August 15, 2025 • 45 mins
Artist Adam Crist joins The Artist Is In for a grounded, heart-forward conversation about what it really means to become. For Adam, becoming isn’t about becoming someone new—it’s a returning to who he always wanted to be. We slow down together and notice the small moments in nature that recalibrate our pace, talk about rewriting the fear-and-self-doubt stories we tell ourselves, and name the hard truth: you can’t go around it—you have to work through it. Along the way, Adam keeps pointing us back to agency and inner wisdom: look in your pocket, because the key is already within you.
We talk about:
- Becoming as a returning—remembering your truest self
- Slowing down and letting nature reset your rhythm
- Spotting (and softening) the fear/self-doubt narratives
- Why avoidance stalls growth—and how to work through instead
- Small, sustainable practices that build courage and momentum
- Trusting your inner compass: the key is in your pocket
New episodes drop every other Thursday.
Adam Crist is a Lehigh Valley-based artist who rediscovered his creative voice in 2022 after a 20-year career in the corporate world. Working primarily in cyanotype, his art explores themes of healing, nature, and sacred geometry, often combining alternative photography with ink, pastels, and watercolor. A member of the Lehigh Art Alliance, Adam has exhibited regionally and was recently featured in Art and Color 365 magazine.
Learn more about Adam at:
Instagram: https://www.instagram.com/adamcrist_art
Etsy: https://www.etsy.com/shop/adamcristart
Thanks for listening and share the podcast with your friends!
EPISODE CREDITS
Produced and Hosted by Kat Collins and Nina Boodhansingh
Edited and Mixed by Kat Collins Studio
Artwork designed by Kat Collins Studio
LINKS
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Podcast: https://www.artistisin.com
Website: https://www.katcollinsstudio.com/podcast
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_01 (00:00):
Welcome to The Artist is In, where creativity
doesn't stay inside the lines.
We're your hosts, Kat Collinsand Nina Buthansing, two artists
sharing real, unfilteredconversations about the creative
life.
SPEAKER_00 (00:14):
Whether we're chatting with each other or
interviewing fellow artists,we're here to explore the heart
of making art and what it meansto keep showing up.
Let's dive in.
SPEAKER_01 (00:25):
So welcome, Adam.
I'm glad you're here to join mein this conversation today.
Thank
SPEAKER_03 (00:30):
you so much.
I'm really excited about this.
SPEAKER_01 (00:32):
Yeah, I look forward to chatting with you.
I'm a big fan of your art, asyou're well aware.
I own a few pieces, and I keepmaking a list of the ones I
want.
SPEAKER_03 (00:42):
Well, right back at you.
SPEAKER_01 (00:45):
So let's start at the beginning.
SPEAKER_03 (00:47):
What
SPEAKER_01 (00:48):
do you remember about your earliest experiences
with art?
SPEAKER_03 (00:52):
So honestly, I remember because I grew up in
church, going to churchreligiously, literally and
figuratively, I guess.
But when I was little, I wouldsit in the pews in the
sanctuary.
And I think probably to keep mebusy and quiet, my mom would
(01:13):
give me the paper from thechurch bulletin and a pen or a
pencil, and I would draw andcolor during the service.
SPEAKER_01 (01:22):
I remember that well for myself.
We grew up in kind of similarbackgrounds in that way.
And I think I colored everybulletin.
SPEAKER_03 (01:30):
Yes.
SPEAKER_01 (01:31):
I would fill in all the little letters.
SPEAKER_03 (01:34):
Exactly.
Lines and shapes and cartoonpeople.
Yeah.
Some of my earliest drawingsthat my mom has kept anyway are,
I think there's a couple shegave me that are on those little
blank church bulletin pieces ofpaper and there's snails and
flowers.
SPEAKER_01 (01:56):
That's funny.
You brought back that memory forme.
Wow.
Good
SPEAKER_02 (02:00):
grief.
Yeah.
Yeah.
SPEAKER_01 (02:02):
So you've received training in several different
things, you know, with oilpainting, drawing, ceramics,
even textile design throughapprenticing at the Fabric
Workshop and Museum.
So how did those formativeexperiences shape your creative
language?
SPEAKER_03 (02:19):
That's a good question.
So, I mean, first and foremost,you know, growing up, I don't
believe that we were raised, myparents weren't wealthy by any
means.
I'm sure there was somestruggle, but I got to give
credit to my mom for investingin her kids' talents and gifts
if she saw them.
And she, she made sure that wehad that outlet.
(02:43):
So I got private art lessons inoil painting and in drawing i
took as i got older i took myown ceramics lessons and i was
lucky enough to have neighborsdown the street who were artists
and when i met them when i wasprobably 13 or 14 she ultimately
(03:03):
her name is doina adam and sheultimately got me the
apprenticeship at the fabricworkshop and i feel like all of
those experiences thosedifferent people that i met the
teachers they all sort of playeda part in that all of their
personalities and all the doorsthat they opened up to me i feel
(03:27):
like they taught me to look atdifferent things or look at
things differently right down tothe shapes of leaves the colors
and patterns and and i just loveit all i i know that i do
cyanotypes but i think mycreative language is just being
(03:47):
in awe of all things creative,all mediums and all the things
that we can use to create art.
And I think that informs me now,obviously with nature.
Yeah.
SPEAKER_01 (04:02):
And doing the cyanotypes, you take a very
different way of looking atnature, which I love.
It's a conversation I've hadwith other artists and previous
one for this podcast too is, is,You make us slow down and look
at what nature is, the shape ofa petal, the shape of a leaf,
(04:23):
and how a vine forms.
And you make us really look atthat aspect, which to me, it
almost takes a religious natureto it, where it becomes very
sacred about nature.
SPEAKER_03 (04:35):
Yeah, yeah.
And when I was a kid, probablyfrom the age of seven, I think
the last time I went was 16, I Ispend every summer at a
Christian boys camp up in theAdirondacks in New York.
And thanks to my grandfather whoused to take me up and my dad
took me up a couple of times orI would go up on my own.
(04:55):
And if you wanna talk aboutbeing in the middle of nature
SPEAKER_02 (05:00):
and
SPEAKER_03 (05:01):
almost forced, not that it was a forced thing, but
you're forced to notice thesethings as you're walking through
the Adirondacks, you pick up thesmells and you feel the texture,
you know what moss looks likeand how different things feel.
And I think it was thatexperience as well that helped
(05:24):
kind of create the sense of likewhen I'm in nature, when I'm
hiking, or honestly, even in myown backyard, I often just feel
like, oh my God, that's so cool.
Like, look at how that'sgrowing.
Look how it twists around thatplant or something.
Look at the veins in that leaf.
It seems almost silly, but it'snoticing, it's slowing down to
(05:45):
your point and noticing thoselittle tiny details that when
you're just maybe walkingthrough the neighborhood or on
your drive to work, you justdon't otherwise notice.
And I love that about art, butalso about the cyanotype process
because it leaves an indefiniteimprint of that tiny, tiny
detail in what you create.
(06:06):
And I just love it.
SPEAKER_01 (06:07):
I love that.
So tell me a little bit, what iscyanotype for those who don't
know?
So
SPEAKER_03 (06:13):
cyanotype is a form of alternative photography.
It was invented in the mid1800s, I believe by a gentleman
named Sir John Herschel.
It was popularized by, oh gosh,I forget her name.
I'm sorry.
But it was popularized by awoman who was a botanist.
(06:35):
And she used the cyanotypeprocess to track different types
of mosses and seaweeds from thecoast in, I believe, in Britain.
And so there's other types ofcamera-less photography, but the
cyanotype process is a two-partchemical solution that you mix
(06:57):
together, you coat on paper.
And essentially, once you exposeit to sunlight or even
artificial UV light, which Ihave, it leaves...
essentially a negative image ofthe material or that you place
on the paper after exposure.
SPEAKER_01 (07:12):
Yeah.
I love how you combine differenteffects and, and create these.
SPEAKER_03 (07:16):
Yeah.
Yeah.
Boy, what a rabbit hole I wentdown.
Yeah,
SPEAKER_01 (07:19):
that happens.
SPEAKER_03 (07:22):
Yeah.
And I don't know, but I guess itwas about three years ago.
I forget.
And I tell this often.
I tell people often, like, Iforget what I was even looking
for, but at the time I wasreally just going down the,
rabbit holes on youtube watchingpeople make different kinds of
art and i think i read anarticle or i came across
(07:43):
something on social media aboutanthotypes which is another form
of alternative photography alsousing plants and then one thing
led to another and i found a ukphotographer who was making wet
cyanotypes with these reeds thathe found and i was just blown
away And the texture and thecolor he was left with and the
(08:06):
materials he used, it was just,I was instantly addicted.
SPEAKER_01 (08:10):
So your cyanotype process is both physical and
meditative.
Can you walk us through how apiece comes to life from idea to
execution?
SPEAKER_03 (08:22):
Yeah, I think...
Again, it starts from just beingin awe when I'm in nature and
noticing different shapes andtextures.
And there's a part of me thatwants to bring those with me,
right, and memorialize them.
And so, you know, for a while inthe beginning when I started
(08:42):
Cyanotypes, we lived nearTrexler Nature Preserve.
And so I was hiking there quiteoften.
They have great trails.
And I was finding plants there.
that i hadn't seen before and iwas noticing these little
microclimates where they havethese deep gullies near jordan
creek and then you'd go to thetop of the trail at the top of
(09:05):
the hill and they'd have grassesand you know meadow plants and
things and i was just in awe andi think that in itself is a form
of meditation being present andyou know i have struggled with
anxiety my entire life and sothere's no better way to just
(09:26):
relax and calm your mind than tojust focus on being present and
just being in awe of what you'reseeing around you especially in
nature picking up on the birdschirping and the the sound of
the wind going through the treesand the color and oh gosh
everything yeah To be honest, Iforget your question, Kat,
(09:50):
because I'm literally gettinglost in that feeling.
SPEAKER_01 (09:53):
No, it's a good place to be, to be honest with
SPEAKER_02 (09:56):
you.
SPEAKER_01 (09:56):
Yeah.
I mean, it's talking about yourprocess, basically, and how it
comes to life from idea toexecution.
And you being in nature startsthat process.
SPEAKER_03 (10:08):
yeah and i'm a i'm a dreamer and so i think when i'm
in those moments and i'm justkind of in all of these plants
and these colors and texturesi'm dreaming up ideas for how i
could essentially like i saidmemorialize them and what would
that look like on the paper andhow could i get this vine to
curl around so it's a coolcomposition
SPEAKER_02 (10:31):
and
SPEAKER_03 (10:32):
so you know i'm sure much to my wife's chagrin
there's been tons of times wherei've just brought home stacks of
plants that i've caught whilehiking or or foraged or whatnot
and i flattened them and earlyon i was i was i was just
bringing home as much as i couldwhenever i found something
interesting And essentially,whenever it was pressed and
(10:54):
dried, then it was much easierto put on the paper and make a
cyanotype with.
But I often, because I have alittle bit of impatience as
well, I would bring the planthome and I would get a piece of
pre-coated paper and I'd justimmediately throw it on there
and put it in the sun.
And a lot of it is trial anderror.
(11:14):
It's just playing.
and seeing what happens.
And that's sort of the biggestpart of the process, I think.
SPEAKER_01 (11:22):
Yeah.
I love the fact that you say youmemorialize this.
To me, it comes across as asacred recording of our natural
history.
SPEAKER_03 (11:35):
Yeah.
SPEAKER_01 (11:36):
And that's such a cool, cool thing.
SPEAKER_03 (11:38):
Yeah.
I mean, I've always been intophotography.
I was...
I'm one of those people, or Iwas one of those people that
when I had a film camera, Iwould get the film developed and
I'd always get doubles ortriples because, well, what if I
want to give them out tosomebody?
Or what if I want to frame thisor something?
And I like to use them asmemories.
(12:00):
I have photos from when I wasyounger of just like the front
of my family's house or my nextdoor neighbor's house or
something.
with the idea that like, what ifI wanna remember what this looks
like in the future in this verymoment?
And also, and I've probably saidthis before to you, I can pretty
much tell you every plant that Imake a cyanotype with and where
(12:22):
I found it.
And I think that's reflective ofjust how close and I become to
the moment and how special it isfor me when I find those plants
And then when I'm looking, youknow, three years into making
cyanotypes now, when I'm lookingback three years ago at some of
my originals, I still rememberhow it felt to find the plant,
(12:47):
what it felt like to pull it outof the ground or where I was
hiking or something.
And there's no better way tofeel that.
I don't know.
It's hard to describe.
SPEAKER_01 (12:58):
No, I think you described it well.
And, you know, it's...
Kind of similar to my process aswell, which is all from memory
and intuition.
I'm tongue-tied now.
SPEAKER_02 (13:09):
Intuition.
SPEAKER_01 (13:11):
But you can feel that when you look at your work.
SPEAKER_03 (13:15):
Yeah.
SPEAKER_01 (13:17):
So you recreate that for somebody else to connect
with.
SPEAKER_03 (13:20):
Yeah.
SPEAKER_01 (13:21):
It's
SPEAKER_03 (13:22):
very cool.
They become special memories.
And I think there's a certainelement of me that I resist
that.
like mass production almost, youknow, like we do a lot of vendor
events and I know, you know,over the last couple of years of
doing these events, I'velearned, well, people really
like this and people really likethat.
And I know that I could, youknow, mass produce these or put
(13:46):
this on 10 or 15 differentcanvas pouches or something.
And people will buy that,
SPEAKER_02 (13:51):
but,
SPEAKER_03 (13:52):
but there's a little bit of resistance.
And I'm sure my wife would agreelike to, to doing that mass
production type thing, because
SPEAKER_02 (13:58):
it's,
SPEAKER_03 (13:59):
the element for me is, is like each one that I
create is special and some goodmemories tied to those, or even
just good feelings, you know?
SPEAKER_01 (14:10):
Yeah.
Yeah.
It's always a balance withhaving to create your art from
your heart for yourself, butthen create work that people
want or that people will buy.
You know, there is a fine linewith that, I think.
SPEAKER_03 (14:25):
Yeah, there really is.
And I think I struggle with thatbecause I, I don't think I
necessarily got into art orcoming back into cyanotypes with
the intention of massproduction.
Or of course, I wanted to beable to get to a point where I
felt confident enough to showand sell my art, but also not to
(14:48):
lose how special it was tocreate it to begin with, if
SPEAKER_01 (14:52):
that makes sense.
No, absolutely.
Absolutely.
And I think what's something Ialways say to myself and to
other artists is, If you createauthentically from your heart
and put your vulnerability andself onto whatever you're
creating, the audience willconnect with you and will see
that.
(15:12):
And that's what they want.
We want authenticity and thatcloseness and connection,
especially in our society nowwhere everything is social media
and very removed from person toperson contact.
SPEAKER_03 (15:26):
Yeah.
UNKNOWN (15:27):
Yeah.
SPEAKER_03 (15:27):
That's so true.
And, you know, I think thatelement of, especially for a
good while there, after Istarted making cyanotypes,
incorporating sacred geometryinto the process was because I
just had this, I have thesefeelings when I see these things
in nature and I'm like, oh myGod, look at the, the patterns
(15:49):
right, right down to thecellular level in, in our entire
universe is connected to toeverything else.
We see these same patterns.
Let's say the patterns of adahlia, the petals of a dahlia,
are the same thing that we seein maybe certain organs or parts
of our body.
And I think my intention was, Ifeel so awestruck by this
(16:14):
connection and thisinterdependence from way down on
the cellular level to outerspace that I hope that my
cyanotypes make people feel thesame way.
I hope it calls that out topeople.
And that's, I don't know, that'spart of my drive or motivation
is to get people to look at,say, a cyanotype I made of
(16:37):
different grasses and spark thatinterest or ask those questions
or something.
And that's so special to me.
SPEAKER_01 (16:44):
Absolutely.
Yeah, you use sacred geometryand natural forms in a lot of
your work, and it suggests aspiritual or philosophical
underpinning.
How do these themes connect toyour personal healing journey?
SPEAKER_03 (17:00):
Well, I think I reached an age where I started
to, and maybe it's all part ofnormal adult development, I
don't know, but where I startedto realize that I have to
respect and appreciate my rootsand where I came from, the
things that were taught to me asa child, but also in order to be
(17:23):
healthy and happy, you have tobe able to evolve.
those beliefs, I guess, oradjust them as you grow older
and add your new newer lifeexperiences to what you were
taught in the past.
And I think respecting andappreciating where I came from.
And, and I also think that thatties in specifically in a lot of
(17:44):
my signage where I'm like, inall of the power of a tiny
little seed, and how it canunder the right conditions, it
can grow into this huge tree,say, right?
And I look at that the same wayas I look at somebody's life.
I think children, babies andchildren are sacred and should
(18:08):
be provided the rightconnections and conditions and
look at what they can grow into.
And I think part of my healingjourney has been growing my life
sense of awareness about my pastand where I came from and being
able to apply it to my futureand not just resist it or run
(18:30):
away from it or deny it, butincorporate it into who I am
now.
And I can still be a differentperson.
I can still work on being abetter version of myself and all
the time, because I think that'sour ultimate goal is to always
work towards being a betterversion of ourselves.
And we can't do that withoutgiving some credence to our
(18:52):
past.
SPEAKER_01 (18:53):
Absolutely.
SPEAKER_03 (18:53):
You know, and, and I think my, I think my creative
process or my artistic journey,I think is reflective of that
process, that thought process aswell.
I
SPEAKER_01 (19:05):
love it.
And this fits in so well to whatwe've been doing for season two
for this podcast.
which is all about the idea ofbecoming.
Becoming as an artist, becomingas a human, and our journey
through that.
What does that word mean to youpersonally and creatively?
SPEAKER_03 (19:23):
It's hard to answer, but the more I think about
defining becoming, I recallseveral times over the last
couple of years where I justthought to myself, I am becoming
who I always wanted to be.
Yeah.
I'm becoming who I denied myselfor what I denied myself of or
(19:44):
rejected about myself.
It's a self-actualization,maybe, or a process.
I am becoming what I fought sohard against for so many years
for one reason or another.
And gosh, it makes me a littleemotional, to be honest, because
I look back now after...
(20:08):
taking these steps to maybe getback into art and even more than
that, share it publicly.
Cause that was a huge, huge stepfor me.
And I, and I often think like,why was I so afraid to do that?
Like I am literally, I'm sobeyond grateful that, that I
(20:29):
just, I don't know what it was.
I had that spark.
I had enough support that I justtook that step.
And to me becoming is, is almostall about returning.
I am becoming who I alwayswanted to be when I was a child,
who I just knew.
Some kids as they are growingup, they just know.
(20:51):
They don't have any doubt orfear or they have a clear path
and direction.
And I had that early on too.
There was no doubt in my mindthat I was just going to...
This was who I was.
I was an artist.
And becoming almost meansreturning to me, returning to
that.
(21:11):
And I love it too.
I feel like when I was younger,I would hear older people say,
don't have regrets about yourlife.
When you're on your deathbed,you don't want to look back and
feel sad that you didn't dothis, that or the other.
And I still have a lot of fear,but what feels really good is
(21:32):
knowing that Someday when I'm onmy deathbed, I'm not going to
regret the decision or thechallenge that I took to do it,
to get back into art and toshare it and to be courageous
about that.
Because I think it all playsinto that whole becoming, that
idea of becoming.
SPEAKER_01 (21:51):
Yes, it does.
Absolutely.
Talking about the fact that youhad such a strong start when you
were younger being artistic, butyou stepped away from it.
from art for over two decadesyou know things happens what led
to that pause and whateventually called you back
SPEAKER_03 (22:09):
well gosh what a long road i mean it was like
2022 when i really took stepsforward with that and so it had
been about 20 20 years and sincei really well over 20 years
since i really shared any of myartwork publicly
SPEAKER_02 (22:27):
and
SPEAKER_03 (22:28):
20 years since i really actively created And I
think what started it was when Ileft high school and I got into
the working world, I wasinitially taking art classes in
college and things like that.
Somewhere along the way, maybeit was I took some criticism too
(22:49):
personally, but then I also gotgreedy because I had a full-time
job and I could work and makemoney and support myself.
And so I focused more on that.
I think it was a combination ofthings.
But ultimately, I think whathappened was over time, early in
(23:10):
my 20s to mid-20s, I developedthis story in my head that
started to say, you're not goodenough to do this.
You can't make a living off ofthis.
Nobody's going to like it.
Don't bother.
There's more important things,blah, blah, blah, blah, blah.
(23:30):
and I just sat with that storyfor a long long time and I built
up the fear in my head for along time and then what I think
ultimately led me back was Imean my wife has always been
super supportive and encouragingand I give her a lot of credit
for being my cheerleader and Ishould tell her more.
(23:53):
But also, I think what led meback was I felt so constricted
and restrained and so agitatedinside that I was being held
back from engaging in thecreative process and making art.
(24:13):
And I'm sure it's received overthe years plenty of positive
reinforcement from some peopleand my family has always been
supportive and things like that.
But it was just a matter of, Ican't take this anymore.
I have to do it.
And honestly, when I foundcyanotypes, I'm like, okay, this
is great.
This feels safe to me.
(24:35):
I'm going to make these and I'mjust going to put it out there
and see what happens.
I know I've shared with you inthe past with painting.
My paintings, I've always beenway more vulnerable about.
And way more uncomfortable toshare because I've made
paintings over the years thatwere super, super personal.
(24:56):
But with cyanotypes, they felt alittle bit more, they felt safer
to share and put out there.
Like, oh, I could get lesscriticism for putting these out
here because, well, it's a pieceof paper and a plant.
UNKNOWN (25:11):
Yeah.
SPEAKER_03 (25:11):
And I think that's what led me back was like, all
right, I'm so scared to do thisand put myself out there, but I
can't take this anymore.
I feel so restricted andrestrained and unhappy.
I'm just going to do it.
I'm just going to see whathappens.
You just got to do it one timeand see what happens.
And then that was it.
SPEAKER_01 (25:32):
Now you're hooked.
SPEAKER_03 (25:33):
And now I'm hooked.
And honestly, I'm sure there'sthings that I've put out there
that are not the best or thatpeople have plenty of criticism
about, but I've also at the sametime received enough positive
encouragement and positivereaction to stuff that I've put
out there that that is sort oflike a rolling ball.
(25:56):
Like it keeps, you build onthat, right?
SPEAKER_01 (25:59):
Right.
SPEAKER_03 (26:00):
And that helps me to keep going for sure.
SPEAKER_01 (26:03):
Yeah, absolutely.
So when you return to art andcoming back to it, What have you
learned about yourself that youdidn't know or maybe forgot
before?
SPEAKER_03 (26:11):
Well, I've certainly learned a lot.
I think the biggest thing I'velearned, though, is that I don't
have to be so afraid.
I don't have to be so I likepeople and I like to put myself
out there and I like networkingand connecting with other
artists.
It's been so fulfilling for me,especially thanks to you.
(26:32):
I mean, I give a lot of creditto you, truly, because of your
reception of, of my artwork andalso connecting me to other
artists and some great peoplethat I've met.
And I think the biggest thing isjust, just I've learned, just
don't be so afraid all the time,you know, like you can't, it's
(26:53):
that old saying, like you can'tgo above it, below it, around
it.
You have to go through it.
And as soon as I went throughthe fear and I did it scared, as
they say, like I just kept, AndI keep finding like more and
more doors are opening and Ikeep having these experiences
that I dreamed of having for along time, but I was always too
(27:13):
afraid to have and people that Idreamed of getting to know, but
I was always too afraid to getto know them.
And that's the biggest thing byfar.
And I love it.
I love
SPEAKER_01 (27:24):
it.
Always so excited for you.
And I'm such a big fan andalways cheering you on.
SPEAKER_03 (27:30):
I'm still working on that wallpaper, Kat.
I swear.
SPEAKER_01 (27:33):
I'm
SPEAKER_03 (27:36):
going to make that happen one of these days.
SPEAKER_01 (27:39):
For those that don't know, I wanted to turn one of
his works into wallpaper for myhouse.
Neither of us are graphic designinclined.
That didn't go well for eitherof us, but that's okay.
One day we'll figure it out.
But I did paint my walls thecolor to match his
SPEAKER_03 (27:56):
work.
That's right.
And it looks beautiful.
SPEAKER_01 (27:58):
It does.
It's perfect.
I'm so excited by it.
I love it.
How do you see the evolution ofyour work, not just in the
technique, but in yourintention?
SPEAKER_03 (28:11):
Certainly, putting technique aside, because I get
bored easy, so I always like toexperiment and play with new
styles.
But my intention, I think...
is to try new mediums andincorporate new mediums into it
and to continue to push my ownboundaries.
And also I think what keepscoming up for me even now is my
(28:36):
intention is to still put stuffout there that I am afraid to
put out there, right?
Is to like do something thatmakes me uncomfortable, but just
to do it.
to keep trying to do that andgain more and more confidence.
SPEAKER_01 (28:54):
Yeah.
You started incorporating mixedmedia into your work with the
inks and oil pastels andwatercolors.
Yeah.
So what draws you to layeringboth visually and symbolically,
you know, as a way of, it'sanother evolution of what you're
doing.
SPEAKER_03 (29:09):
Yeah.
I, well, I don't know.
I think of this one print that Imade of an Eagle and I, And when
I was done printing it, I likedit, but it was missing
something.
And I often do that with a lotof them.
Like you should see the stackthat I have where I'm like, I
don't like it.
It needs something else.
Right.
But, but with the Eagle, it wasthe same thing.
(29:32):
And eventually I came back to itand I'm like, let me see what
would happen if I would add thiscolor, this watercolor, and then
I'll add this watercolor.
and add some texture and stuffto it.
I think it's just to constantlybe curious.
And a lot of the prints that Icome back to where I'm
(29:53):
struggling, I'm struggling, I'mstruggling.
And when I get to the pointwhere I'm like, you know what,
let's just mess around with thisand see what happens.
And that's sort of what led, youknow, using different types of
ink and pastel and watercolorand things like that.
SPEAKER_01 (30:09):
And you've even started using your prints that
you didn't like to use ascollage in newer works.
SPEAKER_03 (30:16):
Oh, yeah.
And that was super exciting,too.
I mean, I would have these, Ihave boxes or stacks of these
prints where I'm like, this isjust not going to work.
I'm not putting this out there.
I don't like it.
But I'm sure I could getcreative and figure out
something.
And yeah, the collage stuff is alot of fun.
(30:40):
you totally create something newfrom, from what you already
have.
And it's unique.
And I don't know.
I just, I love cutting them upand mixing them together.
I think that's so cool.
SPEAKER_01 (30:53):
Yeah, that is.
So what's something you'recurrently experiencing,
experimenting with or hoping totry next?
SPEAKER_03 (31:01):
Well, I've done a lot of like combinations of eco
printing and cyanotypes.
It's sort of like, it's aunicorn process for me.
Like, oh, can I get this perfectcombination?
And I'm still on this journey.
Like I made a print recently ofthese beautiful peonies that we
have had in bloom on ourproperty.
(31:23):
And I was really hoping thatcombining the ecoprint process,
I could get some of the pigmentfrom these peonies.
And I think I sort of did, butI'm always trying to pick up
that color more and more andmore.
And I also want to explore morecyanotypes on fabric and canvas.
(31:44):
I have this vision of creatingthese huge, huge cyanotypes that
are on stretched canvas.
Yeah.
And incorporating the naturalelements that I already use,
like turmeric and other inks andthings like that.
And just trying to come up withsomething just big and amazing.
(32:05):
And I've done cyanotypes onfabric.
SPEAKER_02 (32:09):
In
SPEAKER_03 (32:09):
fact, some of our biggest sellers at vendor events
are these zipper pouches that Imake that people love.
And I don't get it, but my wifewas like, just trust me.
And so I understand how itworks.
And I know it's sort of atechnique to get them to show up
properly and to look good.
(32:30):
They are a beast to make, but Ijust envision these big...
cool, you know, mixed mediapieces with cyanotypes on
stretched canvas.
SPEAKER_01 (32:41):
Oh, you've got to do it.
SPEAKER_03 (32:42):
I know.
I really need to.
I really need to.
I'm excited.
So that's my next sort ofexperiment or journey, I think.
SPEAKER_01 (32:52):
That'll be cool.
Man, I have to build an additionto my house just for art.
But I can add more of thesepieces.
Yes.
So you've said that nature andmusic are central to your work.
How did they shape youremotional or energetic approach
to making?
SPEAKER_03 (33:09):
I don't know.
I get the same feeling fromlistening to music that I do
from being in the middle ofnature.
It's like euphoric.
Like there are some songs where,and then also when I'm hiking
and I'm listening to music whileI'm hiking, I think I create a
connection there.
I think the emotion that I feelwhen I'm sort of, taking in
(33:35):
these things nature and music itgives me the energy and the
excitement to to play i'm morelikely to play i think that's
what it is is like it feels goodyou know like there's happy
songs sad songs but there'scertain songs that i just i
could just i don't know it justtake they take me away and
(33:57):
that's what it's like being innature too and finding these
plants and I get taken away andthen I keep that in my mind.
And when I come back to a codedpiece of paper or canvas or what
have you, I can keep thatfeeling and I can inject that
into what I'm making.
I love that energy.
(34:18):
You know, I'm a little bit,maybe I'm a little bit too...
receptive to it or somethinglike the effect that it has on
me.
But I don't necessarily thinkthat's a bad thing.
It's definitely a good injectionof dopamine.
And I use that to just staycurious and play.
SPEAKER_01 (34:36):
Oh, yeah, absolutely.
So you have a background inpsychology and have worked in
human resources for a long time.
How has that influenced yourrelationship with creativity,
vulnerability, or your personalgrowth?
SPEAKER_03 (34:51):
Yeah, my education in psychology, I think I've
always been interested infiguring people out and myself
out.
I think I got down the road to,went down the road in psychology
to try and make sense of who Iwas and where I came from and
feelings that I have and like,what starts this?
(35:12):
And I use that sort ofexperience.
I also work with individualswith intellectual disabilities
for years.
gosh, a number of years from 18until my late 20s, early 30s,
and in one form or another.
And I think that informs me aswell.
I got into human resources whenI was in college for psychology.
(35:34):
Because I am a people person, Iwanted to help people.
I realized I probably wouldn'tbe very successful as like a
psychologist or counselor.
But I think because of my yearsin corporate America, when I
went back to college as an adultfor my degree in psychology, I
(35:54):
was really interested inapplying what I was learning in
the corporate space.
So one avenue I was thinkingabout going down was industrial
organizational psychology, whichis very research driven.
And there's a lot of data andanalysis, but it helps that
field really helps to shapecorporate culture, and I was
(36:16):
really interested in that.
And there's a natural, I think,for me anyway, there was a
natural shift into humanresources because of that,
because I could still help toinfluence and shape the
corporate culture, but work withpeople.
And I do have a, I'm very, whatis it, right-brained or
(36:36):
left-brained?
I forget which one, but theanalytical and the technical
side of me Right brain.
That's the right brain.
Thank you.
That's the smaller, the rationalside of me.
I
SPEAKER_01 (36:50):
feel you.
It's okay.
SPEAKER_03 (36:51):
Yeah.
That side of me, I really loveusing that side of my brain when
I'm in the corporate space.
And I've gotten really into HRoperations and working in
systems with the data and thereporting and analytics and
things like that.
So I think...
(37:12):
What had to happen, though, forme was I had to find a happy
balance.
When I first started gettingcreative again, I needed to say,
okay, I have to make space forboth of these things.
And on a personal level, myeducation and background with
(37:32):
people and behavior andpsychology and things sort of
certainly influenced my ownapproach and healing journey and
things like that but also as Igot back into making art I
realized I need to make spacefor this and I got to work that
out inside myself and I have tomake a living at the same time
(37:55):
and it's a constant daily battletrust me but I think they they I
think I'm coming to a happymedium or a happy balance.
Eventually, I'll get thereanyway.
At
SPEAKER_01 (38:09):
some
SPEAKER_03 (38:10):
point.
At some point, yeah.
SPEAKER_01 (38:12):
I know.
We always want to be making artinstead.
SPEAKER_03 (38:14):
Always.
It's one of the worst thingsabout being in the middle of my
workday and going outside on agorgeous day and taking a break.
We have these ginkgo treesoutside of our building and
there's All kinds of different,interesting plants.
And I find myself, I'll gooutside and take a break and be
like, oh, I wonder if I haveany.
(38:35):
I could grab some cardboard frominside and I could come out and
take a cutting and take thishome.
And then I have to remindmyself, oh, no, you have a
meeting.
You have to get back to, youknow.
Yeah.
SPEAKER_01 (38:45):
Yeah.
I suspect it can be a littlechallenging.
SPEAKER_03 (38:48):
Yes.
Yes.
SPEAKER_01 (38:51):
Oh, that's funny.
SPEAKER_03 (38:52):
For sure.
SPEAKER_01 (38:52):
So.
If you could offer one piece ofencouragement to someone who's
been disconnected from theircreativity for a long time, what
would you say?
I
SPEAKER_03 (39:05):
would say what I would say.
I know how you're feeling.
If there's a reason that you'redisconnected or you're feeling
disconnected, I know how itfeels.
And all you got to do isconnect.
The door is open for you.
You just have to walk throughit.
(39:25):
Even though you don't knowwhat's on the other side and
you're scared about what's onthe other side, you have it in
you.
Just do it.
Walk through.
Because trust me, the worldthat's on the other side of that
door, you know, I used to lookat it like I had this dream one
time where I was at a gate And Icould see what was on the other
(39:48):
side and I was reaching my armsthrough the gate, but the gate
was locked.
And I kept focusing on the otherside and focusing on the other
side.
Then I was talking to somebodyone time and I was telling them
about this dream and how I feltit related to just my waking
life and what I felt like everyday, not creating art or being
too afraid to create art.
And they said, well, what if thekey was in your pocket the whole
(40:12):
time?
And I was like, oh my God.
Maybe I should stop focusing onwhat's on the other side of this
locked gate, but I should startsearching in my pockets for that
key because it's there.
And so my encouragement wouldbe, don't look through the
locked gate, look in yourpocket.
Because you literally have thekey to open that gate and
(40:35):
experience what you're longingto experience.
And all you have to do is walkthrough.
Because trust me, it like, Mylife has changed over the last
few years.
And I couldn't imagine there wasa time where I had no idea that
key was in my pocket.
(40:56):
And all I had to do was unlockthat gate and I was there.
And it just took a little bit ofcourage.
We all have courage.
So just do it scared, but do it.
SPEAKER_01 (41:08):
Yes.
SPEAKER_03 (41:09):
Yeah.
SPEAKER_01 (41:09):
Absolutely.
So what does success look likefor you now as someone who's
redefined what it means to liveas an artist?
SPEAKER_03 (41:18):
So many things.
I talked about that constantstruggle with like, I don't want
to have this stupid job in HR.
I want to be a full-time artistand I want to make my living in
art.
And I think success now for meat this stage is I know that
that's in my future.
(41:38):
It's going to be in my futurefor the rest of my life.
And at this stage, success is,finding the happy balance and
accepting that i have this jobthat i don't this career that i
don't don't really findfulfillment in as much as i find
in art and then continuing tobuild on my art practice and
(42:02):
eventually someday i'm going tobe able to say i can walk away
from this corporate career and ican i could live out the rest of
my life fully immersed in, in mycreative practice.
SPEAKER_01 (42:18):
That's exciting.
SPEAKER_03 (42:19):
Yeah.
I'm excited
SPEAKER_01 (42:20):
about it.
I'm sure.
Yeah.
I will definitely be beside youcheering you on the entire time.
SPEAKER_03 (42:27):
Oh, thank you.
SPEAKER_01 (42:28):
You have such a beautiful soul.
I'm thrilled to call you myfriend and fellow artist
SPEAKER_03 (42:34):
and fellow
SPEAKER_01 (42:34):
artist.
Yeah.
SPEAKER_03 (42:36):
Well, I feel the same about you, Kat.
I, you know how I feel aboutyour artwork and, and, Certainly
there are some of your pieceswhere I just, I feel it so much
and I connect to it so much and,and I just love your process.
And I am so, I've probably saidit a million times, but I am so,
(42:57):
so grateful to you and, and justyour creativity, your
personality, your drive.
I don't know how you do half thethings that you do.
I wish I had some of that, but Iam, I'm also super proud to, be
able to call you my friend and,and support you as well.
Cause I, I just, I love you.
(43:17):
You're great.
SPEAKER_01 (43:18):
No, thank you.
All right.
Enough of the love fest.
Thank you.
Thank you so much for chattingwith me today, Adam.
I really appreciate it.
Tell us where we can find youand your art.
SPEAKER_03 (43:30):
Okay.
So I, I have a little bit, we doa lot of events.
So physically you can find myart at vendor events.
For example, I, In September,I'm lined up for almost every
weekend at vendor events, and Iwill post those and share those
on social media.
On Instagram, it'sadamchrist__art, and I'm at
(43:54):
adamchristart on Facebook.
And so I'll make sure I shareupcoming events, like I'll be at
Art in the Park in September.
which I'm super excited about.
And I'm also excited thatDoylestown Arts Festival is
coming up.
I'll be there as well.
Also, I've got art exhibited atLukenbach Mill through Lehigh
(44:17):
Art Alliance.
I'm super proud to be part ofthat.
And hopefully I can continue toparticipate and be involved in
those exhibitions.
And hopefully just more andmore.
As time goes on, I'll be outthere more and more.
That's my goal.
Just keep getting out there andkeep doing it even if I'm scared
to do it.
SPEAKER_01 (44:38):
Amen.
SPEAKER_03 (44:40):
Amen.
SPEAKER_01 (44:43):
So that was Adam Christ, an artist whose story
reminds us that the call tocreate never really disappears.
It waits quietly until we'reready to return.
Whether it's through sunlight,shadow, or sacred shape, Adam's
work invites us to find beautyin becoming and healing through
expression.
If today's episode sparkedsomething in you, don't forget
(45:06):
to like, share, and leave areview.
It helps other creatives findtheir way to the show.
Until next time, keep listening,keep making, and remember the
artist is in you.
Welcome to The Artist is In, where creativity
doesn't stay inside the lines.
We're your hosts, Kat Collinsand Nina Buthansing, two artists
sharing real, unfilteredconversations about the creative
life.
SPEAKER_00 (00:14):
Whether we're chatting with each other or
interviewing fellow artists,we're here to explore the heart
of making art and what it meansto keep showing up.
Let's dive in.
SPEAKER_01 (00:25):
So welcome, Adam.
I'm glad you're here to join mein this conversation today.
Thank
SPEAKER_03 (00:30):
you so much.
I'm really excited about this.
SPEAKER_01 (00:32):
Yeah, I look forward to chatting with you.
I'm a big fan of your art, asyou're well aware.
I own a few pieces, and I keepmaking a list of the ones I
want.
SPEAKER_03 (00:42):
Well, right back at you.
SPEAKER_01 (00:45):
So let's start at the beginning.
SPEAKER_03 (00:47):
What
SPEAKER_01 (00:48):
do you remember about your earliest experiences
with art?
SPEAKER_03 (00:52):
So honestly, I remember because I grew up in
church, going to churchreligiously, literally and
figuratively, I guess.
But when I was little, I wouldsit in the pews in the
sanctuary.
And I think probably to keep mebusy and quiet, my mom would
(01:13):
give me the paper from thechurch bulletin and a pen or a
pencil, and I would draw andcolor during the service.
SPEAKER_01 (01:22):
I remember that well for myself.
We grew up in kind of similarbackgrounds in that way.
And I think I colored everybulletin.
SPEAKER_03 (01:30):
Yes.
SPEAKER_01 (01:31):
I would fill in all the little letters.
SPEAKER_03 (01:34):
Exactly.
Lines and shapes and cartoonpeople.
Yeah.
Some of my earliest drawingsthat my mom has kept anyway are,
I think there's a couple shegave me that are on those little
blank church bulletin pieces ofpaper and there's snails and
flowers.
SPEAKER_01 (01:56):
That's funny.
You brought back that memory forme.
Wow.
Good
SPEAKER_02 (02:00):
grief.
Yeah.
Yeah.
SPEAKER_01 (02:02):
So you've received training in several different
things, you know, with oilpainting, drawing, ceramics,
even textile design throughapprenticing at the Fabric
Workshop and Museum.
So how did those formativeexperiences shape your creative
language?
SPEAKER_03 (02:19):
That's a good question.
So, I mean, first and foremost,you know, growing up, I don't
believe that we were raised, myparents weren't wealthy by any
means.
I'm sure there was somestruggle, but I got to give
credit to my mom for investingin her kids' talents and gifts
if she saw them.
And she, she made sure that wehad that outlet.
(02:43):
So I got private art lessons inoil painting and in drawing i
took as i got older i took myown ceramics lessons and i was
lucky enough to have neighborsdown the street who were artists
and when i met them when i wasprobably 13 or 14 she ultimately
(03:03):
her name is doina adam and sheultimately got me the
apprenticeship at the fabricworkshop and i feel like all of
those experiences thosedifferent people that i met the
teachers they all sort of playeda part in that all of their
personalities and all the doorsthat they opened up to me i feel
(03:27):
like they taught me to look atdifferent things or look at
things differently right down tothe shapes of leaves the colors
and patterns and and i just loveit all i i know that i do
cyanotypes but i think mycreative language is just being
(03:47):
in awe of all things creative,all mediums and all the things
that we can use to create art.
And I think that informs me now,obviously with nature.
Yeah.
SPEAKER_01 (04:02):
And doing the cyanotypes, you take a very
different way of looking atnature, which I love.
It's a conversation I've hadwith other artists and previous
one for this podcast too is, is,You make us slow down and look
at what nature is, the shape ofa petal, the shape of a leaf,
(04:23):
and how a vine forms.
And you make us really look atthat aspect, which to me, it
almost takes a religious natureto it, where it becomes very
sacred about nature.
SPEAKER_03 (04:35):
Yeah, yeah.
And when I was a kid, probablyfrom the age of seven, I think
the last time I went was 16, I Ispend every summer at a
Christian boys camp up in theAdirondacks in New York.
And thanks to my grandfather whoused to take me up and my dad
took me up a couple of times orI would go up on my own.
(04:55):
And if you wanna talk aboutbeing in the middle of nature
SPEAKER_02 (05:00):
and
SPEAKER_03 (05:01):
almost forced, not that it was a forced thing, but
you're forced to notice thesethings as you're walking through
the Adirondacks, you pick up thesmells and you feel the texture,
you know what moss looks likeand how different things feel.
And I think it was thatexperience as well that helped
(05:24):
kind of create the sense of likewhen I'm in nature, when I'm
hiking, or honestly, even in myown backyard, I often just feel
like, oh my God, that's so cool.
Like, look at how that'sgrowing.
Look how it twists around thatplant or something.
Look at the veins in that leaf.
It seems almost silly, but it'snoticing, it's slowing down to
(05:45):
your point and noticing thoselittle tiny details that when
you're just maybe walkingthrough the neighborhood or on
your drive to work, you justdon't otherwise notice.
And I love that about art, butalso about the cyanotype process
because it leaves an indefiniteimprint of that tiny, tiny
detail in what you create.
(06:06):
And I just love it.
SPEAKER_01 (06:07):
I love that.
So tell me a little bit, what iscyanotype for those who don't
know?
So
SPEAKER_03 (06:13):
cyanotype is a form of alternative photography.
It was invented in the mid1800s, I believe by a gentleman
named Sir John Herschel.
It was popularized by, oh gosh,I forget her name.
I'm sorry.
But it was popularized by awoman who was a botanist.
(06:35):
And she used the cyanotypeprocess to track different types
of mosses and seaweeds from thecoast in, I believe, in Britain.
And so there's other types ofcamera-less photography, but the
cyanotype process is a two-partchemical solution that you mix
(06:57):
together, you coat on paper.
And essentially, once you exposeit to sunlight or even
artificial UV light, which Ihave, it leaves...
essentially a negative image ofthe material or that you place
on the paper after exposure.
SPEAKER_01 (07:12):
Yeah.
I love how you combine differenteffects and, and create these.
SPEAKER_03 (07:16):
Yeah.
Yeah.
Boy, what a rabbit hole I wentdown.
Yeah,
SPEAKER_01 (07:19):
that happens.
SPEAKER_03 (07:22):
Yeah.
And I don't know, but I guess itwas about three years ago.
I forget.
And I tell this often.
I tell people often, like, Iforget what I was even looking
for, but at the time I wasreally just going down the,
rabbit holes on youtube watchingpeople make different kinds of
art and i think i read anarticle or i came across
(07:43):
something on social media aboutanthotypes which is another form
of alternative photography alsousing plants and then one thing
led to another and i found a ukphotographer who was making wet
cyanotypes with these reeds thathe found and i was just blown
away And the texture and thecolor he was left with and the
(08:06):
materials he used, it was just,I was instantly addicted.
SPEAKER_01 (08:10):
So your cyanotype process is both physical and
meditative.
Can you walk us through how apiece comes to life from idea to
execution?
SPEAKER_03 (08:22):
Yeah, I think...
Again, it starts from just beingin awe when I'm in nature and
noticing different shapes andtextures.
And there's a part of me thatwants to bring those with me,
right, and memorialize them.
And so, you know, for a while inthe beginning when I started
(08:42):
Cyanotypes, we lived nearTrexler Nature Preserve.
And so I was hiking there quiteoften.
They have great trails.
And I was finding plants there.
that i hadn't seen before and iwas noticing these little
microclimates where they havethese deep gullies near jordan
creek and then you'd go to thetop of the trail at the top of
(09:05):
the hill and they'd have grassesand you know meadow plants and
things and i was just in awe andi think that in itself is a form
of meditation being present andyou know i have struggled with
anxiety my entire life and sothere's no better way to just
(09:26):
relax and calm your mind than tojust focus on being present and
just being in awe of what you'reseeing around you especially in
nature picking up on the birdschirping and the the sound of
the wind going through the treesand the color and oh gosh
everything yeah To be honest, Iforget your question, Kat,
(09:50):
because I'm literally gettinglost in that feeling.
SPEAKER_01 (09:53):
No, it's a good place to be, to be honest with
SPEAKER_02 (09:56):
you.
SPEAKER_01 (09:56):
Yeah.
I mean, it's talking about yourprocess, basically, and how it
comes to life from idea toexecution.
And you being in nature startsthat process.
SPEAKER_03 (10:08):
yeah and i'm a i'm a dreamer and so i think when i'm
in those moments and i'm justkind of in all of these plants
and these colors and texturesi'm dreaming up ideas for how i
could essentially like i saidmemorialize them and what would
that look like on the paper andhow could i get this vine to
curl around so it's a coolcomposition
SPEAKER_02 (10:31):
and
SPEAKER_03 (10:32):
so you know i'm sure much to my wife's chagrin
there's been tons of times wherei've just brought home stacks of
plants that i've caught whilehiking or or foraged or whatnot
and i flattened them and earlyon i was i was i was just
bringing home as much as i couldwhenever i found something
interesting And essentially,whenever it was pressed and
(10:54):
dried, then it was much easierto put on the paper and make a
cyanotype with.
But I often, because I have alittle bit of impatience as
well, I would bring the planthome and I would get a piece of
pre-coated paper and I'd justimmediately throw it on there
and put it in the sun.
And a lot of it is trial anderror.
(11:14):
It's just playing.
and seeing what happens.
And that's sort of the biggestpart of the process, I think.
SPEAKER_01 (11:22):
Yeah.
I love the fact that you say youmemorialize this.
To me, it comes across as asacred recording of our natural
history.
SPEAKER_03 (11:35):
Yeah.
SPEAKER_01 (11:36):
And that's such a cool, cool thing.
SPEAKER_03 (11:38):
Yeah.
I mean, I've always been intophotography.
I was...
I'm one of those people, or Iwas one of those people that
when I had a film camera, Iwould get the film developed and
I'd always get doubles ortriples because, well, what if I
want to give them out tosomebody?
Or what if I want to frame thisor something?
And I like to use them asmemories.
(12:00):
I have photos from when I wasyounger of just like the front
of my family's house or my nextdoor neighbor's house or
something.
with the idea that like, what ifI wanna remember what this looks
like in the future in this verymoment?
And also, and I've probably saidthis before to you, I can pretty
much tell you every plant that Imake a cyanotype with and where
(12:22):
I found it.
And I think that's reflective ofjust how close and I become to
the moment and how special it isfor me when I find those plants
And then when I'm looking, youknow, three years into making
cyanotypes now, when I'm lookingback three years ago at some of
my originals, I still rememberhow it felt to find the plant,
(12:47):
what it felt like to pull it outof the ground or where I was
hiking or something.
And there's no better way tofeel that.
I don't know.
It's hard to describe.
SPEAKER_01 (12:58):
No, I think you described it well.
And, you know, it's...
Kind of similar to my process aswell, which is all from memory
and intuition.
I'm tongue-tied now.
SPEAKER_02 (13:09):
Intuition.
SPEAKER_01 (13:11):
But you can feel that when you look at your work.
SPEAKER_03 (13:15):
Yeah.
SPEAKER_01 (13:17):
So you recreate that for somebody else to connect
with.
SPEAKER_03 (13:20):
Yeah.
SPEAKER_01 (13:21):
It's
SPEAKER_03 (13:22):
very cool.
They become special memories.
And I think there's a certainelement of me that I resist
that.
like mass production almost, youknow, like we do a lot of vendor
events and I know, you know,over the last couple of years of
doing these events, I'velearned, well, people really
like this and people really likethat.
And I know that I could, youknow, mass produce these or put
(13:46):
this on 10 or 15 differentcanvas pouches or something.
And people will buy that,
SPEAKER_02 (13:51):
but,
SPEAKER_03 (13:52):
but there's a little bit of resistance.
And I'm sure my wife would agreelike to, to doing that mass
production type thing, because
SPEAKER_02 (13:58):
it's,
SPEAKER_03 (13:59):
the element for me is, is like each one that I
create is special and some goodmemories tied to those, or even
just good feelings, you know?
SPEAKER_01 (14:10):
Yeah.
Yeah.
It's always a balance withhaving to create your art from
your heart for yourself, butthen create work that people
want or that people will buy.
You know, there is a fine linewith that, I think.
SPEAKER_03 (14:25):
Yeah, there really is.
And I think I struggle with thatbecause I, I don't think I
necessarily got into art orcoming back into cyanotypes with
the intention of massproduction.
Or of course, I wanted to beable to get to a point where I
felt confident enough to showand sell my art, but also not to
(14:48):
lose how special it was tocreate it to begin with, if
SPEAKER_01 (14:52):
that makes sense.
No, absolutely.
Absolutely.
And I think what's something Ialways say to myself and to
other artists is, If you createauthentically from your heart
and put your vulnerability andself onto whatever you're
creating, the audience willconnect with you and will see
that.
(15:12):
And that's what they want.
We want authenticity and thatcloseness and connection,
especially in our society nowwhere everything is social media
and very removed from person toperson contact.
SPEAKER_03 (15:26):
Yeah.
UNKNOWN (15:27):
Yeah.
SPEAKER_03 (15:27):
That's so true.
And, you know, I think thatelement of, especially for a
good while there, after Istarted making cyanotypes,
incorporating sacred geometryinto the process was because I
just had this, I have thesefeelings when I see these things
in nature and I'm like, oh myGod, look at the, the patterns
(15:49):
right, right down to thecellular level in, in our entire
universe is connected to toeverything else.
We see these same patterns.
Let's say the patterns of adahlia, the petals of a dahlia,
are the same thing that we seein maybe certain organs or parts
of our body.
And I think my intention was, Ifeel so awestruck by this
(16:14):
connection and thisinterdependence from way down on
the cellular level to outerspace that I hope that my
cyanotypes make people feel thesame way.
I hope it calls that out topeople.
And that's, I don't know, that'spart of my drive or motivation
is to get people to look at,say, a cyanotype I made of
(16:37):
different grasses and spark thatinterest or ask those questions
or something.
And that's so special to me.
SPEAKER_01 (16:44):
Absolutely.
Yeah, you use sacred geometryand natural forms in a lot of
your work, and it suggests aspiritual or philosophical
underpinning.
How do these themes connect toyour personal healing journey?
SPEAKER_03 (17:00):
Well, I think I reached an age where I started
to, and maybe it's all part ofnormal adult development, I
don't know, but where I startedto realize that I have to
respect and appreciate my rootsand where I came from, the
things that were taught to me asa child, but also in order to be
(17:23):
healthy and happy, you have tobe able to evolve.
those beliefs, I guess, oradjust them as you grow older
and add your new newer lifeexperiences to what you were
taught in the past.
And I think respecting andappreciating where I came from.
And, and I also think that thatties in specifically in a lot of
(17:44):
my signage where I'm like, inall of the power of a tiny
little seed, and how it canunder the right conditions, it
can grow into this huge tree,say, right?
And I look at that the same wayas I look at somebody's life.
I think children, babies andchildren are sacred and should
(18:08):
be provided the rightconnections and conditions and
look at what they can grow into.
And I think part of my healingjourney has been growing my life
sense of awareness about my pastand where I came from and being
able to apply it to my futureand not just resist it or run
(18:30):
away from it or deny it, butincorporate it into who I am
now.
And I can still be a differentperson.
I can still work on being abetter version of myself and all
the time, because I think that'sour ultimate goal is to always
work towards being a betterversion of ourselves.
And we can't do that withoutgiving some credence to our
(18:52):
past.
SPEAKER_01 (18:53):
Absolutely.
SPEAKER_03 (18:53):
You know, and, and I think my, I think my creative
process or my artistic journey,I think is reflective of that
process, that thought process aswell.
I
SPEAKER_01 (19:05):
love it.
And this fits in so well to whatwe've been doing for season two
for this podcast.
which is all about the idea ofbecoming.
Becoming as an artist, becomingas a human, and our journey
through that.
What does that word mean to youpersonally and creatively?
SPEAKER_03 (19:23):
It's hard to answer, but the more I think about
defining becoming, I recallseveral times over the last
couple of years where I justthought to myself, I am becoming
who I always wanted to be.
Yeah.
I'm becoming who I denied myselfor what I denied myself of or
(19:44):
rejected about myself.
It's a self-actualization,maybe, or a process.
I am becoming what I fought sohard against for so many years
for one reason or another.
And gosh, it makes me a littleemotional, to be honest, because
I look back now after...
(20:08):
taking these steps to maybe getback into art and even more than
that, share it publicly.
Cause that was a huge, huge stepfor me.
And I, and I often think like,why was I so afraid to do that?
Like I am literally, I'm sobeyond grateful that, that I
(20:29):
just, I don't know what it was.
I had that spark.
I had enough support that I justtook that step.
And to me becoming is, is almostall about returning.
I am becoming who I alwayswanted to be when I was a child,
who I just knew.
Some kids as they are growingup, they just know.
(20:51):
They don't have any doubt orfear or they have a clear path
and direction.
And I had that early on too.
There was no doubt in my mindthat I was just going to...
This was who I was.
I was an artist.
And becoming almost meansreturning to me, returning to
that.
(21:11):
And I love it too.
I feel like when I was younger,I would hear older people say,
don't have regrets about yourlife.
When you're on your deathbed,you don't want to look back and
feel sad that you didn't dothis, that or the other.
And I still have a lot of fear,but what feels really good is
(21:32):
knowing that Someday when I'm onmy deathbed, I'm not going to
regret the decision or thechallenge that I took to do it,
to get back into art and toshare it and to be courageous
about that.
Because I think it all playsinto that whole becoming, that
idea of becoming.
SPEAKER_01 (21:51):
Yes, it does.
Absolutely.
Talking about the fact that youhad such a strong start when you
were younger being artistic, butyou stepped away from it.
from art for over two decadesyou know things happens what led
to that pause and whateventually called you back
SPEAKER_03 (22:09):
well gosh what a long road i mean it was like
2022 when i really took stepsforward with that and so it had
been about 20 20 years and sincei really well over 20 years
since i really shared any of myartwork publicly
SPEAKER_02 (22:27):
and
SPEAKER_03 (22:28):
20 years since i really actively created And I
think what started it was when Ileft high school and I got into
the working world, I wasinitially taking art classes in
college and things like that.
Somewhere along the way, maybeit was I took some criticism too
(22:49):
personally, but then I also gotgreedy because I had a full-time
job and I could work and makemoney and support myself.
And so I focused more on that.
I think it was a combination ofthings.
But ultimately, I think whathappened was over time, early in
(23:10):
my 20s to mid-20s, I developedthis story in my head that
started to say, you're not goodenough to do this.
You can't make a living off ofthis.
Nobody's going to like it.
Don't bother.
There's more important things,blah, blah, blah, blah, blah.
(23:30):
and I just sat with that storyfor a long long time and I built
up the fear in my head for along time and then what I think
ultimately led me back was Imean my wife has always been
super supportive and encouragingand I give her a lot of credit
for being my cheerleader and Ishould tell her more.
(23:53):
But also, I think what led meback was I felt so constricted
and restrained and so agitatedinside that I was being held
back from engaging in thecreative process and making art.
(24:13):
And I'm sure it's received overthe years plenty of positive
reinforcement from some peopleand my family has always been
supportive and things like that.
But it was just a matter of, Ican't take this anymore.
I have to do it.
And honestly, when I foundcyanotypes, I'm like, okay, this
is great.
This feels safe to me.
(24:35):
I'm going to make these and I'mjust going to put it out there
and see what happens.
I know I've shared with you inthe past with painting.
My paintings, I've always beenway more vulnerable about.
And way more uncomfortable toshare because I've made
paintings over the years thatwere super, super personal.
(24:56):
But with cyanotypes, they felt alittle bit more, they felt safer
to share and put out there.
Like, oh, I could get lesscriticism for putting these out
here because, well, it's a pieceof paper and a plant.
UNKNOWN (25:11):
Yeah.
SPEAKER_03 (25:11):
And I think that's what led me back was like, all
right, I'm so scared to do thisand put myself out there, but I
can't take this anymore.
I feel so restricted andrestrained and unhappy.
I'm just going to do it.
I'm just going to see whathappens.
You just got to do it one timeand see what happens.
And then that was it.
SPEAKER_01 (25:32):
Now you're hooked.
SPEAKER_03 (25:33):
And now I'm hooked.
And honestly, I'm sure there'sthings that I've put out there
that are not the best or thatpeople have plenty of criticism
about, but I've also at the sametime received enough positive
encouragement and positivereaction to stuff that I've put
out there that that is sort oflike a rolling ball.
(25:56):
Like it keeps, you build onthat, right?
SPEAKER_01 (25:59):
Right.
SPEAKER_03 (26:00):
And that helps me to keep going for sure.
SPEAKER_01 (26:03):
Yeah, absolutely.
So when you return to art andcoming back to it, What have you
learned about yourself that youdidn't know or maybe forgot
before?
SPEAKER_03 (26:11):
Well, I've certainly learned a lot.
I think the biggest thing I'velearned, though, is that I don't
have to be so afraid.
I don't have to be so I likepeople and I like to put myself
out there and I like networkingand connecting with other
artists.
It's been so fulfilling for me,especially thanks to you.
(26:32):
I mean, I give a lot of creditto you, truly, because of your
reception of, of my artwork andalso connecting me to other
artists and some great peoplethat I've met.
And I think the biggest thing isjust, just I've learned, just
don't be so afraid all the time,you know, like you can't, it's
(26:53):
that old saying, like you can'tgo above it, below it, around
it.
You have to go through it.
And as soon as I went throughthe fear and I did it scared, as
they say, like I just kept, AndI keep finding like more and
more doors are opening and Ikeep having these experiences
that I dreamed of having for along time, but I was always too
(27:13):
afraid to have and people that Idreamed of getting to know, but
I was always too afraid to getto know them.
And that's the biggest thing byfar.
And I love it.
I love
SPEAKER_01 (27:24):
it.
Always so excited for you.
And I'm such a big fan andalways cheering you on.
SPEAKER_03 (27:30):
I'm still working on that wallpaper, Kat.
I swear.
SPEAKER_01 (27:33):
I'm
SPEAKER_03 (27:36):
going to make that happen one of these days.
SPEAKER_01 (27:39):
For those that don't know, I wanted to turn one of
his works into wallpaper for myhouse.
Neither of us are graphic designinclined.
That didn't go well for eitherof us, but that's okay.
One day we'll figure it out.
But I did paint my walls thecolor to match his
SPEAKER_03 (27:56):
work.
That's right.
And it looks beautiful.
SPEAKER_01 (27:58):
It does.
It's perfect.
I'm so excited by it.
I love it.
How do you see the evolution ofyour work, not just in the
technique, but in yourintention?
SPEAKER_03 (28:11):
Certainly, putting technique aside, because I get
bored easy, so I always like toexperiment and play with new
styles.
But my intention, I think...
is to try new mediums andincorporate new mediums into it
and to continue to push my ownboundaries.
And also I think what keepscoming up for me even now is my
(28:36):
intention is to still put stuffout there that I am afraid to
put out there, right?
Is to like do something thatmakes me uncomfortable, but just
to do it.
to keep trying to do that andgain more and more confidence.
SPEAKER_01 (28:54):
Yeah.
You started incorporating mixedmedia into your work with the
inks and oil pastels andwatercolors.
Yeah.
So what draws you to layeringboth visually and symbolically,
you know, as a way of, it'sanother evolution of what you're
doing.
SPEAKER_03 (29:09):
Yeah.
I, well, I don't know.
I think of this one print that Imade of an Eagle and I, And when
I was done printing it, I likedit, but it was missing
something.
And I often do that with a lotof them.
Like you should see the stackthat I have where I'm like, I
don't like it.
It needs something else.
Right.
But, but with the Eagle, it wasthe same thing.
(29:32):
And eventually I came back to itand I'm like, let me see what
would happen if I would add thiscolor, this watercolor, and then
I'll add this watercolor.
and add some texture and stuffto it.
I think it's just to constantlybe curious.
And a lot of the prints that Icome back to where I'm
(29:53):
struggling, I'm struggling, I'mstruggling.
And when I get to the pointwhere I'm like, you know what,
let's just mess around with thisand see what happens.
And that's sort of what led, youknow, using different types of
ink and pastel and watercolorand things like that.
SPEAKER_01 (30:09):
And you've even started using your prints that
you didn't like to use ascollage in newer works.
SPEAKER_03 (30:16):
Oh, yeah.
And that was super exciting,too.
I mean, I would have these, Ihave boxes or stacks of these
prints where I'm like, this isjust not going to work.
I'm not putting this out there.
I don't like it.
But I'm sure I could getcreative and figure out
something.
And yeah, the collage stuff is alot of fun.
(30:40):
you totally create something newfrom, from what you already
have.
And it's unique.
And I don't know.
I just, I love cutting them upand mixing them together.
I think that's so cool.
SPEAKER_01 (30:53):
Yeah, that is.
So what's something you'recurrently experiencing,
experimenting with or hoping totry next?
SPEAKER_03 (31:01):
Well, I've done a lot of like combinations of eco
printing and cyanotypes.
It's sort of like, it's aunicorn process for me.
Like, oh, can I get this perfectcombination?
And I'm still on this journey.
Like I made a print recently ofthese beautiful peonies that we
have had in bloom on ourproperty.
(31:23):
And I was really hoping thatcombining the ecoprint process,
I could get some of the pigmentfrom these peonies.
And I think I sort of did, butI'm always trying to pick up
that color more and more andmore.
And I also want to explore morecyanotypes on fabric and canvas.
(31:44):
I have this vision of creatingthese huge, huge cyanotypes that
are on stretched canvas.
Yeah.
And incorporating the naturalelements that I already use,
like turmeric and other inks andthings like that.
And just trying to come up withsomething just big and amazing.
(32:05):
And I've done cyanotypes onfabric.
SPEAKER_02 (32:09):
In
SPEAKER_03 (32:09):
fact, some of our biggest sellers at vendor events
are these zipper pouches that Imake that people love.
And I don't get it, but my wifewas like, just trust me.
And so I understand how itworks.
And I know it's sort of atechnique to get them to show up
properly and to look good.
(32:30):
They are a beast to make, but Ijust envision these big...
cool, you know, mixed mediapieces with cyanotypes on
stretched canvas.
SPEAKER_01 (32:41):
Oh, you've got to do it.
SPEAKER_03 (32:42):
I know.
I really need to.
I really need to.
I'm excited.
So that's my next sort ofexperiment or journey, I think.
SPEAKER_01 (32:52):
That'll be cool.
Man, I have to build an additionto my house just for art.
But I can add more of thesepieces.
Yes.
So you've said that nature andmusic are central to your work.
How did they shape youremotional or energetic approach
to making?
SPEAKER_03 (33:09):
I don't know.
I get the same feeling fromlistening to music that I do
from being in the middle ofnature.
It's like euphoric.
Like there are some songs where,and then also when I'm hiking
and I'm listening to music whileI'm hiking, I think I create a
connection there.
I think the emotion that I feelwhen I'm sort of, taking in
(33:35):
these things nature and music itgives me the energy and the
excitement to to play i'm morelikely to play i think that's
what it is is like it feels goodyou know like there's happy
songs sad songs but there'scertain songs that i just i
could just i don't know it justtake they take me away and
(33:57):
that's what it's like being innature too and finding these
plants and I get taken away andthen I keep that in my mind.
And when I come back to a codedpiece of paper or canvas or what
have you, I can keep thatfeeling and I can inject that
into what I'm making.
I love that energy.
(34:18):
You know, I'm a little bit,maybe I'm a little bit too...
receptive to it or somethinglike the effect that it has on
me.
But I don't necessarily thinkthat's a bad thing.
It's definitely a good injectionof dopamine.
And I use that to just staycurious and play.
SPEAKER_01 (34:36):
Oh, yeah, absolutely.
So you have a background inpsychology and have worked in
human resources for a long time.
How has that influenced yourrelationship with creativity,
vulnerability, or your personalgrowth?
SPEAKER_03 (34:51):
Yeah, my education in psychology, I think I've
always been interested infiguring people out and myself
out.
I think I got down the road to,went down the road in psychology
to try and make sense of who Iwas and where I came from and
feelings that I have and like,what starts this?
(35:12):
And I use that sort ofexperience.
I also work with individualswith intellectual disabilities
for years.
gosh, a number of years from 18until my late 20s, early 30s,
and in one form or another.
And I think that informs me aswell.
I got into human resources whenI was in college for psychology.
(35:34):
Because I am a people person, Iwanted to help people.
I realized I probably wouldn'tbe very successful as like a
psychologist or counselor.
But I think because of my yearsin corporate America, when I
went back to college as an adultfor my degree in psychology, I
(35:54):
was really interested inapplying what I was learning in
the corporate space.
So one avenue I was thinkingabout going down was industrial
organizational psychology, whichis very research driven.
And there's a lot of data andanalysis, but it helps that
field really helps to shapecorporate culture, and I was
(36:16):
really interested in that.
And there's a natural, I think,for me anyway, there was a
natural shift into humanresources because of that,
because I could still help toinfluence and shape the
corporate culture, but work withpeople.
And I do have a, I'm very, whatis it, right-brained or
(36:36):
left-brained?
I forget which one, but theanalytical and the technical
side of me Right brain.
That's the right brain.
Thank you.
That's the smaller, the rationalside of me.
I
SPEAKER_01 (36:50):
feel you.
It's okay.
SPEAKER_03 (36:51):
Yeah.
That side of me, I really loveusing that side of my brain when
I'm in the corporate space.
And I've gotten really into HRoperations and working in
systems with the data and thereporting and analytics and
things like that.
So I think...
(37:12):
What had to happen, though, forme was I had to find a happy
balance.
When I first started gettingcreative again, I needed to say,
okay, I have to make space forboth of these things.
And on a personal level, myeducation and background with
(37:32):
people and behavior andpsychology and things sort of
certainly influenced my ownapproach and healing journey and
things like that but also as Igot back into making art I
realized I need to make spacefor this and I got to work that
out inside myself and I have tomake a living at the same time
(37:55):
and it's a constant daily battletrust me but I think they they I
think I'm coming to a happymedium or a happy balance.
Eventually, I'll get thereanyway.
At
SPEAKER_01 (38:09):
some
SPEAKER_03 (38:10):
point.
At some point, yeah.
SPEAKER_01 (38:12):
I know.
We always want to be making artinstead.
SPEAKER_03 (38:14):
Always.
It's one of the worst thingsabout being in the middle of my
workday and going outside on agorgeous day and taking a break.
We have these ginkgo treesoutside of our building and
there's All kinds of different,interesting plants.
And I find myself, I'll gooutside and take a break and be
like, oh, I wonder if I haveany.
(38:35):
I could grab some cardboard frominside and I could come out and
take a cutting and take thishome.
And then I have to remindmyself, oh, no, you have a
meeting.
You have to get back to, youknow.
Yeah.
SPEAKER_01 (38:45):
Yeah.
I suspect it can be a littlechallenging.
SPEAKER_03 (38:48):
Yes.
Yes.
SPEAKER_01 (38:51):
Oh, that's funny.
SPEAKER_03 (38:52):
For sure.
SPEAKER_01 (38:52):
So.
If you could offer one piece ofencouragement to someone who's
been disconnected from theircreativity for a long time, what
would you say?
I
SPEAKER_03 (39:05):
would say what I would say.
I know how you're feeling.
If there's a reason that you'redisconnected or you're feeling
disconnected, I know how itfeels.
And all you got to do isconnect.
The door is open for you.
You just have to walk throughit.
(39:25):
Even though you don't knowwhat's on the other side and
you're scared about what's onthe other side, you have it in
you.
Just do it.
Walk through.
Because trust me, the worldthat's on the other side of that
door, you know, I used to lookat it like I had this dream one
time where I was at a gate And Icould see what was on the other
(39:48):
side and I was reaching my armsthrough the gate, but the gate
was locked.
And I kept focusing on the otherside and focusing on the other
side.
Then I was talking to somebodyone time and I was telling them
about this dream and how I feltit related to just my waking
life and what I felt like everyday, not creating art or being
too afraid to create art.
And they said, well, what if thekey was in your pocket the whole
(40:12):
time?
And I was like, oh my God.
Maybe I should stop focusing onwhat's on the other side of this
locked gate, but I should startsearching in my pockets for that
key because it's there.
And so my encouragement wouldbe, don't look through the
locked gate, look in yourpocket.
Because you literally have thekey to open that gate and
(40:35):
experience what you're longingto experience.
And all you have to do is walkthrough.
Because trust me, it like, Mylife has changed over the last
few years.
And I couldn't imagine there wasa time where I had no idea that
key was in my pocket.
(40:56):
And all I had to do was unlockthat gate and I was there.
And it just took a little bit ofcourage.
We all have courage.
So just do it scared, but do it.
SPEAKER_01 (41:08):
Yes.
SPEAKER_03 (41:09):
Yeah.
SPEAKER_01 (41:09):
Absolutely.
So what does success look likefor you now as someone who's
redefined what it means to liveas an artist?
SPEAKER_03 (41:18):
So many things.
I talked about that constantstruggle with like, I don't want
to have this stupid job in HR.
I want to be a full-time artistand I want to make my living in
art.
And I think success now for meat this stage is I know that
that's in my future.
(41:38):
It's going to be in my futurefor the rest of my life.
And at this stage, success is,finding the happy balance and
accepting that i have this jobthat i don't this career that i
don't don't really findfulfillment in as much as i find
in art and then continuing tobuild on my art practice and
(42:02):
eventually someday i'm going tobe able to say i can walk away
from this corporate career and ican i could live out the rest of
my life fully immersed in, in mycreative practice.
SPEAKER_01 (42:18):
That's exciting.
SPEAKER_03 (42:19):
Yeah.
I'm excited
SPEAKER_01 (42:20):
about it.
I'm sure.
Yeah.
I will definitely be beside youcheering you on the entire time.
SPEAKER_03 (42:27):
Oh, thank you.
SPEAKER_01 (42:28):
You have such a beautiful soul.
I'm thrilled to call you myfriend and fellow artist
SPEAKER_03 (42:34):
and fellow
SPEAKER_01 (42:34):
artist.
Yeah.
SPEAKER_03 (42:36):
Well, I feel the same about you, Kat.
I, you know how I feel aboutyour artwork and, and, Certainly
there are some of your pieceswhere I just, I feel it so much
and I connect to it so much and,and I just love your process.
And I am so, I've probably saidit a million times, but I am so,
(42:57):
so grateful to you and, and justyour creativity, your
personality, your drive.
I don't know how you do half thethings that you do.
I wish I had some of that, but Iam, I'm also super proud to, be
able to call you my friend and,and support you as well.
Cause I, I just, I love you.
(43:17):
You're great.
SPEAKER_01 (43:18):
No, thank you.
All right.
Enough of the love fest.
Thank you.
Thank you so much for chattingwith me today, Adam.
I really appreciate it.
Tell us where we can find youand your art.
SPEAKER_03 (43:30):
Okay.
So I, I have a little bit, we doa lot of events.
So physically you can find myart at vendor events.
For example, I, In September,I'm lined up for almost every
weekend at vendor events, and Iwill post those and share those
on social media.
On Instagram, it'sadamchrist__art, and I'm at
(43:54):
adamchristart on Facebook.
And so I'll make sure I shareupcoming events, like I'll be at
Art in the Park in September.
which I'm super excited about.
And I'm also excited thatDoylestown Arts Festival is
coming up.
I'll be there as well.
Also, I've got art exhibited atLukenbach Mill through Lehigh
(44:17):
Art Alliance.
I'm super proud to be part ofthat.
And hopefully I can continue toparticipate and be involved in
those exhibitions.
And hopefully just more andmore.
As time goes on, I'll be outthere more and more.
That's my goal.
Just keep getting out there andkeep doing it even if I'm scared
to do it.
SPEAKER_01 (44:38):
Amen.
SPEAKER_03 (44:40):
Amen.
SPEAKER_01 (44:43):
So that was Adam Christ, an artist whose story
reminds us that the call tocreate never really disappears.
It waits quietly until we'reready to return.
Whether it's through sunlight,shadow, or sacred shape, Adam's
work invites us to find beautyin becoming and healing through
expression.
If today's episode sparkedsomething in you, don't forget
(45:06):
to like, share, and leave areview.
It helps other creatives findtheir way to the show.
Until next time, keep listening,keep making, and remember the
artist is in you.
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