January 28, 2022 • 40 mins
Katherine Klimitas is an artist, public speaker, blog writer, designer, painter, author, YouTuber, advocate, and more. Nothing has stopped her from achieving these incredible accolades--not even osteogenesis imperfecta, a rare disease that severely increases the fragility of one's bones.
Listen as Katherine talks about her life with this disease and how her creative capacities blossomed into a professional career with no signs of slowing down.
Website: kakartnola.com / https://linktr.ee/kakartnola
Twitter: https://twitter.com/KakArtNola?s=20
Facebook: https://www.facebook.com/katherine.klimitas / https://www.facebook.com/kakartnola/
Instagram: https://www.instagram.com/kakartnola/
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Intro (00:02):
Welcome to Disability Talks, a podcast produced by
Abilities in Motion.
I'm your host, Ed Granger.
Join us to encounter uniqueperspectives on accessibility
and independence, and to hearstories from everyday people
living their most independent,everyday lives; where essential
conversations find their place.
Let's talk.
Ed (00:22):
Very excited about the opportunity to talk to today's
guest.
Katherine Klimitas is manythings.
She is an artist, a publicspeaker, a blog writer, a
designer, a painter ofwatercolors, an animal lover, a
book author, a YouTuber, and anadvocate, and probably some
(00:43):
other things she will share withus.
So Katherine, welcome toDisability Talks.
Katherine (00:49):
Thank you.
Ed (00:50):
So I guess out of all the places we could start with all
the various hats that you wear,kind of the obvious places maybe
to start with your book, whichis titled Looking Up.
So could you share a little bitabout, uh, how the book came
about and that's where you sharea, you know, a lot of your
personal journey as well as yourartistic inclinations?
Katherine (01:09):
Sure.
So Looking Up is a coffee tablebook I designed and wrote about
me and my story and about thedisease I have.
So I have a genetic bone diseasecalled osteogenesis imperfecta,
and it basically means that mybones break easily and grow
abnormally.
I'm 2' 7".
I use an electric wheelchair formobility.
(01:31):
People ask me how many bonesI've broken and I tell them that
we stopped counting around 500when I was 10.
And I'm now 32, almost 33.
So, uh, a lot is the easyanswer to that.
And, um, anyway, yeah, the bookcame about, I majored in graphic
design in college and for oursenior thesis, we were given our
(01:55):
assignment basically was tocreate a project that we could
present at the end of thesemester that no one else could
do.
I mean, that was literally, theonly guideline was figure out
something you can do that no oneelse can do.
So I decided to write about mebecause you know, nobody else
really can, um, like I can atleast.
(02:17):
And, um, it went through a lotof different developmental
stages.
I mean, originally it was gonnabe an oversized book and then it
was gonna be poster series.
And anyway, it ended up being acoffee table book.
And after I graduated localpublisher picked it up.
And so it's actually publishedand available online, which is
(02:41):
pretty neat, but yeah, it'sabout me and about how I, I live
with the disease I live with.
And, uh, it's got some funnystories in it about what
strangers have said to me inpublic and, um, some information
about some of my worst injuriesand stuff like that.
Ed (02:59):
And obviously you have a sense of humor.
So can you share a little abouthow humor factors into your
story and how you navigate yourlife?
Katherine (03:08):
Well, I mean, I, you know, people say you can either
laugh or cry kind of thing, youknow?
And so I usually advocatelaughing because I mean it's
better than crying, right?
unless you have brokenribs, then, then not so much, uh
, not so much for eitheractually.
(03:28):
Uh, but my parents have alwayshad a good sense of humor and
they've always been verypositive people and they've
always pushed me to doeverything I can do.
And um, so, you know, I think, Ithink it just comes from that
too.
Ed (03:45):
And your parents, if I recall correctly actually got
you started on the pathway tobeing an artist.
So can you talk a little bitabout that?
Yes.
Katherine (03:53):
My parents, um, are veterinarians.
Um, my dad actually passed awayseveral years ago, but my mom is
still a practicing veterinarian.
And so I grew up around animalsand, um, my mom, when I was
little, was constantly trying tofind things that I could do
because, you know, obviously Iwent to a mainstream school and
(04:14):
I couldn't go out with myfriends and play baseball or
soccer or softball or whatever.
And so, you know, at the timeswhen I couldn't go be with them,
I was bored and I was smart andI was driving my mother
completely insane.
And so, um, you know, she wasconstantly trying to teach me
things.
(04:34):
We did a lot of hooked onphonics for the nineties kids.
I'm sure you all remember hookedon phonics.
It was torture and I hated it.
Uh, but uh, I did a lot of that.
And then my mom gave me artsupplies and when I was five,
she gave me my first watercolorset, which was just a cheap
watercolor set that you wouldnormally give a five year old.
(04:57):
You know, it was, I'm sure 10bucks at, you know, Michael's or
whatever.
And I got kind of hooked.
Like I, I loved it and it turnedout I was actually pretty good
at it even for a five year old.
And so my parents got me intodifferent classes.
I mean, of course I took art inschool, but then, um, I had
(05:20):
private classes and I had likesummer camps, you know, so I got
to do all kinds of work with allkinds of medium.
Um, I did, I mean, I even got todo some glass blowing one
summer, which was super fun, butkind of dangerous.
super fun though.
Um, I did, I, you know, I'vedone acrylic in oil and pastel
(05:43):
and sculpture and I meaneverything, but I've always kind
of come back to watercolor.
Um, I think just because it wasthe, maybe the first thing I
learned and then also it, um,you know, you can do it in a
small space, which is nice.
Uh, and for me, I can't movearound a whole lot.
(06:05):
So to be able to do something ina small space, relatively neatly
, uh, is, is good.
And, and I started paintinganimals because my parents would
take me to work with them onSaturdays.
And so I grew up, you know, in avet clinic essentially.
And so while I was there, I'dbring my paints.
(06:28):
And while I was just hanging outin the front, the clients would
say, oh, could you paint my dog?
You know?
And I would, while they werewaiting, sit there and paint
their dog and, or, or they'dgive me pictures and I'd paint
it later or whatever.
But as like a young teenager,they were starting to just pay
me to paint their animals.
(06:49):
And so, you know, that's prettycool as a young teenager to be
making 40 bucks or whatever, youknow, a, um, and of course those
paintings were not nearly asinvolved as my paintings are
today, but, um, that's kind ofhow I got started.
Ed (07:07):
So share a little bit about how you developed your, your
process and your technique is alittle bit different from
anybody else's, I'm aware of.
So how did, how did you, how didyou make those adaptations?
Katherine (07:17):
It is.
So for me, it's hard for me tosit up for a long period of time
because it is really hard on myback.
It's also hard for me.
Like if I am sitting up to holdmy arm up to do something for
any length of time.
And so I do a lot of, a lot ofmy daily activities laying down
on my side.
(07:38):
So, I mean, and I've always donethat just, I mean, since I was a
child, you know, I've always, Ilearned to eat on my side.
I learned to drink and, youknow, type and write and
everything on my side.
Uh, and so I want, I obviouslywas drawing and painting on my
side as well.
(07:58):
The problem I is that when youlook at something laying down,
it looks very different thanwhen you look at it when you're
sitting up.
So for a long time, when I wasyoung, everything would just
kind of be a little off, likejust a little crooked.
Um, and so, and, you know, as akid it's like, oh, it's
(08:21):
whimsical and it's a child'sdrawing and you know, it's fine,
but as a professional, unlessyou're doing that on purpose for
a reason, like purposely in thepainting, it's not great to have
everything crooked.
So I had a, uh, professor whotaught me privately a college
(08:42):
professor who taught meprivately in high school every
weekend, I would do a couplehour lesson with her and she
actually laid on the floor withme and helped me figure out my
perspective and what I needed todo to compensate for it.
And yeah, and I mean, it, Imean, I learned more from her
(09:05):
than from anybody, you know,because she said everybody has a
process.
Every artist has a process.
You just have to figure out whatyours is and what works for you.
And so that's what she helped mefigure out is, you know, what my
process would be.
And, um, I mean, that wasinvaluable.
I mean, that's when, like that'swhen I learned to draw, you
(09:26):
know, I had been drawing for along time, but that's when I
learned how, you know,the right way.
And, and that's when I reallystarted thinking, okay, yeah,
this is gonna be a career choicefor me.
Ed (09:39):
And I think your animal paintings are amazing and
they're, they're veryremarkable.
And almost, I think probablypeople would say photo realistic
or something close to that.
And yet they also still reflectwho you are as an artist.
So how do you navigate that?
Uh, how do you balance those twothings?
Katherine (09:58):
Um, I mean, I think they are kind of photo
realistic, but I always try toput some of my personality in
each one.
Um, I mean, you know, it's, it'sstill a painting no matter what.
So, I mean, there are stillbrush strokes and there's still,
um, that artsy flare, I guessyou could say, I mean, it's,
(10:21):
it's not a photo.
Like it's never going to be aphoto.
Uh, it's still a painting.
So, you know, I, I usually workfrom photos.
You know, I usually look at aphoto when I'm working and I
take some artistic license as welike to say, you know, like I,
if it's somebody's pet,obviously I don't change much
(10:44):
except maybe the background, um,because it's, somebody's pet,
right.
You know, they want, they want apainting of their pet.
So it has to look like they're apet.
Right?
Um, but when I'm doing a wildanimal or a bird or something
like that, you know, I, I takesome artistic license and I kind
of do what I want, which is morefun, um, than doing pet
(11:06):
portraits.
But I mean, I have a line of petportraits right now, still from
Christmas that I have just, it'sa lot
Ed (11:15):
I think you've mentioned on your blog that, uh, you know,
you grew up with animals and youknow, that each animal has its
own personality.
And for you in your family, youhad a tarantula and a Maltese
and a cockatiel.
So some things that maybe otherpeople haven't grown up with and
they each have their ownpersonality.
So you started with pets thatyou knew their personality,
(11:37):
what's the challenge ofcapturing that personality when
you only have a photo to workwith?
Katherine (11:41):
Yeah, that, that is hard.
Um, I mean, I feel like I'vedone it so much that it just
kind of happens now, but thatbeing said, I mean, I do often
tell people I need anotherphoto, you know, or I, you know,
I need more than one, you know,to try to get an idea of this
(12:04):
animal's personality, becausesometimes it just doesn't work.
I mean, you know, sometimes I,like, I have a client right now,
her son wants a painting of hisgirlfriend's dog and she's
probably sent me eight photosand all, I was like, no, no, no,
until, until finally wegot one that I was like, okay,
(12:25):
I, I can work with this.
You know?
Um, the challenge, the mostchallenging is when the animal
has passed away and the ownerdoesn't have any more photos and
that can be challenging.
Um, it is, it's not as bad ifit's a purebred dog and, you
know, they're all kind of astandard, um, look, you know,
(12:50):
and, and that kind of helpsbecause I can go on Google and
cheat a little bit and find, youknow, like, like a Maltese, you
know, a lot of Maltese look thesame.
I mean, obviously not exactlythe same, you know, and, and
they may have a different lookon their face, but as far as
like their hair and their colorand the basic shape of their
(13:12):
bodies, you know, theiressentially the same.
But when we, whenever I get adog that is a mixed breed that
is already died, that hasalready died.
And then I only have one or twokind of okay photos.
That's, that's a littlechallenging.
um, so far though, I'vemanaged to make everybody happy.
(13:32):
So, so far so good.
Ed (13:34):
Well, and part of the challenge, I guess, uh, for you
is you love painting obviously,and you have a fine arts, uh,
creative talent, but you alsohave to make a living from what
you do.
And so share a little bit aboutthe challenge of how you sort of
learn to monetize your work.
And I know you have a verystrong work ethic from your
(13:55):
parents.
You've shared that.
So how, how have you managed to,uh, to make it into something
that, you know, can besustainable as a career?
Katherine (14:02):
Yeah.
Um, I honestly, so I've had mybusiness officially now for
almost 11 years.
Um, I started it right outtacollege and I mean, of course I
had been working before that,but like for real, legally with
a business name and an LLC, youknow, right out of college.
And I feel like just now thatI'm finally at a point where I
(14:27):
am making money on my paintings.
Um, so I know that's probablynot what new business owners
wanna hear because it's been 11years, but, you know, you can
only charge so much when youdon't have the experience, you
know, and, and, and, and, andfor a piece of art, you can only
charge so much period.
(14:49):
You know, it's, it's a piece ofart.
Like there's only so muchsomebody's gonna pay for that.
And so I've, over the years,I've just inched my prices up,
you know, as I've gotten, youknow, more articles written
about me or, or more news spotsor whatever, as I've, my work
(15:09):
has become a little more known,you know, I've inched my prices
up to a point now where, um, I'mstill getting plenty of work, so
that's not an issue, but Iactually feel like I'm making
money on them, which iswonderful.
And the other thing I do is formy wild animal paintings, not so
(15:31):
much the pet portraits, but thewild animal paintings, I put my
paintings on products and sellthose products.
So, you know, I don'tnecessarily make a ton of money
off of each product because ofcourse I have to pay for the
product.
Right?
And then I sell it.
So it's not like, you know, ifit's a$30 pillow, I'm not making
30 dollars, I'm making five, youknow, or whatever, or a little
(15:55):
more than that, but let's justgo with five.
Um, so, uh, you know, that, thatis nice because even though I'm
not making as much money perproduct, I'm also not doing any
work really, you know, exceptprocess the order, essentially,
you know, so that, that's a goodsource of income.
(16:17):
And I'm actually, this year, oneof my main goals is to start
actually licensing my workprofessionally to companies, for
them to put it on theirproducts.
Um, so like, if you see, I don'tknow, like a, a mug in Target,
you know, I, my goal is tocontact manufacturers who make
(16:40):
those mugs, have them agree toput one of my paintings on a mug
and then sell it in all oftheir, you know, all their
retail outlets.
And then I would get a royaltyon each item they sell,
essentially that's called artlicensing.
Um, it's a little morecomplicated than that, but
that's it in a nutshell.
(17:01):
And, uh, so that's something I'mlooking into seriously this
year, trying to kind of startbecause it's a lot of work in
the beginning, but then oncethese contracts are set up and
these deals were set up, it's, Idon't have to do anything, you
know, which is fabulous.
Well, and then the other thingis I majored in graphic design
(17:23):
in college.
I, when I went, when I startedcollege, I thought I was gonna
major in fine art.
Then I realized how much work Iwould have to put out physically
to make enough money to surviveas a fine artist.
And physically there was no waythat there was just, there was
no way that was gonna happen.
(17:44):
And so I decided to switch mymajor about halfway through my
freshman year, maybe to graphicdesign.
And so I am like technicallytrained as a graphic designer.
So I also do logos and businesscards and invitations and
websites and that kind of thingtoo.
So that's kind of supplementedmy art.
Ed (18:07):
So Katherine, you shared about, uh, your graphic design
part of, uh, who you are andyour work, and you actually
majored in graphic design.
And I don't know that ourlisteners are aware that that
was a big part of your book.
Project was actually the, thedesign part of it, as much as it
was a chance to tell your story,but you also had an interesting
(18:29):
encounter with a fairly wellknown, uh, musical artist.
And I know you're a music fan.
So can you talk a little bitabout, uh, that encounter?
I think you probably know theone.
Katherine (18:39):
I'm talking about.
Yeah.
So I, I love live music.
That's my hobby, you know,people say, oh, but you are an
artist.
Art is your hobby.
Art is really not my hobbyanymore.
Um, it used to be, but now thatit is my job,, it is no
longer my hobby.
Um, I still love it, but notit's, it's just not a hobby
(19:01):
anymore.
So my, my hobby is going to seelive music.
And we have a festival here inNew Orleans called Jazz Fest.
Um, I'm sure there are severalpeople on here that have heard
of Jazz Fest, cuz it's very wellknown.
Um, and I go as many days, everyyear as I possibly can.
(19:24):
I love Jazz Fest and one year, Iguess, three or four years ago
now, um, Rod Stewart was thereand he actually wasn't supposed
to be there.
It was supposed to be ArethaFranklin.
Um, but she was sick and heended up being like a last
minute fill in and my friend andI were excited, uh, you know,
(19:47):
but I didn't, I knew him throughmy parents, you know, like I, I
knew him because my parents usedto listen to his music and it's
not like, it's not like I knewhis music super, super well, you
know, I knew the big ones, but Ididn't know it all anyway, but I
was excited.
So we went and we, uh, at JazzFest, you kind of have to secure
(20:08):
a spot really early in the dayand then just sit there all day.
So, you know, we camped out at11 o'clock right when the gates
opened.
So he came four, four or fiveand um, he kept singing to me
cuz of course we were in thefront and I don't know why he
just did.
(20:28):
And um, I tried to fake that Iknew the one because of course I
didn't.
Right?
Um, at least for the most part.
And I guess I did a good jobbecause at the end of his set,
he looked at me and he looked atmy friend and he pointed at me
and said, you do you wanna comebackstage?
(20:49):
And I was like, okay.
So he finishes the show,security takes us backstage.
Um, and they were having a partyback there because it was one of
his backup girls's lastperformances with him.
Uh, she had taken a spot onBroadway.
(21:09):
And so this was her last showwith them so they had cake and
wine.
Um, and he, you know,"come onback, come have some cake, come
have some wine, you know, wouldyou like a shot at tequila?" I'm
like,"no," we've been standingout in a hundred degrees for
eight hours and I've hadchocolate covered strawberries
today as far as food goes.
(21:29):
So no think I'll pass on thetequila.
Um but, uh, anyway, westarted talking with him and my
friend, um, was, I mean that,you know, she was on it.
I was still kind of in shock.
Right?
And she was like, Hey, you know,Katherine is a graphic designer
(21:51):
and she loves to design for themusic industry.
If you ever need something,here's her card, you know, ha ha
ha you know, rod Stewart, youknow, world renowned artist,
right.
Here's her card.
And he goes,"well, actually Ihave an album coming out in
September." This was may.
(22:11):
"So in September and I don'thave album art for it.
Do you wanna give it a go?" AndI was just like, uh, okay.
So, uh, he, I met with hismanager and she emailed me the
spec the next week for the albumart, which, I mean, I couldn't
(22:33):
believe like it actuallyhappened, you know, because, you
know, I, I was just like, okay,yeah, she'll email me to specs
next week we'll see.
But I mean, she did.
And, and I went back and forthwith him through her over the
next couple months about what heliked and what he didn't like
and being an artist, of coursehe had no idea what he, what he
(22:54):
wanted.
Um, and, uh, it came apparentlyfrom what I understand, it came
down to two designs.
One was mine and one wassomebody else's and
unfortunately he went withsomebody else's, but that's
totally fine.
Um, it was an incredibleexperience to work with him
because I mean, like who gets towork with Rod Stewart, you know,
(23:18):
like that was crazy.
And, um, he did pay me for mytime, which was wonderful.
And he invited us back to a showthat year and we had backstage
passes and all that stuff again.
So we got to hang out with himagain and his family and, um, it
was great.
And he is a great guy.
(23:40):
I mean, he is so nice.
So down to earth, just, I meanall around great guy.
So that was a pretty cool deal.
Ed (23:48):
So you never know where you're gonna find your next gig,
right?
It could be almost anywhere.
Katherine (23:52):
You never know.
Yeah.
You never know it's, you know,it's right place, right time.
Ed (23:57):
And sometimes that love of music can connect up with the
other things that you do.
And, and it leads somewherereally interesting and
memorable.
Katherine (24:04):
Absolutely.
Definitely.
I and I work with a few localmusicians also, you know, and I,
I love to design for music.
Um, I just, I love, you know, Ithink music brings people
together kind of like art does.
So I like the idea of creatingthat visual component for music
because it's so audio, right?
(24:27):
I mean, I think there'ssomething really neat about
taking that audio and making itvisual and it's fun.
It's challenging, but it's fun.
Ed (24:35):
So as a center for independent living, we're
obviously an organization thatreally wants to support people
in reaching for their goals anddreams and finding ways to
support them in doing that.
Can you talk a little about yourjourney?
Uh you're you're a veryindependent person in terms of
where you've taken your career.
Talk a little bit about that,what independence means to you
and how you've gotten, where youare.
Katherine (24:57):
Yeah.
I mean, I, I will never becompletely independent and, and,
you know, that's, that's thecase with a lot of people with
disabilities, you know, you,there are just things I can't
do.
Like I can't go to the bathroomby myself for example, or, or
cook my own food.
Um, you know, that kind ofthing.
(25:18):
So the things I can do bymyself, I want to do by myself,
you know?
So, so that's part of what is sogreat about watercolor painting
is that I can do it all bymyself.
You know, aside from somebodyphysically handing me my, my
paint brushes and my paints andmy palette and, you know,
(25:40):
whatever I need once I have allmy stuff, I mean, I, I can do it
by myself and I can create aproduct that actually makes me
money, which is reallynice.
Um, so I think, you know, itkind of goes back to what we
were talking about, aboutfinding your process, you know,
(26:00):
it's it's, and it doesn't haveto be an artistic process, you
know, it's, it's about findingwhat you can do, then figuring
out a way to work that into yourlife so that it helps you make a
living.
Um, and so, and sometimes that'sharder than others, you know, I,
(26:20):
I'm lucky because I found that Iloved art at a really young age,
and I had parents that supportedit and pushed me to do it
sometimes I think a little toohard, but that's okay.
we forgive them forthat.
But, uh, you know, some peopledon't have that.
And so they're gonna have tofind a way to take the
initiative, to just try a bunchof stuff and see what they like
(26:44):
and see what they can do.
Ed (26:46):
And obviously that means being willing to step outside
your comfort zone and try newthings and explore?
Katherine (26:52):
Definitely, definitely.
And I, and I've done that withinthe art world, you know, like
I've, as I said, I've tried allkinds of media, you know, tried,
um, I also make jewelry.
That's another kind of offshootof my business that I do mostly
around the holidays.
Um, but I tried glass blowingand stain glass and oil
(27:16):
painting, which I absolutelydespise.
Um,, I mean, I lovepeople who can do it and I love
to look at it.
I just don't like doing itmyself, you know, and print
making and all those things.
Those were totally outside mycomfort zone, but I tried'em and
you know, it, they were goodexperiences that still add to
(27:37):
what I do today.
Ed (27:38):
Absolutely.
And you also, I think havewritten in your book about some
of the treatment mode that haveactually helped you in your life
and you are allowing you to dowhat you do.
Can you talk a little bit aboutthat and how you kind of came
across the right combination ofthings that, that supports you?
Katherine (27:56):
Yeah.
So my mother is a homeopathicveterinarian, so she does a lot
of natural medicine.
Uh, so we don't use a whole lotof prescription drugs in this
house.
I don't, I don't take narcoticswhen I break.
Um, I can probably count on onehand the amount of times I've
taken a narcotic, many of themfor a very long time ago.
I just do things a little bitdifferently in general.
I don't go to doctors when Ibreak, because all they can tell
me is that I have a broken bone,which I already know because
I've been doing this for areally long time.
And you know, my mom and my dadare vets, you know, so they can
put a cast on me or splint me orwrap my arm or whatever it is,
you know, that needs to be done.
And honestly, they did it betterthan most doctors because they
had more experience with me whenI was hurt, you know, than most
doctors have.
This is not a common disease andmost doctors never see it, you
know?
Um, and so for a lot of doctors,unless they're a orthopedic
doctors or they specialize init, this is, this disease is a
paragraph in a book, you know,like they know about it, but
they have no idea how to handleit.
Even though they've been trainedin theory how to handle it, they
really have no idea because theyjust, they don't have to do it
every day.
You know?
And so we found things, we foundother types of splinting
material that is lighter inweight.
Um, because one thing peopledon't think about is if like,
let's say I break my arm and Ineed a cast or a splint, or, you
know, something in the hospital,what they would put on is a
fiberglass heavy cast.
Right?
Well, the problem is that if youput a fiberglass cast on me and
I have the weight of that castpulling on my shoulder, I'm more
likely to break my shoulderbecause of the cast.
And so people don't think aboutthat.
You know, doctors don't thinkabout that because they don't
have to with normal people.
Um, but we do.
And so it's very rare that I getchecked by a doctor, of course,
you know, when it's a bad enoughinjury and you know, we're a
little concerned about anythingsurgical, you know, then like,
okay, maybe we need to go seesomebody, but I, again, like I
could probably count on onehand, the amount of times that's
happened.
I always joke that if I had anx-ray, every time I broke a
bone, I would glowbecause I mean, you know, I
broke two ribs last week becauseI had a cold and I coughed, you
know, I mean, like it's, ithappens a lot, you know?
And, um, yeah, that would, thatwould not be convenient at all.
Ed (30:49):
So you found what works for you and how, how does you being
able and willing and learning toadvocate for yourself?
How has that factored into, youknow, finding the, the right
path?
Katherine (31:02):
Well, I mean, I think that if, if you can, everyone
needs to be able to advocate forthemselves.
Um, and of course I couldn't dothat when I was a child, but I
had parents that did it for me.
You know, my mom advocated forme, you know, constantly when I
was a child.
The thing is that unfortunately,and this is just from my
(31:24):
personal experience, doctors andother medical professionals,
like physical therapists.
I've had issues with physicaltherapists in the past, um,
occupational therapists theywill at, they will put you in a
box basically, you know, they,because, because they've been
taught protocols and they'vebeen taught to follow those
(31:44):
protocols, which I get, youknow, everybody needs to learn
the protocols and follow them,but at, at a certain point,
sometimes those protocols justdon't work, you know, with
certain people, it's just, it'sjust not an option.
And, you know, one of the thingsI talk about when I public
speaking, especially to a groupof medical professionals or
(32:07):
medical students is, yeah, Imean, you need to learn'em and
you need to learn'em as youknow, the basis of your
education, but you also need tolearn how to work around them
and how to change them and howto think outside the box a
little bit, because like, Ican't do regular physical
therapy.
Uh, an example is in theory, Ihad a physical therapist when I
(32:30):
was young, who decided that,well, my bones aren't strong,
but she could make my musclesstrong.
And if my muscles were strongerthan my bone, then in theory, I
would be able to move aroundbetter and maybe walk, well, the
problem with that is that whenmy muscles are stronger than my
bones, they break my bones andthat's a major problem.
(32:50):
So, you know, that, thatprotocol did not work for me.
Um, they used those, uh, thoseelectrical stem units.
They put one on my, on my eyeand broke my femur.
I mean, you know, yeah.
That would work for most peopledoes not work for me.
So yeah, that's, that's one ofthe things is you've gotta
(33:11):
again, figure out your processand what works for you and then
stick to it.
Ed (33:16):
And you've also done some advocacy around school
inclusion, and that seems to bea passion for you as well.
Can you talk a little bit aboutyour work in that area?
Katherine (33:23):
Sure.
So I, I was always in amainstream school.
Um, my parents realized that Iwas really smart and at least
here, you know, I don't, I can'tspeak for the rest of the
country, but in this generalarea, when you talk about a
special ed school, you talkabout mental disabilities.
(33:44):
And I mean, that was not theplace for me because I didn't
have a mental disability.
You know, I was physicallydisabled, but not mentally.
And I would've been bored todeath, you know, in a class like
that.
And I wouldn't have gotten anykind of social interaction with
at my level, you know, my mentallevel.
And so my parents always pushedfor me to be in a mainstream
(34:06):
school.
I went to a private school whenI was in grade school that was
small, but, and very familyoriented and they were great
about making sure I was includedas much as I could be.
And, and of course, again, likethere were times where I
couldn't be, but we found waysaround it, you know, or, or, you
know, while my friends went anddid something, I went and did
something else, you know, or Ihad art to fill in or whatever
(34:29):
it was, but what's cool, is thatnot only did I get the social
engagement I needed, you know,as, as a child, but my friends
grew up understanding how toreact around somebody who looks
different or who has to dothings a little bit differently.
And that I think for them wasinvaluable because they, you
(34:52):
know, they don't stare at peoplein wheelchairs, in public, you
know, they don't, they're notafraid to go up to somebody in a
wheelchair and ask them aquestion or just talk to them,
like a normal person, you know?
And there are so many peopletoday that don't know how to do
that, or they can't, or theyjust, they just won't.
And, and it's because they don'thave any experience with it.
(35:15):
That's, that's the main reason Iwould assume.
And so if you start kids offwhere it's normal for people to
be different, then by the timethey get to adulthood, they're
good.
You know, like it's not a thingfor them.
And then they teach their kidsthe same way, you know, it's a
trickle effect.
(35:35):
So that's one of the things Italk about is going to school
and, and even kids with mentaldisabilities, like involve'em in
PE classes or involve them, youknow, wherever they can be
involved with kids, you know,who are able bodied, who are,
you know, quote unquote normal.
So that again, when they seesomebody out like that in
(35:56):
public, did they, they know howto react?
You know, it's not a weird thingfor them.
And I, I just, I think that'ssomething that a lot of people
don't think about that theyshould.
Ed (36:10):
Absolutely.
Yeah.
That's fantastic.
You have so many different, uh,facets to what you do.
And one of the challenges oftalking to you is, well, here we
are on a podcast and you're, uh,working a very visual medium, or
I should say visual media.
So if people want to see yourwork, uh, experience more of it,
learn more about it, how wouldthey do that?
Katherine (36:32):
So my website is kakartnola.com, like new
Orleans, Louisiana.com.
Um, my initials were KK andthat's actually kind of a funny
story because when I was reallylittle, my dad was like, oh, you
need a business card.
You know, and I started justpainting random clients' pets.
And so I came up with KAK Artand then I just, it stuck.
(36:56):
And I just, you know, I hadthose horrible print shop deluxe
business cards, you know, atfirst.
And I actually found one notlong ago and oh my God, I don't
know what I was thinking.
It's so badly designed, butanyway, it just stuck.
So KAK art, kakartnola.com.
And then you can also find me,my, all of my handles are
kakartnola.
(37:17):
So you can find me on Instagramand Facebook and LinkedIn.
And then I also have an Etsystore, um, which is linked to my
website.
So you can find it through that.
Ed (37:29):
And I think I found some YouTube as well.
So you can, you can claim thetitle of YouTuber, which all the
kids these days reallyappreciate.
Katherine (37:37):
I know, I, you know, know I, YouTube is like my last
thought right now, you know,I've, I've really been trying to
get my Instagram wellestablished and I've been
working on my Facebook page alot.
And I, I do add to my YouTubeaccount.
I just am not probably asreligious about it as I should
(38:00):
be, but yes, technically I am onYouTube.
Ed (38:04):
So I guess the next question is what's next for you?
What's on the horizon?
Katherine (38:09):
I, I, well, as I said, I'm gonna be working on
the art licensing thing, um,throughout the year.
And I just had a show in BatonRouge.
Um, I had a, a, my first museumexhibit, so that was really
exciting and that went really,it went really well.
(38:31):
And so I'm gonna try to probablysecure another one of those by
the end of the year.
Uh, the problem is the problemis I have to create more for it.
Uh, and I currently don't havethe time to do that due to the
amount of pet portraits I stillhave to do from Christmas.
So, um, I hopefully can do thatthis year.
(38:54):
We'll just have to see that's,that's about it.
Ed (38:57):
Great.
I'm, I'm sure it, whatever itis, it will be done with the
same passion and the same workethic and the same dedication
that you give to everything thatyou've done, which is a great
deal.
So thank you very much fortaking the time to talk with me,
um, and share a little bit aboutyour story and your amazing
(39:18):
creativity with our listeners.
Katherine (39:19):
Absolutely.
Thank you for having me.
Ed (39:22):
So thanks to our listeners.
If you like, what you heardtoday, you can like and
subscribe, and so you can findout what is coming up next on
Disability Talks.
Thank you very much, Katherine,for joining us.
And we look forward to hearingfrom you again in the future.
Katherine (39:35):
Awesome, thank you.
Outro (40:13):
Thanks for tuning in to this episode of Disability
Talks.
Want to be a part of the ongoingconversation?
Visit our website atabilitiesinmotion.org, or
connect with us on social media.
Welcome to Disability Talks, a podcast produced by
Abilities in Motion.
I'm your host, Ed Granger.
Join us to encounter uniqueperspectives on accessibility
and independence, and to hearstories from everyday people
living their most independent,everyday lives; where essential
conversations find their place.
Let's talk.
Ed (00:22):
Very excited about the opportunity to talk to today's
guest.
Katherine Klimitas is manythings.
She is an artist, a publicspeaker, a blog writer, a
designer, a painter ofwatercolors, an animal lover, a
book author, a YouTuber, and anadvocate, and probably some
(00:43):
other things she will share withus.
So Katherine, welcome toDisability Talks.
Katherine (00:49):
Thank you.
Ed (00:50):
So I guess out of all the places we could start with all
the various hats that you wear,kind of the obvious places maybe
to start with your book, whichis titled Looking Up.
So could you share a little bitabout, uh, how the book came
about and that's where you sharea, you know, a lot of your
personal journey as well as yourartistic inclinations?
Katherine (01:09):
Sure.
So Looking Up is a coffee tablebook I designed and wrote about
me and my story and about thedisease I have.
So I have a genetic bone diseasecalled osteogenesis imperfecta,
and it basically means that mybones break easily and grow
abnormally.
I'm 2' 7".
I use an electric wheelchair formobility.
(01:31):
People ask me how many bonesI've broken and I tell them that
we stopped counting around 500when I was 10.
And I'm now 32, almost 33.
So, uh, a lot
And, um, anyway, yeah, the bookcame about, I majored in graphic
design in college and for oursenior thesis, we were given our
(01:55):
assignment basically was tocreate a project that we could
present at the end of thesemester that no one else could
do.
I mean, that was literally, theonly guideline was figure out
something you can do that no oneelse can do.
So I decided to write about mebecause you know, nobody else
really can, um, like I can atleast.
(02:17):
And, um, it went through a lotof different developmental
stages.
I mean, originally it was gonnabe an oversized book and then it
was gonna be poster series.
And anyway, it ended up being acoffee table book.
And after I graduated localpublisher picked it up.
And so it's actually publishedand available online, which is
(02:41):
pretty neat, but yeah, it'sabout me and about how I, I live
with the disease I live with.
And, uh, it's got some funnystories in it about what
strangers have said to me inpublic and, um, some information
about some of my worst injuriesand stuff like that.
Ed (02:59):
And obviously you have a sense of humor.
So can you share a little abouthow humor factors into your
story and how you navigate yourlife?
Katherine (03:08):
Well, I mean, I, you know, people say you can either
laugh or cry kind of thing, youknow?
And so I usually advocatelaughing because I mean it's
better than crying, right?
,
(03:28):
Uh, but my parents have alwayshad a good sense of humor and
they've always been verypositive people and they've
always pushed me to doeverything I can do.
And um, so, you know, I think, Ithink it just comes from that
too.
Ed (03:45):
And your parents, if I recall correctly actually got
you started on the pathway tobeing an artist.
So can you talk a little bitabout that?
Yes.
Katherine (03:53):
My parents, um, are veterinarians.
Um, my dad actually passed awayseveral years ago, but my mom is
still a practicing veterinarian.
And so I grew up around animalsand, um, my mom, when I was
little, was constantly trying tofind things that I could do
because, you know, obviously Iwent to a mainstream school and
(04:14):
I couldn't go out with myfriends and play baseball or
soccer or softball or whatever.
And so, you know, at the timeswhen I couldn't go be with them,
I was bored and I was smart andI was driving my mother
completely insane.
And so, um, you know, she wasconstantly trying to teach me
things.
(04:34):
We did a lot of hooked onphonics for the nineties kids.
I'm sure you all remember hookedon phonics.
It was torture and I hated it.
Uh, but uh, I did a lot of that.
And then my mom gave me artsupplies and when I was five,
she gave me my first watercolorset, which was just a cheap
watercolor set that you wouldnormally give a five year old.
(04:57):
You know, it was, I'm sure 10bucks at, you know, Michael's or
whatever.
And I got kind of hooked.
Like I, I loved it and it turnedout I was actually pretty good
at it even for a five year old.
And so my parents got me intodifferent classes.
I mean, of course I took art inschool, but then, um, I had
(05:20):
private classes and I had likesummer camps, you know, so I got
to do all kinds of work with allkinds of medium.
Um, I did, I mean, I even got todo some glass blowing one
summer, which was super fun, butkind of dangerous.
Um, I did, I, you know, I'vedone acrylic in oil and pastel
(05:43):
and sculpture and I meaneverything, but I've always kind
of come back to watercolor.
Um, I think just because it wasthe, maybe the first thing I
learned and then also it, um,you know, you can do it in a
small space, which is nice.
Uh, and for me, I can't movearound a whole lot.
(06:05):
So to be able to do something ina small space, relatively neatly
, uh, is, is good.
And, and I started paintinganimals because my parents would
take me to work with them onSaturdays.
And so I grew up, you know, in avet clinic essentially.
And so while I was there, I'dbring my paints.
(06:28):
And while I was just hanging outin the front, the clients would
say, oh, could you paint my dog?
You know?
And I would, while they werewaiting, sit there and paint
their dog and, or, or they'dgive me pictures and I'd paint
it later or whatever.
But as like a young teenager,they were starting to just pay
me to paint their animals.
(06:49):
And so, you know, that's prettycool as a young teenager to be
making 40 bucks or whatever, youknow, a, um, and of course those
paintings were not nearly asinvolved as my paintings are
today, but, um, that's kind ofhow I got started.
Ed (07:07):
So share a little bit about how you developed your, your
process and your technique is alittle bit different from
anybody else's, I'm aware of.
So how did, how did you, how didyou make those adaptations?
Katherine (07:17):
It is.
So for me, it's hard for me tosit up for a long period of time
because it is really hard on myback.
It's also hard for me.
Like if I am sitting up to holdmy arm up to do something for
any length of time.
And so I do a lot of, a lot ofmy daily activities laying down
on my side.
(07:38):
So, I mean, and I've always donethat just, I mean, since I was a
child, you know, I've always, Ilearned to eat on my side.
I learned to drink and, youknow, type and write and
everything on my side.
Uh, and so I want, I obviouslywas drawing and painting on my
side as well.
(07:58):
The problem I is that when youlook at something laying down,
it looks very different thanwhen you look at it when you're
sitting up.
So for a long time, when I wasyoung, everything would just
kind of be a little off, likejust a little crooked.
Um, and so, and, you know, as akid it's like, oh, it's
(08:21):
whimsical and it's a child'sdrawing and you know, it's fine,
but as a professional, unlessyou're doing that on purpose for
a reason, like purposely in thepainting, it's not great to have
everything crooked.
So I had a, uh, professor whotaught me privately a college
(08:42):
professor who taught meprivately in high school every
weekend, I would do a couplehour lesson with her and she
actually laid on the floor withme and helped me figure out my
perspective and what I needed todo to compensate for it.
And yeah, and I mean, it, Imean, I learned more from her
(09:05):
than from anybody, you know,because she said everybody has a
process.
Every artist has a process.
You just have to figure out whatyours is and what works for you.
And so that's what she helped mefigure out is, you know, what my
process would be.
And, um, I mean, that wasinvaluable.
I mean, that's when, like that'swhen I learned to draw, you
(09:26):
know, I had been drawing for along time, but that's when I
learned how
And, and that's when I reallystarted thinking, okay, yeah,
this is gonna be a career choicefor me.
Ed (09:39):
And I think your animal paintings are amazing and
they're, they're veryremarkable.
And almost, I think probablypeople would say photo realistic
or something close to that.
And yet they also still reflectwho you are as an artist.
So how do you navigate that?
Uh, how do you balance those twothings?
Katherine (09:58):
Um, I mean, I think they are kind of photo
realistic, but I always try toput some of my personality in
each one.
Um, I mean, you know, it's, it'sstill a painting no matter what.
So, I mean, there are stillbrush strokes and there's still,
um, that artsy flare, I guessyou could say, I mean, it's,
(10:21):
it's not a photo.
Like it's never going to be aphoto.
Uh, it's still a painting.
So, you know, I, I usually workfrom photos.
You know, I usually look at aphoto when I'm working and I
take some artistic license as welike to say, you know, like I,
if it's somebody's pet,obviously I don't change much
(10:44):
except maybe the background, um,because it's, somebody's pet,
right.
You know, they want, they want apainting of their pet.
So it has to look like they're apet.
Right?
Um, but when I'm doing a wildanimal or a bird or something
like that, you know, I, I takesome artistic license and I kind
of do what I want, which is morefun, um, than doing pet
(11:06):
portraits.
But I mean, I have a line of petportraits right now, still from
Christmas that I have just, it'sa lot
Ed (11:15):
I think you've mentioned on your blog that, uh, you know,
you grew up with animals and youknow, that each animal has its
own personality.
And for you in your family, youhad a tarantula and a Maltese
and a cockatiel.
So some things that maybe otherpeople haven't grown up with and
they each have their ownpersonality.
So you started with pets thatyou knew their personality,
(11:37):
what's the challenge ofcapturing that personality when
you only have a photo to workwith?
Katherine (11:41):
Yeah, that, that is hard.
Um, I mean, I feel like I'vedone it so much that it just
kind of happens now, but thatbeing said, I mean, I do often
tell people I need anotherphoto, you know, or I, you know,
I need more than one, you know,to try to get an idea of this
(12:04):
animal's personality, becausesometimes it just doesn't work.
I mean, you know, sometimes I,like, I have a client right now,
her son wants a painting of hisgirlfriend's dog and she's
probably sent me eight photosand all, I was like, no, no, no,
(12:25):
I, I can work with this.
You know?
Um, the challenge, the mostchallenging is when the animal
has passed away and the ownerdoesn't have any more photos and
that can be challenging.
Um, it is, it's not as bad ifit's a purebred dog and, you
know, they're all kind of astandard, um, look, you know,
(12:50):
and, and that kind of helpsbecause I can go on Google and
cheat a little bit and find, youknow, like, like a Maltese, you
know, a lot of Maltese look thesame.
I mean, obviously not exactlythe same, you know, and, and
they may have a different lookon their face, but as far as
like their hair and their colorand the basic shape of their
(13:12):
bodies, you know, theiressentially the same.
But when we, whenever I get adog that is a mixed breed that
is already died, that hasalready died.
And then I only have one or twokind of okay photos.
That's, that's a littlechallenging.
(13:32):
So, so far so good.
Ed (13:34):
Well, and part of the challenge, I guess, uh, for you
is you love painting obviously,and you have a fine arts, uh,
creative talent, but you alsohave to make a living from what
you do.
And so share a little bit aboutthe challenge of how you sort of
learn to monetize your work.
And I know you have a verystrong work ethic from your
(13:55):
parents.
You've shared that.
So how, how have you managed to,uh, to make it into something
that, you know, can besustainable as a career?
Katherine (14:02):
Yeah.
Um, I honestly, so I've had mybusiness officially now for
almost 11 years.
Um, I started it right outtacollege and I mean, of course I
had been working before that,but like for real, legally with
a business name and an LLC, youknow, right out of college.
And I feel like just now thatI'm finally at a point where I
(14:27):
am making money on my paintings.
Um, so I know that's probablynot what new business owners
wanna hear because it's been 11years, but, you know, you can
only charge so much when youdon't have the experience, you
know, and, and, and, and, andfor a piece of art, you can only
charge so much period.
(14:49):
You know, it's, it's a piece ofart.
Like there's only so muchsomebody's gonna pay for that.
And so I've, over the years,I've just inched my prices up,
you know, as I've gotten, youknow, more articles written
about me or, or more news spotsor whatever, as I've, my work
(15:09):
has become a little more known,you know, I've inched my prices
up to a point now where, um, I'mstill getting plenty of work, so
that's not an issue, but Iactually feel like I'm making
money on them, which iswonderful.
And the other thing I do is formy wild animal paintings, not so
(15:31):
much the pet portraits, but thewild animal paintings, I put my
paintings on products and sellthose products.
So, you know, I don'tnecessarily make a ton of money
off of each product because ofcourse I have to pay for the
product.
Right?
And then I sell it.
So it's not like, you know, ifit's a$30 pillow, I'm not making
30 dollars, I'm making five, youknow, or whatever, or a little
(15:55):
more than that, but let's justgo with five.
Um, so, uh, you know, that, thatis nice because even though I'm
not making as much money perproduct, I'm also not doing any
work really, you know, exceptprocess the order, essentially,
you know, so that, that's a goodsource of income.
(16:17):
And I'm actually, this year, oneof my main goals is to start
actually licensing my workprofessionally to companies, for
them to put it on theirproducts.
Um, so like, if you see, I don'tknow, like a, a mug in Target,
you know, I, my goal is tocontact manufacturers who make
(16:40):
those mugs, have them agree toput one of my paintings on a mug
and then sell it in all oftheir, you know, all their
retail outlets.
And then I would get a royaltyon each item they sell,
essentially that's called artlicensing.
Um, it's a little morecomplicated than that, but
that's it in a nutshell.
(17:01):
And, uh, so that's something I'mlooking into seriously this
year, trying to kind of startbecause it's a lot of work in
the beginning, but then oncethese contracts are set up and
these deals were set up, it's, Idon't have to do anything, you
know, which is fabulous.
Well, and then the other thingis I majored in graphic design
(17:23):
in college.
I, when I went, when I startedcollege, I thought I was gonna
major in fine art.
Then I realized how much work Iwould have to put out physically
to make enough money to surviveas a fine artist.
And physically there was no waythat there was just, there was
no way that was gonna happen.
(17:44):
And so I decided to switch mymajor about halfway through my
freshman year, maybe to graphicdesign.
And so I am like technicallytrained as a graphic designer.
So I also do logos and businesscards and invitations and
websites and that kind of thingtoo.
So that's kind of supplementedmy art.
Ed (18:07):
So Katherine, you shared about, uh, your graphic design
part of, uh, who you are andyour work, and you actually
majored in graphic design.
And I don't know that ourlisteners are aware that that
was a big part of your book.
Project was actually the, thedesign part of it, as much as it
was a chance to tell your story,but you also had an interesting
(18:29):
encounter with a fairly wellknown, uh, musical artist.
And I know you're a music fan.
So can you talk a little bitabout, uh, that encounter?
I think you probably know theone.
Katherine (18:39):
I'm talking about.
Yeah.
So I, I love live music.
That's my hobby, you know,people say, oh, but you are an
artist.
Art is your hobby.
Art is really not my hobbyanymore.
Um, it used to be, but now thatit is my job,
longer my hobby.
Um, I still love it, but notit's, it's just not a hobby
(19:01):
anymore.
So my, my hobby is going to seelive music.
And we have a festival here inNew Orleans called Jazz Fest.
Um, I'm sure there are severalpeople on here that have heard
of Jazz Fest, cuz it's very wellknown.
Um, and I go as many days, everyyear as I possibly can.
(19:24):
I love Jazz Fest and one year, Iguess, three or four years ago
now, um, Rod Stewart was thereand he actually wasn't supposed
to be there.
It was supposed to be ArethaFranklin.
Um, but she was sick and heended up being like a last
minute fill in and my friend andI were excited, uh, you know,
(19:47):
but I didn't, I knew him throughmy parents, you know, like I, I
knew him because my parents usedto listen to his music and it's
not like, it's not like I knewhis music super, super well, you
know, I knew the big ones, but Ididn't know it all anyway, but I
was excited.
So we went and we, uh, at JazzFest, you kind of have to secure
(20:08):
a spot really early in the dayand then just sit there all day.
So, you know, we camped out at11 o'clock right when the gates
opened.
So he came four, four or fiveand um, he kept singing to me
cuz of course we were in thefront and I don't know why he
just did.
(20:28):
And um, I tried to fake that Iknew the one because of course I
didn't.
Right?
Um, at least for the most part.
And I guess I did a good jobbecause at the end of his set,
he looked at me and he looked atmy friend and he pointed at me
and said, you do you wanna comebackstage?
(20:49):
And I was like, okay.
So he finishes the show,security takes us backstage.
Um, and they were having a partyback there because it was one of
his backup girls's lastperformances with him.
Uh, she had taken a spot onBroadway.
(21:09):
And so this was her last showwith them so they had cake and
wine.
Um, and he, you know,"come onback, come have some cake, come
have some wine, you know, wouldyou like a shot at tequila?" I'm
like,"no," we've been standingout in a hundred degrees for
eight hours and I've hadchocolate covered strawberries
today as far as food goes.
(21:29):
So no think I'll pass on thetequila.
Um
friend, um, was, I mean that,you know, she was on it.
I was still kind of in shock.
Right?
And she was like, Hey, you know,Katherine is a graphic designer
(21:51):
and she loves to design for themusic industry.
If you ever need something,here's her card, you know, ha ha
ha you know, rod Stewart, youknow, world renowned artist,
right.
Here's her card.
And he goes,"well, actually Ihave an album coming out in
September." This was may.
(22:11):
"So in September and I don'thave album art for it.
Do you wanna give it a go?" AndI was just like, uh, okay.
So, uh, he, I met with hismanager and she emailed me the
spec the next week for the albumart, which, I mean, I couldn't
(22:33):
believe like it actuallyhappened, you know, because, you
know, I, I was just like, okay,yeah, she'll email me to specs
next week we'll see.
But I mean, she did.
And, and I went back and forthwith him through her over the
next couple months about what heliked and what he didn't like
and being an artist, of coursehe had no idea what he, what he
(22:54):
wanted.
Um, and, uh, it came apparentlyfrom what I understand, it came
down to two designs.
One was mine and one wassomebody else's and
unfortunately he went withsomebody else's, but that's
totally fine.
Um, it was an incredibleexperience to work with him
because I mean, like who gets towork with Rod Stewart, you know,
(23:18):
like that was crazy.
And, um, he did pay me for mytime, which was wonderful.
And he invited us back to a showthat year and we had backstage
passes and all that stuff again.
So we got to hang out with himagain and his family and, um, it
was great.
And he is a great guy.
(23:40):
I mean, he is so nice.
So down to earth, just, I meanall around great guy.
So that was a pretty cool deal.
Ed (23:48):
So you never know where you're gonna find your next gig,
right?
It could be almost anywhere.
Katherine (23:52):
You never know.
Yeah.
You never know it's, you know,it's right place, right time.
Ed (23:57):
And sometimes that love of music can connect up with the
other things that you do.
And, and it leads somewherereally interesting and
memorable.
Katherine (24:04):
Absolutely.
Definitely.
I and I work with a few localmusicians also, you know, and I,
I love to design for music.
Um, I just, I love, you know, Ithink music brings people
together kind of like art does.
So I like the idea of creatingthat visual component for music
because it's so audio, right?
(24:27):
I mean, I think there'ssomething really neat about
taking that audio and making itvisual and it's fun.
It's challenging, but it's fun.
Ed (24:35):
So as a center for independent living, we're
obviously an organization thatreally wants to support people
in reaching for their goals anddreams and finding ways to
support them in doing that.
Can you talk a little about yourjourney?
Uh you're you're a veryindependent person in terms of
where you've taken your career.
Talk a little bit about that,what independence means to you
and how you've gotten, where youare.
Katherine (24:57):
Yeah.
I mean, I, I will never becompletely independent and, and,
you know, that's, that's thecase with a lot of people with
disabilities, you know, you,there are just things I can't
do.
Like I can't go to the bathroomby myself for example, or, or
cook my own food.
Um, you know, that kind ofthing.
(25:18):
So the things I can do bymyself, I want to do by myself,
you know?
So, so that's part of what is sogreat about watercolor painting
is that I can do it all bymyself.
You know, aside from somebodyphysically handing me my, my
paint brushes and my paints andmy palette and, you know,
(25:40):
whatever I need once I have allmy stuff, I mean, I, I can do it
by myself and I can create aproduct that actually makes me
money
Um, so I think, you know, itkind of goes back to what we
were talking about, aboutfinding your process, you know,
(26:00):
it's it's, and it doesn't haveto be an artistic process, you
know, it's, it's about findingwhat you can do, then figuring
out a way to work that into yourlife so that it helps you make a
living.
Um, and so, and sometimes that'sharder than others, you know, I,
(26:20):
I'm lucky because I found that Iloved art at a really young age,
and I had parents that supportedit and pushed me to do it
sometimes I think a little toohard, but that's okay.
But, uh, you know, some peopledon't have that.
And so they're gonna have tofind a way to take the
initiative, to just try a bunchof stuff and see what they like
(26:44):
and see what they can do.
Ed (26:46):
And obviously that means being willing to step outside
your comfort zone and try newthings and explore?
Katherine (26:52):
Definitely, definitely.
And I, and I've done that withinthe art world, you know, like
I've, as I said, I've tried allkinds of media, you know, tried,
um, I also make jewelry.
That's another kind of offshootof my business that I do mostly
around the holidays.
Um, but I tried glass blowingand stain glass and oil
(27:16):
painting, which I absolutelydespise.
Um,
to look at it.
I just don't like doing itmyself, you know, and print
making and all those things.
Those were totally outside mycomfort zone, but I tried'em and
you know, it, they were goodexperiences that still add to
(27:37):
what I do today.
Ed (27:38):
Absolutely.
And you also, I think havewritten in your book about some
of the treatment mode that haveactually helped you in your life
and you are allowing you to dowhat you do.
Can you talk a little bit aboutthat and how you kind of came
across the right combination ofthings that, that supports you?
Katherine (27:56):
Yeah.
So my mother is a homeopathicveterinarian, so she does a lot
of natural medicine.
Uh, so we don't use a whole lotof prescription drugs in this
house.
I don't, I don't take narcoticswhen I break.
Um, I can probably count on onehand the amount of times I've
taken a narcotic, many of themfor a very long time ago.
I just do things a little bitdifferently in general.
I don't go to doctors when Ibreak, because all they can tell
me is that I have a broken bone,which I already know because
I've been doing this for areally long time.
And you know, my mom and my dadare vets, you know, so they can
put a cast on me or splint me orwrap my arm or whatever it is,
you know, that needs to be done.
And honestly, they did it betterthan most doctors because they
had more experience with me whenI was hurt, you know, than most
doctors have.
This is not a common disease andmost doctors never see it, you
know?
Um, and so for a lot of doctors,unless they're a orthopedic
doctors or they specialize init, this is, this disease is a
paragraph in a book, you know,like they know about it, but
they have no idea how to handleit.
Even though they've been trainedin theory how to handle it, they
really have no idea because theyjust, they don't have to do it
every day.
You know?
And so we found things, we foundother types of splinting
material that is lighter inweight.
Um, because one thing peopledon't think about is if like,
let's say I break my arm and Ineed a cast or a splint, or, you
know, something in the hospital,what they would put on is a
fiberglass heavy cast.
Right?
Well, the problem is that if youput a fiberglass cast on me and
I have the weight of that castpulling on my shoulder, I'm more
likely to break my shoulderbecause of the cast.
And so people don't think aboutthat.
You know, doctors don't thinkabout that because they don't
have to with normal people.
Um, but we do.
And so it's very rare that I getchecked by a doctor, of course,
you know, when it's a bad enoughinjury and you know, we're a
little concerned about anythingsurgical, you know, then like,
okay, maybe we need to go seesomebody, but I, again, like I
could probably count on onehand, the amount of times that's
happened.
I always joke that if I had anx-ray, every time I broke a
bone, I would glow
broke two ribs last week becauseI had a cold and I coughed, you
know, I mean, like it's, ithappens a lot, you know?
And, um, yeah, that would, thatwould not be convenient at all.
Ed (30:49):
So you found what works for you and how, how does you being
able and willing and learning toadvocate for yourself?
How has that factored into, youknow, finding the, the right
path?
Katherine (31:02):
Well, I mean, I think that if, if you can, everyone
needs to be able to advocate forthemselves.
Um, and of course I couldn't dothat when I was a child, but I
had parents that did it for me.
You know, my mom advocated forme, you know, constantly when I
was a child.
The thing is that unfortunately,and this is just from my
(31:24):
personal experience, doctors andother medical professionals,
like physical therapists.
I've had issues with physicaltherapists in the past, um,
occupational therapists theywill at, they will put you in a
box basically, you know, they,because, because they've been
taught protocols and they'vebeen taught to follow those
(31:44):
protocols, which I get, youknow, everybody needs to learn
the protocols and follow them,but at, at a certain point,
sometimes those protocols justdon't work, you know, with
certain people, it's just, it'sjust not an option.
And, you know, one of the thingsI talk about when I public
speaking, especially to a groupof medical professionals or
(32:07):
medical students is, yeah, Imean, you need to learn'em and
you need to learn'em as youknow, the basis of your
education, but you also need tolearn how to work around them
and how to change them and howto think outside the box a
little bit, because like, Ican't do regular physical
therapy.
Uh, an example is in theory, Ihad a physical therapist when I
(32:30):
was young, who decided that,well, my bones aren't strong,
but she could make my musclesstrong.
And if my muscles were strongerthan my bone, then in theory, I
would be able to move aroundbetter and maybe walk, well, the
problem with that is that whenmy muscles are stronger than my
bones, they break my bones andthat's a major problem.
(32:50):
So, you know, that, thatprotocol did not work for me.
Um, they used those, uh, thoseelectrical stem units.
They put one on my, on my eyeand broke my femur.
I mean, you know, yeah.
That would work for most peopledoes not work for me.
So yeah, that's, that's one ofthe things is you've gotta
(33:11):
again, figure out your processand what works for you and then
stick to it.
Ed (33:16):
And you've also done some advocacy around school
inclusion, and that seems to bea passion for you as well.
Can you talk a little bit aboutyour work in that area?
Katherine (33:23):
Sure.
So I, I was always in amainstream school.
Um, my parents realized that Iwas really smart and at least
here, you know, I don't, I can'tspeak for the rest of the
country, but in this generalarea, when you talk about a
special ed school, you talkabout mental disabilities.
(33:44):
And I mean, that was not theplace for me because I didn't
have a mental disability.
You know, I was physicallydisabled, but not mentally.
And I would've been bored todeath, you know, in a class like
that.
And I wouldn't have gotten anykind of social interaction with
at my level, you know, my mentallevel.
And so my parents always pushedfor me to be in a mainstream
(34:06):
school.
I went to a private school whenI was in grade school that was
small, but, and very familyoriented and they were great
about making sure I was includedas much as I could be.
And, and of course, again, likethere were times where I
couldn't be, but we found waysaround it, you know, or, or, you
know, while my friends went anddid something, I went and did
something else, you know, or Ihad art to fill in or whatever
(34:29):
it was, but what's cool, is thatnot only did I get the social
engagement I needed, you know,as, as a child, but my friends
grew up understanding how toreact around somebody who looks
different or who has to dothings a little bit differently.
And that I think for them wasinvaluable because they, you
(34:52):
know, they don't stare at peoplein wheelchairs, in public, you
know, they don't, they're notafraid to go up to somebody in a
wheelchair and ask them aquestion or just talk to them,
like a normal person, you know?
And there are so many peopletoday that don't know how to do
that, or they can't, or theyjust, they just won't.
And, and it's because they don'thave any experience with it.
(35:15):
That's, that's the main reason Iwould assume.
And so if you start kids offwhere it's normal for people to
be different, then by the timethey get to adulthood, they're
good.
You know, like it's not a thingfor them.
And then they teach their kidsthe same way, you know, it's a
trickle effect.
(35:35):
So that's one of the things Italk about is going to school
and, and even kids with mentaldisabilities, like involve'em in
PE classes or involve them, youknow, wherever they can be
involved with kids, you know,who are able bodied, who are,
you know, quote unquote normal.
So that again, when they seesomebody out like that in
(35:56):
public, did they, they know howto react?
You know, it's not a weird thingfor them.
And I, I just, I think that'ssomething that a lot of people
don't think about that theyshould.
Ed (36:10):
Absolutely.
Yeah.
That's fantastic.
You have so many different, uh,facets to what you do.
And one of the challenges oftalking to you is, well, here we
are on a podcast and you're, uh,working a very visual medium, or
I should say visual media.
So if people want to see yourwork, uh, experience more of it,
learn more about it, how wouldthey do that?
Katherine (36:32):
So my website is kakartnola.com, like new
Orleans, Louisiana.com.
Um, my initials were KK andthat's actually kind of a funny
story because when I was reallylittle, my dad was like, oh, you
need a business card.
You know, and I started justpainting random clients' pets.
And so I came up with KAK Artand then I just, it stuck.
(36:56):
And I just, you know, I hadthose horrible print shop deluxe
business cards, you know, atfirst.
And I actually found one notlong ago and oh my God, I don't
know what I was thinking.
It's so badly designed, butanyway, it just stuck.
So KAK art, kakartnola.com.
And then you can also find me,my, all of my handles are
kakartnola.
(37:17):
So you can find me on Instagramand Facebook and LinkedIn.
And then I also have an Etsystore, um, which is linked to my
website.
So you can find it through that.
Ed (37:29):
And I think I found some YouTube as well.
So you can, you can claim thetitle of YouTuber, which all the
kids these days reallyappreciate.
Katherine (37:37):
I know, I, you know, know I, YouTube is like my last
thought right now, you know,I've, I've really been trying to
get my Instagram wellestablished and I've been
working on my Facebook page alot.
And I, I do add to my YouTubeaccount.
I just am not probably asreligious about it as I should
(38:00):
be, but yes, technically I am onYouTube.
Ed (38:04):
So I guess the next question is what's next for you?
What's on the horizon?
Katherine (38:09):
I, I, well, as I said, I'm gonna be working on
the art licensing thing, um,throughout the year.
And I just had a show in BatonRouge.
Um, I had a, a, my first museumexhibit, so that was really
exciting and that went really,it went really well.
(38:31):
And so I'm gonna try to probablysecure another one of those by
the end of the year.
Uh, the problem is the problemis I have to create more for it.
Uh, and I currently don't havethe time to do that due to the
amount of pet portraits I stillhave to do from Christmas.
So, um, I hopefully can do thatthis year.
(38:54):
We'll just have to see that's,that's about it.
Ed (38:57):
Great.
I'm, I'm sure it, whatever itis, it will be done with the
same passion and the same workethic and the same dedication
that you give to everything thatyou've done, which is a great
deal.
So thank you very much fortaking the time to talk with me,
um, and share a little bit aboutyour story and your amazing
(39:18):
creativity with our listeners.
Katherine (39:19):
Absolutely.
Thank you for having me.
Ed (39:22):
So thanks to our listeners.
If you like, what you heardtoday, you can like and
subscribe, and so you can findout what is coming up next on
Disability Talks.
Thank you very much, Katherine,for joining us.
And we look forward to hearingfrom you again in the future.
Katherine (39:35):
Awesome, thank you.
Outro (40:13):
Thanks for tuning in to this episode of Disability
Talks.
Want to be a part of the ongoingconversation?
Visit our website atabilitiesinmotion.org, or
connect with us on social media.
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