Are you afraid of polarizing your audience? In this episode of Art Crush, Fi and Paula break down why blending in is the enemy of a thriving art career, and why cultivating a fiercely unique style is the best thing you can do for your work in 2026.
We share our artist perspectives on art and business, discussing how leaning into your unique style acts as the ultimate filter—helping your true fans find you, and gracefully letting go of the people who aren’t your target audience.
In this episode, we cover:
- The Power of Standing Out: Why you want to be different from the crowd.
Instant Recognition: How to ensure your artwork is unmistakably yours. - The “Not For Me” Filter: Why it’s actually a good thing when someone decides your art isn’t for them.
- Honest artist conversations about the challenges and triumphs of finding your creative voice.
Whether you’re looking for fresh artistic interviews or just love artsy podcasts that explore the real lives of artists and their work, grab your favorite drink and join us for this week’s chat!
Make sure to hit FOLLOW on Spotify so you never miss an episode!
And let us know in the comments: How did you find your unique art style?
00:00:00 Speaker 1: Welcome to Art crush, the podcast with artist Fi Marks and Paula Telizyn where we talk about being an artist, running an art business online and in person, being a woman who’s an artist and anything art related. The only podcast that’s recorded both in Canada and the UK.
00:00:31 Speaker 1: Hello, fee.
00:00:34 Speaker 2: Hi, Paula. Are you sure about that?
00:00:36 Speaker 1: I have no idea, to be honest.
00:00:39 Speaker 2: Let’s go with it. Let’s go with it. Yeah. Internationally podcasting again, we should have brought that up in the last episode. About what is a good thing about being an artist in twenty twenty six? The fact that you can have a weekly podcast, Atlantic Monthly, that would never have happened.
00:00:57 Speaker 1: Yeah, the Transatlantic Podcast. There we go. We missed out on a name. We went with Art Crush instead. Oh the worst. today we want to talk about why you should cultivate a style in your art. And while that sounds like dry toast, or maybe even torture to some artists, it is critical to understand the goals behind cultivating a style in your art. the positive outcomes that come from having a style and what it means to your art business. So what do we mean by cultivating a style? Let’s, let’s start with the very basics. It means that when somebody sees your work, even if it doesn’t have your name attached to it, they know it’s your work or they recognize that it comes from the same artist. So fee, you have a very specific and distinct style. And while it’s been refined over the years, if we saw a fee marks from twenty eighteen and a fee marks from twenty twenty six painting, I mean, not the person, um, we would recognize that the artist was likely to be the same person. So did you cultivate that style intentionally or not?
00:02:12 Speaker 2: Really weird, considering I don’t come from an art background. what happened was, all the art and creative stuff I’d done over the past the previous twenty years had all been in schools. So I’d done a lot of art, a lot of art with kids. Um, and so anything I promoted creativity across the curriculum, but I hadn’t actually done any for myself. And what happened was a friend asked me if I’d like to go and do a day course near where I live, on a painting with big brushes. I think it was big brush paintings was what it was called. And I was like, oh yeah, I’d love that. So we booked on this days course and we went and it was such an eye opener. But I absolutely loved it. And I was like, I don’t want to stop painting now. It was as soon as I started painting, even though I’d done loads of painting in schools, it was like the first time I’d done it by myself, and I felt very uninhibited compared with a lot of the other participants, because I didn’t have anything to go, oh, that’s not good enough, or that didn’t have any of that and was just like amazed at anything I could do. And, um, so then I got a sort of like starter kit and we were coming up to the school summer holidays and I decided and goodness knows, because obviously I thought this was a normal thing to do. And Paula, you can tell me. I’m not sure it is, but I decided over that summer that I was going to find my own style, my style of painting, because I didn’t really know where to begin. And so I thought, I’m going to start off by drawing every day, developing my drawing skills. I’m going to try different paints, acrylics and watercolors and different ones. And I’m also going to do what I did was I sat down and I went on Pinterest and I just looked at thousands of pieces of art of paintings and collected all the ones that I liked. Now, these weren’t necessarily old masters, nothing like that. They probably none of them were. It was all contemporary. In fact, I remember that it was all contemporary work, things that were selling today, and I collected all the stuff that I liked, had a look at the work, perhaps tried out some sketching, using those As ideas. And then by the end of those six weeks, I did my first ever canvas, and it was almost like all that prep work, the style had evolved because that was exactly what I was focusing on. And I don’t know, because nobody had said to me, you’ve got to have a recognizable style. It was I don’t know where it came from, but that was how I can, you know, specifically say that was my main objective for those six weeks was to find my creative style.
00:05:34 Speaker 1: Which is brilliant because a lot of artists don’t do that work. They want to try a little bit of this, a little bit of that. They want to look like everybody else.
00:05:42 Speaker 2: But I think that’s also because that’s the way it’s taught. So if you go down the educational art route, because I, I wanted to be an actress as much, as much as I loved art when I was young, I wanted to do a drama degree and I wanted to perform. So I because I didn’t have any of this. Oh, now do a bit of ceramics. Now do a bit of sculpture, now do a bit of oil painting. I didn’t have any of that, which I think just makes people think, oh, I like all of it. Or I really, I’m creative, I’m good at art, but you can be good at all of those things and also enjoy all of those things. And then they haven’t helped you in any shape or form, develop your own style. I think they thought. Having a taster of all these different skills, your style is going to evolve. And I just obviously had a very different approach and spent a long time looking at art, looking at paintings. What was it I like? And it was like we were saying about when if you want to write a book, Paula, you know, you will write a book that is probably quite similar to the books that you enjoy reading. it would be quite unusual for you to write a book that you wouldn’t want to read yourself. And it’s the same with art. You don’t want to paint things that you wouldn’t necessarily buy yourself or hang in your own house. And if you are, then you need to have a look at that.
00:07:16 Speaker 1: Yeah, it’s really interesting because I did go through art school. And we did the whole thing of, uh, we did the whole thing of photography, ceramics, Printmaking, painting, drawing, graphic design like the whole range, even children’s book illustration and everything else. And from that, in theory, you’re supposed to gravitate towards the thing that you enjoyed the most and specialize in it. So in a lot of ways, the second program I was in was actually a really great program because they made people pick their first and second pick, and then you dropped all the other stuff unless it was necessary, like life drawing was impacts everything you do. Um, in terms of art making. So everybody had to take that. But in terms of mediums, you picked your first and second and then specialized in those. And, and that made such a huge difference. But there was no talk about cultivating style. So when I came out of that, I was convinced that my paintings were shit, to be frank, because they didn’t fit in with what other people were doing. And I was so burnt out of creating art. Anyway, I went off and did something else for several years until, probably about seven years later when I finally picked up a brush again. but when I decided to be professional, I was following several artists that were very distinct, and I didn’t do that intentionally. I did that because I liked their work. And one of the artists, I can’t remember her name, I was trying to remember her name. She was an American portrait artist, and she kept talking about how intentionally she cultivated her style from the use of color to how she drew her portraits, to all the patterns she put around her, her paintings. I don’t know if she’s still painting, but she must be if she’s alive. But, her paintings were very distinctively hers, full of patterns, full of layers, full of colors. And I was fascinated by the way they came together, uh, and the way she, she produced them and she, so she talked extensively about that. And so that really informed when I decided to become professional how I was going to move forward. And so when I created my body of work, it was I was going to be doing thirty paintings in thirty days to create that body of work because I, I was painting fairly quickly so I could do a painting a day. I didn’t factor in exhaustion or the fact I had three children, um, or things like that. I had my day company, like I was working during the day in my business.
00:09:42 Speaker 2: And if you haven’t guessed already, yes, Paula does have ADHD.
00:09:47 Speaker 1: Yes, yes, exactly. so I ended up doing, I think it was twenty five paintings, twenty one of which were, were saleable. And halfway through, I was so fed up with just painting portraits I was so fed up with, I didn’t have the right size canvas for that day because I was working sixteen by twenty inch canvases and I ran out halfway through. I did fourteen canvases on day fifteen. I didn’t have one. I had a whatever it was, twelve by twenty four, whatever. So wildly different dimensions. And I was so fed up with not having the right canvas. And I was tired, and I just wanted to go into my house because I was painting in a studio that was on my property but was not in the house. I wanted to go in the house, put my feet up and just rest. And I just thought, fuck it, I’m just going to paint in orange because I’m mad. And orange is an angry color and whatever, and it just changed my style. And normally, you know, I might have thought, okay, well, that was a one off, but I sort of went, wait a minute. Based on these artists that I’ve followed, especially that woman portrait artist, I should push this further. I should actually own this because this is not half bad. And so halfway through those paintings I did over that course of that month in September, not this past September, but years ago, my paintings switch from trying to get skin tones and mixing the various beiges and whatever that you do to make skin tones for Caucasian people. They switched to neon green and neon pink. Neon orange actually, neon green, neon yellow, like I throw in the neons in there. And I pushed it as far as I could. And I ran with that style. And my style is very recognizable. If you look on my website, it’s very consistent, although photography doesn’t actually capture the brightness of the pieces and the benefit that came from this, which I wasn’t expecting because it’s the first time I’d ever cultivated a style that I could lean into and own, was when a website had taken my work and claimed it as their own, my fans and followers. At that time I had a pretty big following, came to me and said, Paula, your work is on this website and you’re going to want to do a takedown notice on them. And that was really powerful because they had removed my signature. I always have a little Paula in the bottom right corner written out and paint, uh, everything else on the back of the paintings, they had removed that Identifier and claim the pieces as their own. But by the time I got to the website to do the take down order, my fans had already done it en masse, reported them over and over and over again because they didn’t need to know that or see that those pieces were mine. They recognized my style, and that was a really unexpected bonus and benefit. People either really liked my style or they hate it. You either like painting.
00:12:28 Speaker 2: And that’s great. You know that. I mean, over here we have Marmite. Do you have Marmite over there?
00:12:34 Speaker 1: You have your Marmite over here? Yes.
00:12:37 Speaker 2: But you know everyone in the UK will be going. Yeah. Like it. You know what is it. Love it or hate it. You know it’s and that that is such a good brand thing. I mean you know you don’t really want anyone to hate your artwork, but it doesn’t matter if you want to. You want to have those strong emotions. The worst thing you can say to somebody is, oh, that’s really nice. Yes. Oh, that’s really cute. Oh, that’s really pretty. It’s like, no, no, you want the strong you want doesn’t matter if it’s that sort of like, oh my God, that’s awful to I can’t take my eyes of it. And you know, the comment I often get from people who perhaps don’t like it and they think they’re being polite is, oh, that’s different. And I always say thank you because it is. And I often say, and I do do it in a bragging way, but I just say, I don’t think there is anybody who is painting like me and what I paint, the messages that I paint in the world is if you if you’re seeing this live as such, if you’re coming to see my work, you won’t see it anywhere else. And that again, has evolved because so many people have told me that they’re like, God, I’ve never seen anyone like it’s incredible. It’s there, you know? And it’s like, that is great because it’s it. I know that people recognize my style and I would like to think they would do exactly the same if they saw saw my art in the wrong place because they would know, oh no, no, no, no, that’s that’s female. That is, you know, and that is another reason why it is so important to create your own style and just slightly off that tract. But it’s the same thing. Paula and I have talked about quite a lot about creating your own style for what you look like. So when you are thinking of how you present yourself as an artist, you need to think about your style. Does it reflect your artwork? I mean, I do get people saying, oh, you look like you’re art. And I’m like, yep, I’d wear those dresses. I’d wear those dresses I paint. Yep. I like having long, long red hair. Yep. You know, and it’s like, that’s just evolved because it’s become my brand. So almost like the next step from when you found your style. Once you’ve got a style, you can then start developing your brand and you are very much part of that. And so you do need to think that I’m not going to turn up at a show in, a pair of shorts and a baggy t shirt and look really apologetic, you know, and I’m going to put my coat on if I get embarrassed, because that is not reflecting your brand. You need to do that. It is all part and parcel of the same thing.
00:15:59 Speaker 1: Which is something that artists should really be thinking about, about the whole thing. So many artists portfolios look the same. And I can say this as somebody who has gone through tens of thousands of artist portfolios over the last eight years, and the sameness is ridiculous. Even I went to, um, I think it was last year, the arts project in Toronto, which is a high end art show you have to apply. It’s juried, it’s expensive to be in there. And there was so much sameness between the artists. We often are afraid of rejection. Um, and that comes with being neurodivergent. And a lot of artists are neurodivergent rejection. dysphoria is a thing, but if you try to be Something to everyone. You become nothing to no one and.
00:16:54 Speaker 2: You become invisible. You’re almost erasing yourself, aren’t you?
00:16:58 Speaker 1: Exactly. You’re almost erasing yourself for sure. And you’re not standing out in any way, shape, or form. If we think about the artists that stand out in your mind, there’s nobody else that creates like them. Their styles are very, very distinctive and that people who follow and then copy or do a variation of them don’t stand out in the same way. The reason for them standing out is because they’re not afraid of people not liking their work. People who don’t like your work in general will not run you through with swords. their dislike may, you know, hurt you. I had somebody walk in the audacity of my commercial space, look around with a sneer on her face and say, I wouldn’t pay six hundred dollars for that. What is this stuff? I don’t even like it. Great. Awesome. Thank you for telling me I’m not for you.
00:17:46 Speaker 2: Write exactly that. It’s fine. Why? Why do you feel the need? I think a lot of that is to do with people, think, oh, I’m going shopping. So they might go into a clothes store and go, oh, there’s nothing here for me. But then they will go to another clue store when they know. And perhaps, perhaps before they left the house, they should have got an idea of what style and what they were actually looking for. If you were to go clothes shopping and you’re just looking at clothes, you might as well look at wallpaper because you’re not thinking of yourself. I find I see things it’s quite funny because I recently I know I’m late to the party, but I’ve been recently sort of shopping mainly on Vinted and I keep coming across stuff. I’m amazed that people still have this stuff that I wore like ten, twenty years. I’m like, I had that skirt many, many years ago. And there it is. And I look at it and I go, would I wear that now? And when I think about wearing it now, I sort of go, no, that’s not the style. That’s not the look that I’m going for. But my first response is, oh, I love that skirt. Yes. Loved past tense, it’s having that awareness of who you are now, what you want to say now. And it’s not the same as it was twenty or thirty years ago.
00:19:16 Speaker 1: Yeah, it is not the same, but it like circling back to, cultivating our own art style and facing that rejection. It’s not a big deal. Right? It may sting in the moment, but just run through your head. Your art is either for somebody or not for somebody like that guy on TikTok who goes around trying the foods that are not his culture. An American guy and he goes in and he he says something is for him or not for him. He doesn’t say, this is bad, this is good. He says it’s for him or not for him. And I find that generally it’s for him. He’s a very enthusiastic eater, but.
00:19:51 Speaker 2: That’s why he does a tick tock on his passion.
00:19:54 Speaker 1: Exactly. But it’s interesting that even if somebody can’t say that with any kind of nuance, take it in as your art was either for them or not for them, not the criticism that most people like to give. And so you can let that wash off. You want your art to be not for some people, because if it is for everybody, odds are it’s beige or it is neutral or there’s no.
00:20:18 Speaker 2: Kind of can be. I mean, I, I’ve said to you, Paula, it is the art that I love, I absolutely adore, but the majority of art is not for me. It’s quite specific. It’s quite small. You know, the art that I would buy and the art that I love and go, oh, look at this, Oh it’s amazing. and often it’s a bit like recommending a good book. You go, you must read that. Well, you can never be one hundred percent sure. Even your best friend is going to like it in the same way that you did. Yeah, because we’re all different. And they thought, that’s fine. That is absolutely fine. And it’s not an insult. I am not the juror, judge and jury of people’s art. I just know what I like and what I would buy and what I like to see on my walls, and which I know will bring me joy every day.
00:21:20 Speaker 1: Yeah. So let’s take this a little bit further and talk about what happens if you are not cultivating a style and leaning into it. So let’s say you make a little bit of everything, as we talked about in the beginning of this episode. So maybe you make a little bit of watercolor art and you do some drawing and you do some ink work and you do a little bit of abstract and you then you take your portfolio and go to a gallery who’s seen all of this before? There’s nothing that makes you distinctive, not even the breadth of your work, uh, to them from any other artist who’s come to them saying, well, I can’t just stop on one thing. I must do a million things. There’s nothing that makes you stand out at all.
00:22:00 Speaker 2: And I, I have actually heard artists almost like brag and go, oh, I just like doing a bit of everything. I just have to keep quiet most of the time because that’s their choice. But yeah, it is, it is. And I think it’s because they’ve tried all these things and they like doing all these things. And that is absolutely fine. But you need to niche down if you want to sell your work and go, this is going to be my body of work. It’s going to be oil paintings. It’s going to be sculpture. If I want to go off and then paint in acrylics and watercolor and whatever, that’s fine. I’ll do that in my spare time. Nobody’s saying you can’t do different genres, but going back to the good old marketing word, word and wanting to be recognized for your work is you have to have a distinct style, and you are empowered to choose that style. Take your time, decide it will evolve. It won’t always be the same. As Paula said, my style has evolved over the last ten years. Um, but it’s still my style. I haven’t changed in, you know, hugely. It’s just sort of progressed. It’s evolved. It’s an evolving style, but it’s still the same style. And what I have to say hasn’t changed in the way because I still focus on women and women’s stories.
00:23:35 Speaker 1: Yeah. But even that has evolved in a way that has become more vulnerable and more personal. But I would like to propose this idea. and I did write about it in, one of my books, my second last book, about what it takes to become a master in your craft master artist. And a master isn’t somebody who does a little bit of this, a little bit of that. It’s not the breadth of your work, it’s the depth of your work. Sophie, I would argue that you are a master of your painting, of your style, of your storytelling. You are a master artist because instead of going, well, gosh, I think I’ve told all the stories I want to with women, I’m moving off and doing something else. And maybe I’ll do sculpture flowers or bunny rabbits or whatever you said. No, I’m actually going to tell a slightly different story, and I’m going to adjust the way I paint a bit, but it’s still recognizably mine. You’ve leaned deeper into your style and your storytelling to become a master of what you do. And so I would fight anybody about this, that you are a master artist. You’ve spent enough time professionally creating massive amounts of work, selling massive amounts of work. that nobody could argue against it. Right? You are a master artist because you chose to go deeper.
00:24:56 Speaker 2: And we can I just say we’re using the word master as generic.
00:25:01 Speaker 1: Yeah.
00:25:01 Speaker 2: The term master of generic in case anybody’s there going, oh, why are they using the word master? And they’re women, you know, a bit like we now say actor. I mean, again, a lot of our language needs to be re.
00:25:13 Speaker 1: It really needs to be changed. Redefined a mistress of art. Like seriously?
00:25:18 Speaker 2: No. Exactly. Because the connotation.
00:25:20 Speaker 1: Brings on a different.
00:25:21 Speaker 2: I just wanted to. Yeah, exactly. I just wanted to clarify, just in case anyone’s going. Oh, well, yeah.
00:25:27 Speaker 1: See, in Canadian English, we would just assume that somebody who has a master’s degree or master’s a topic. Yes, it’s inherently a male term, but we have already removed the genders from it in Canadian English. So it’s interesting that British English is a little bit different. but yeah, okay, so maybe if there’s a better term, we’ll come up with it. But right now we’ll, we’ll sit on that. But the point is, is that you’ve deepened your, style, you’ve deepened your connection to it, you’ve looked for ways to keep your, art relevant to not only your audience, but to yourself. And you’ve looked for ways to own it even more. So your journeys of the women, for example, was an incredible change in what you were doing when they were going from the despair. And I don’t know who I am and removing the masks and and self discovery and all that. That was a very deep and vulnerable story that I know a lot of your audience, uh, resonates with a lot of women have been through situations where they’ve lost.
00:26:25 Speaker 2: Virtually all women.
00:26:27 Speaker 1: Yeah, basically. Exactly. And so.
00:26:29 Speaker 2: And for men.
00:26:30 Speaker 1: But prior to that, your stories had been more arm’s length. Here’s the story of Anne Boleyn. Here’s the story of, whoever, right? Here’s the story of Morgan le Fay, and here’s the story of as told. But they were arm’s length. These stories are telling now are far, far more personal, but far, far more personal for the viewers as well, for the women that connect with these stories. So you’ve deepened into your art making in a way you never would have if you went, okay, well, now I’m going to make origami and next I’m going to make seasonal cards or whatever, right? you could have flitted around and you went deeper and not a lot of people do that. They sort of go, well, I think I’ve done everything I could with that. Right. And this is an important thing to understand. As Fei said, yes, you can do a million other things in your spare time. when I was making portraits as my income, I was still doing things that I never showed, like pottery, or, ink, abstract ink, paintings and things to, to sort of scratch that itch of I need to do something else that wasn’t part of my professional portfolio. It wasn’t part of my marketing. It was just something I did for fun because I didn’t really want to watch television. I wanted to do something creative, but I didn’t want to sit down and do another piece of work for my business. We all need time off. So it’s really important to to embrace how powerful cultivating a style can be and how it can propel you. And a lot of the artists that stand out, all of the artists that stand out are unique in some ways and in many ways. So I think, as we said, as she did in the beginning, um, look, maybe not Pinterest because it’s so full of AI now, but look.
00:28:15 Speaker 2: Yeah, there’s a back in the back in the time it was full of original art, there wasn’t any AI as far as I can remember.
00:28:22 Speaker 1: Yeah, exactly. So, so look for the artists that stand out. Ask yourself, why do they stand out? What makes them different? Look for artists that are the same. Go to the bigger shows. So if you are in the UK, something like the Surrey Art fair or um, whatever, Google art fairs in the UK and actually go to them and look around and see how much art is the same and how much is different. I guarantee you that there’s maybe one or two artists doing something wildly different, and everybody else is doing variations of the same. And if you’re in Canada, again, Google, um, whatever art fairs are around you, but the artists project is a great one if you’re in Toronto. It runs annually. I think there’s it’s in the summer. I remember being hot when I went. So it must have been in the summertime. Um, but yeah.
00:29:08 Speaker 2: Menopausal.
00:29:12 Speaker 1: Yes. But but it’s it, you know, it’s well worth seeing what other people are doing as part of your research to develop.
00:29:21 Speaker 2: and visiting galleries, if you go to like the Tate Modern or if you’re in a big city and the National Gallery just don’t feel you have to look at everything, just see what catches your eye, what draws you in. Ask yourself, why is it drawing you in? What is it about this painting that you’re finding so compelling? Which is a bit more than saying, oh, I like this one. Oh, I don’t like that one. Yeah, it’s it’s about what draws in what talks to you. What is it saying and why is it being. What has the artist done that has made it compelling, that drew you in rather than trying to look at everything because you can’t, so yes, just keep looking, keep looking and thinking rather than, oh, I’m going to a gallery and I’m just going to have a browse.
00:30:17 Speaker 1: lean in also to how you make things, because we all have our own distinct handwriting and ways of doing things. Our muscles all work differently to some degree. one of the things, um, I had issues with is when I was younger and making art, in school and whatever people would say, oh, Paula, your art looks just like you. It looks just like you. And it would come through as an insult because it’s not.
00:30:42 Speaker 2: People say that to me still now. I know I take it as a compliment because it’s about it’s about the whole package that is. Of course it should.
00:30:52 Speaker 1: Yeah. as artists, we shouldn’t conform. We should resist conformity completely. So I used to strive to try to make myself the artist, invisible in the art making. And we really need to do the opposite. Lean into your style. If your people say you do representational art and you’re painting people and they all look wonky, maybe you can’t get the proportions right or whatever, lean into that. Exactly.
00:31:17 Speaker 2: They don’t have to be. We are not all photorealistic, we are not trying to create exactly what we see with our eyes. We are trying to show what we think.
00:31:34 Speaker 1: So lean into your style and play and have fun and things will evolve over time. But owning that is really powerful. It means that people will know instantly if you are for them or not for them. It means that you can stand out from the crowd. And trust me, there’s a lot of mediocre artists out there, and there’s a lot of artists who do not master anything, and you will have the opportunity to make a bigger impact. It is a harder road to walk when you are leaning into your unique style of work, as we can say, but it is ultimately the more satisfying road to be on because you are not like everybody else. And when people say fee Mark’s art, for example, you immediately know what kind of work that she creates. And as she builds her, her global audience and everything else, people will be able to say that there’s nobody else like her, you know? Yeah.
00:32:38 Speaker 2: And to me, that is so much more important. I have been rejected from so many galleries because they say, oh, we only do landscapes. We only do this. We don’t do figurative, we don’t do, you know, and it’s like, well, basically, again, it goes back to what Paula and I are always saying, you’re not for me. If you don’t want different, then you’re not for me and you’re missing a trick. You’re just being bland and middle of the road and you know you’ve missed a trick. I don’t have a problem thinking that I don’t sit there and go, oh, I do. I need to go away and do what everybody else is doing. Be a disaster. Kiss of death to my business straight away. Yeah.
00:33:19 Speaker 1: Yeah. It may feel easier and safer, but it is not the route for you. If you want to create impact with your art business and you want to create clarity and you want to sell more art, that’s, that’s the bottom line. So as we wrap up this episode of Art crush, is there anything else that you want to say? Fee?
00:33:38 Speaker 2: I think it’s just keep questioning. Keep asking yourself what makes me and my artwork unique? What makes my work stand out from everybody else’s.
00:33:53 Speaker 1: And have the courage to stand out?
00:33:57 Speaker 2: Yeah. Be proud. Be proud to be unique.
00:34:01 Speaker 1: Exactly. Awesome. So we want to thank you all for listening to this episode of Art crush and for following, liking and sharing our podcast. We really appreciate that. You can find us on Spotify, Amazon Podcasts, audible, Apple Podcasts, iHeartRadio, and wherever your favorite podcast platform is. Search for Art crush and we will catch you in the next episode.
