 28 on 27 Studio in Manhattan. To see Laura’s surfboard installation and her recent project, her upcoming solo show, ‘Paradise’ opens this week. Exhibit Cocktail Event Friday June 1, 3pm - 9pm hosted by Balls Vodka… Get Some. R.S.V.P required  rsvp@28on27.com

Our team first discovered artist Amy DiGi through the United States’ Art in Embassies collection. While her painting on loan with the program can be found at the US Embassy in Freetown, Sierra Leone, we found Amy in New York City, her hometown, painting the scenery in the city’s popular Meatpacking District - on the corner of 10th Ave and 12th Street. It was a particularly sunny day out, and as we learned, this is when Amy is at her best.

Originally from Yonkers, Amy exhibits many of the classic New Yorker traits – she’s outspoken, energetic and unafraid to get things done. But she also has a particular charm that let’s you know there is no one else quite like Amy DiGi, and that characteristic along with her adventurous spirit seem to be some of the reasons why she has seen so many places besides just New York.

Although she began painting less than then 10 years ago, art has long been a part of Amy’s life. She graduated from the Pratt Institute in Brooklyn with a BFA with Honors in Drawing and Art and Design Education. Afterward, she went on to become a local high school arts teacher, dedicating herself to making an impact on kid’s lives through art and starting programs like the ceramics one at William Cullen Bryant High School in Queens. Although she loved teaching, the bureaucracy of the education sector wasn’t align with her goals, and nor was she creating work for herself anymore. 

If you met Amy, you’d understand why she would make a great art teacher – she’s encouraging, lively, clever and funky enough to be the proper amount of fun. But, you’d also understand why teaching just wasn’t the best fit – Amy has too many plans, projects and a divergence of attention to be in just one place, doing the same lesson plans and activities year after year. And she knows she only has a limited amount of time to ‘carry around her paintbox’.

And that’s just what she has been doing for nearly a decade. Going city to city, state to state, country to country, just traveling and documenting the places and people she sees through art and working on her craft. Many of Amy’s artist opportunities have come just from her being the outgoing and honest person that she is. Her paintings reflect genuine moments with real people.

Being mindful of this Memorial Day Weekend, our team also wanted to feature an artist with affiliation to the armed services. In addition to other parts of her long resume, Amy is part of a select group of recognized US Coast Guard artists. Even though she hasn’t served this country in uniform, it’s evident that Amy has given a lot to others and the communities she that she has been a part of in her life. 

Amy DiGi (left) in NYC’s Meatpacking District. Amy DiGI (right) – ‘Self Portrait’

Amy, what was it that made you leave teaching? You taught here in NYC for three years.

I was tired of not having the support. You work to get these kids to come to school and stay in school and learn, and then you’ll have some observers from the education board come in and kick you in the teeth for having the windows in your classroom open 12 inches above regulation – and you think, is that really the focus of education? After a while you can only take so much.

Are there other things about the government’s role in education that affected your decision to remain in teaching? 

The No Child Left Behind Act. The State of NY made it so that you had to get your Masters in five years if you want to be teaching in the public school system.

And look, I’m not saying that garbage men are any less important than teachers, but when you’re required to get your BA, then your MA and you are making less than or equal to garbage men (who are not going to have those loans), it just seems like there is no support.

Were you creating your own work during that time?

No – because there wasn’t any time. In order to be a great teacher, especially during those first few years, you are busting your butt. You got be there from 8-5, or 8-7 and then take the work home with you. In order to be dedicated, which I wanted to be to teaching, you have to put in the time.

So, I didn’t make really any personal work for those three years.

You also spent some time in the Peace Corps – What led you to that decision? 

One – It stopped the clock on receiving my Masters.

Two – I knew would be learning in those two years and getting smarter.

It was brilliant. I moved from Brooklyn to the Philippines. Was there for a year and then 9/11 happened.

What was that experience like for you – being a New Yorker and living abroad at the time?

Well, Al Queda was over in the Philippines and things started to get pretty hairy and weird on the bases there and beyond. My mom was freaking out and writing all these letters, saying things like ‘Get those kids out of there!’. The Peace Corps actually flew me up to Manila to try and get me to make her stop.

I told them, “Look, if you can get my mom to stop writing letters, then you let me know. I want that memo!’” 

She lived through 9/11 here in NYC, so no way those letters were stopping.

Eventually things got too much for me over there – I decided it was time to come home.

‘Lounging Man’ - Amy DiGi [Amy began her career in the arts through drawing]

And then you landed in Alaska to finish your MFA?

Yup – well, that was after South Dakota, Arizona, Portland and then New York again.

Should we ask…?

I’ve learned that it can be a very good thing to ask. I mean, not always, but it’s how I ended up finishing my MFA at the University of Alaska.

I had actually started it at Lehman College (CUNY). But I had a friend living in Fairbanks who suggested I finish it there. I thought there was no way Lehman would let me finish my degree in Alaska (?!) but I asked, and they did.

So, now I don’t always assume ‘No’ is the answer, but I don’t always ask permission either – like to stand on a street corner and paint.

It was a valuable lesson for me.

Alaska during the summer time must have been quite the place for you style of painting.

It was amazing. 24 hours of sunlight! You had all day, and all night to paint.

I remember asking this little kid there once how he knew when it was time to go to bed – he replied, “When my mommy tells me too”. And I thought, ‘But I don’t’ have a mommy here!’ He suggested I get my friend to tell me then!

[Both laugh]

That’s funny. So what are some other opportunities that have come about in your career from simply asking?

My start as a US Coast Guard artist started from simply asking questions. I was in Joe Peller’s class (of the Arts Student League of New York) where one day we were out on the pier painting, and I remember seeing this ship with red vents- it reminded me of the steam boat from Popeye (the cartoon) that Olive would always get put in – it stood out so much from all the hazy NYC harbor weather and color.

Anyways, after a few days I decided to ask Director of the non-profit if I could do a painting of the ship. He said, “Sure, no problem”, and then, so after a few more days, I asked if I could paint on the ship. 

It was a small crew, and I had found out that the engine was broken. They had told me that ship wasn’t going nowhere. It was 174 ft. of just steel and empty rooms.

Was it a US Coast Guard ship?

Yes – but it was this old, historic ship that had been decommissioned decades ago. When I got there it was privately owned by a non-profit organization called the LILAC Preservation Project – LILAC was the name of the ship. 

‘LILAC’ - Amy DiGI

Photograph of the ‘LILAC’ - Photo courtesy of LILAC Preservation Project

What became of it during your time there?

Bit by bit we started putting together more and more events on the ship – cultural events, festivals, business open-houses and functions, a burlesque show one time - it was wild. And the whole time I had my own studio-cabin on the ship where I could just paint.

Also, I always had all these people coming through that would see my work.

Was that really when you began promoting your personal work?

Yeah, I guess so. I never really thought about it so much but yeah it was.

I started having all these maritime paintings – the events we were having, the ships coming through the harbor, FDNY, life on the LILAC, etc. Just being on the ship, outside – painting, painting, painting.

And how did the connection to becoming an official US Coast Guard artist occur?

A friend, Thomas Picard – who was involved with the Coast Guard for 20+ years suggested I send my JPGS to Washington to see if could become a US Coast Guard. I had no idea what that even meant, or that such a thing were possible.

But as my former Artist League teacher Mary Beth McKenzie used to say, “Ninety percent of life is just showing up.” That’s all you gotta do - just show up; show up; all you have to do is be there.

So I did. I tried and I got in.

‘Coast Guard Oversees Oil Spill’ - Amy DiGi

What’s the US Coast Guard Art Program like?

There are something like 250 artists in the program. Basically, I have access to all the US Coast Guard stations in the country. I just make prior arrangements to the places I want to go.

You can donate paintings to their permanent collection as well. They asked me and I said, “Sure, why not?”

I don’t think everything is about money. It’s not. Showing up, staying open and having access to places where I can paint 

– And safe places. Things get a little hairy sometimes down by the waterfront. Not just here, but everywhere, in any country and in others too. 

Do think you feel more vulnerable when you’re painting?

When I start painting, I’m not doing the 360; I’m not paying attention to all that’s around me.

But at the Coast Guard station, I can just paint. I know I’m safe.

You’ve also been deployed with the US Coast Guard too, is that correct?

Funny how that came about. I was doing an exhibition in The Salmagundi Club in NYC, which was a big US Coast Guard Art Program Event. There I got to meet Vice Admiral Sally Brice-O’Hara (she’s second in command of the entire Coast Guard), who asked me, ”What would you like to do?”

So I told her, “I want to be deployed!”

Sure enough, a few months later when I was in LA painting, I got a letter asking if I wanted to be deployed to Cape May (NJ) for bootcamp. Sure!

Wow. So what was it like to be at boot camp?

They hadn’t had a painter at boot camp in over like 20 years. My whole experience there was really made by the Chief Warrant Officer, Donnie Brzuska (I used to call him DB). He gave a 100 percent effort toward everything and it allowed me do so much.

I was up every morning at 5:30 / 6:00 AM, and he’d pick me up and we were going to the gun range, the pool, the barbershop, the fittings, combat training – all of it. 

I’ve never been into the military - as in I don’t like guns and I’m not in that world – but I’m so grateful that some people are because I really like my freedom.

I’ve been to lots of other parts of the world, and I see how freedoms change, and I know that I really like my country. 

‘Weapons Simulator’ - Amy DiGi

Speaking of the US -  Just how many states have you been to? 

I have been to every state but Hawaii…just one more state, one more!

It didn’t happen that way either. It wasn’t like I said, “I have to see every state”. It just happened that way – life.

With all the time you spend painting and drawing, you must have an incredible amount of works stored up – Where do you keep them all?

Well, I actually don’t have that many. I give away a lot of work. I feel that if you’re going to open up your home, or ship or business to me, then I always try to leave one. But most of the time it’s not just one person, so I’ll leave two – in case say the couple decides to break up. 

[Both laugh]

You also covered the demolition of the old Yankee Stadium. What was that experience like?

I was the only painter on site that day. Photographers were everywhere though. They all were trying to fight for viewing space.

It was really quite an emotional day. Many people there began to tear up. You could actually feel the stadium going away – through the vibrations of the demolition.

And I grew up on the Yankees. Our family used to always drink Delwood Milk because if you saved up enough of the cartons you got free tickets.

‘Home Plate’ - Amy Digi

Have you sold any of the works from that collection?

No – I want to keep them all together. I’d like for them to all be in a museum one day.

I think museums are the best safe houses for art because they defend works from fires.

Our house caught fire when I was nine and I lost all of my possessions, so I know how quickly you can lose things, especially art.

How critical are you of your work?

Not very - It’s gonna do what it does. I think when I first started painted I was super critical. ‘This sucks. Oh, this isn’t good, look at the size of the hand, etc’.

But, the more I trusted that it’s all going to be alright and knowing that this is a lifetime of work, the more comfortable and less critical I became.

How did you arrive at point?

If you’re thinking in the art spirit, there are just miles and miles of canvas. So then you start thinking in terms miles, you know there are a lot of steps in each one. I’m not going to be overly critical of a few steps that took place a couple of miles back.

I’ve been solely focused on painting for the past 6 years, and I know I’ve got another 40 years ahead of me (with good health). We can look at my work then and decide to be critical.

So I just show up and paint - Some days are better than others / Some days the stars are aligned / Some days I meet people who are really nice / Some days it’s the perfect painting for that day and it’s my favorite…until the next one.

What is your biggest source of inspiration?

The sunlight. If I can paint in sunlight, it is my master teacher. It really is.

And lastly, you’ve been involved with art your whole life - What’s something that you are more aware of now as you’ve had more experience?

The longer that I’m in this game, the more people are falling to the waist side and give up. You don’t do it if you don’t love it, because otherwise it will just eat you up. 

You just have to make work because you love making work, not because somebody is going to give you a gold medal, you know. Because they’re all out of gold medals.

‘Bow Bridge’ - Amy DiGi

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Amy DiGi remains in residence in New York City. She currently has a solo exhibition called Revivify at the Grace Institute that just opened and runs until June 27, 2012. Her work is for sale through her site, and Amy is now an artist on Galleray.