How did you make the jump into commercial art? I did a design for a bedspread for the New York company and saw a photo of it in a magazine. I phoned the publication and asked them for a copy of the photo, and they ended up interviewing me for the magazine. My art director came across the magazine article and contacted me, and we started designing images for companies. He knows what clients want and how to keep me from going off track; as an artist, I can easily go into a noncommercial area that pleases me but is not going to sell. The key is to know what’s in style so it will work in people’s homes. I can’t start painting pink flamingos and hope somebody is going to put that artwork in their living room—chances are, they won’t. Lisa Audit Lisa Audit Your art studio has plain, white walls. Why is that? I want to be focused on what’s on my table and not on what’s all around. If there is too much going on in here, I think it would be overwhelming. How would you describe your style? It’s hard for an artist to define their own style. I would say it’s delicate and romantic because I am known for my flowers. It’s not bold and in your face. Even if I try to do bold, it’s going to end up soft. York Wallcoverings Sophie Grenier Photographe 44 | GOOD TO BE HOME goodtobehomemag.com | 45 Do you ever work outside your studio? No. That’s what a fine artist, someone who goes outside to paint or creates abstracts, would do. It’s something I plan to do a few years down the road. In my studio, I can focus on what’s going to sell and what is the most commercial product—if you can put it on plates, a rug, or a bedspread. Have you always done watercolors? No, what I do changes with what’s in style. Commercial artists must stay flexible. We can never say, “I’ll only do watercolors and will never do anything else.” The watercolor style is in right now, but it is going to fade, and I’ll need to

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