(bright music) (upbeat music) - Visit the studio of artist Drea LaRose.

Alicia Phillips shares her experience opening up an art business.

And catch a performance from The Insolent Willies.

It's all ahead on this episode of "AHA: A House for Arts."

- [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chad and Karen Opalka, Robert and Doris Fischer Malesardi, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.

(upbeat music) - Hi, I'm Matt Rogowicz, and this is "AHA: A House for Arts," a place for all things creative.

Today we begin in Troy, New York to visit with artist and curator Drea LaRose.

(bright music) - A lot of the work that I'm interested in is kind of balancing the differences between analog and digital work.

I'm so interested in the idea of simulations.

I like adding confusion to the image.

And it kind of helps create that pause to really consider what it is that we're looking at.

One of my favorite things is going to Home Depot or Lowe's or something like that.

I love going to their flooring department and taking a look at all of their...

The free samples that you can look at.

I love that it's a ceramic tile trying to look like wood or trying to look like brick.

I've always found that just really fascinating.

So that's kind of what I like to do in my own work, is show a representation of something.

But it's not actually the thing.

I might be the only one that finds that fascinating, but I love doing it.

I love looking at materials and really thinking about, is that actually the material that we're looking at or is it a simulation of something else?

My dad is an architect, so I think a lot of that has to do with my interest in art.

I always grew up seeing all of his drawings, all of his scale models.

It was just something that I was always used to seeing visually.

So I'm really interested in high contrast, hard geometries, hard lines, things like that.

(upbeat music) Usually, I start my process with an image that I've scanned, like wood, cardboard, things like that.

Or recently, I've been getting into using my own photography.

So a lot of the images that you might see recently are from a trip that I went to in southern Utah, so a lot of Antelope Canyon.

When I take these images and start to play around with them in Photoshop, you see a lot of computer-generated things.

So I love using drop shadows, I love using different types of gradients, different types of patterns.

Even though it is digital, I still think and work like a painter.

It might not be apparent in the work, but when I'm in Photoshop, playing around with layers and colors and erasing and adding, that to me is a very painterly thing to do.

And then it's important for me to digitally output into a physical material so that it goes back into the real world.

It casts a real shadow.

I'm not trying to hide the fact that these are digitally made, and some of my works in particular, that kind of grid that you see in the back of Photoshop, that pops up a lot in my work.

I think it's quite fun.

(gentle music) I think that's really important when you need to make work.

If you're not having fun, then what are you doing?

But I think there is a deeper meaning to it.

I think a lot about this idea of the infinite scroll.

Think of Instagram, for example.

You can just spend all of this time scrolling and scrolling and scrolling.

And for me, that's fascinating and terrifying at the same time.

My work, for me, it's a way to create a pause, to kind of see all of these elements, take a step back.

We aren't looking at the real thing.

We're looking at a representation of the thing and we're so used to it.

And again, it's incredible now with everything happening in AI and computer-generated work, but it's also good to recognize the real as well.

We're so used to looking at representations of things that in my work, I like to, again, create that pause.

We are at 68 Second Street, Second Street Studios, and we also started The Hallway.

(upbeat music) It is quite literally a hallway in a brownstone in downtown Troy, makes for very interesting exhibitions.

It is a small space, but it's a fun space.

We thought like, what can we do a little bit more to help other artists?

It's really hard being an artist.

A lot of people have a nine to five, whether that be teaching or something completely outside the field.

Like for me, I bartend, that's my nine to five.

So we wanted to be able to provide space for people to show their work without charging these huge fees.

And we wanted it to be artist-run.

We wanted it to be a little alternative, a little fun.

So yeah, we opened in January 2020.

We are open the last Friday of every month for Troy Night Out, generally like 6:00 to 8:00.

We have about five shows a year.

We are fully booked for this year, which is really exciting.

And a lot of the time, we do an open call.

So it's always free to apply to The Hallway.

That's really important for us.

This is the second annual "Artist Behind the Scenes."

This show is really, really special to me.

I came up with the idea a year ago, mainly to expose the fact that so many of our art institutions, galleries, museums, shops, they're all run by artists.

A lot of them have a nine to five.

And working in these environments, as someone who runs a studio, sometimes your work never... You don't have the opportunity to show your work a lot.

You're so busy trying to help others.

So the point of the show was to be able to kind of give back to the artists that are running these spaces for us.

So this round is a couple artists from Albany Barn and a lot of artists from Arlene's.

And it was so much fun to work with them.

They were so excited to be a part of it.

We can have an opening of 70 people coming in, which is so much fun.

- Alicia Phillips is an artist and the founder of Paint Cohoes, an art studio and gallery located in Cohoes on Remsen Street.

Jade Warwick spoke with Alicia to learn more about her journey from graffiti artist to business owner.

- Welcome Alicia.

Welcome to "A House for Arts" today.

- Hello, how are you?

- I'm doing amazing.

I'm excited to talk to you all things art, and a little bit about Paint Cohoes.

But to begin, I would love to know what are your artistic focuses and what's your favorite medium?

- So I love to play in all mediums.

I don't shy away from anything.

I love getting my hands messy and dirty.

I love exploring new mediums, but my favorite is aerosol.

I love playing with spray paint.

So much fun.

- Spray paint, okay, so what's your favorite?

So as a person who also loves spray paint and graffiti, so what are some of your favorite things about spray paint?

- So I love how quick and easy you can get paint on a wall.

That's pretty amazing.

I love the aesthetic-ness of it.

I love how unconventional the tool is to use in art.

And I do have a little bit of a background in graffiti.

- Give us a little bit about your background.

- I was in school for art and I was looking for a sense of community within the arts because I was a little unconventional and I'm very unapologetically myself, and sometimes I can be deemed as too much for people, right?

So first of all, graffiti is art that can be seen and accessible to everybody, and also against societal norms or what's socially acceptable.

So I already felt like I didn't fit in.

It felt as an art form that I was able to express myself wholly in.

And also painting with other graffiti artists, it didn't matter if I was good at letters or not.

Like they were just happy to have me be a part of the group and to grow with them and to evolve with them as I was learning the art of graffiti.

- Yeah, I will say that the street art and more urban graffiti art world is pretty accepting.

And all just like a band of misfits.

You all just wanna explore and succeed creatively together.

So what were some differences that you saw in the graffiti world versus kind of the fine arts world since you kind of dipped your toes in both?

- Yeah, so the really cool thing about the graffiti world is that you get a sense of community.

You're growing together, you're going out, you're getting that endorphin rush, and then you're creating accessible art, and you're also creating a network within other cities.

So I'm traveling, right?

And I'm meeting other artists and I'm networking in a more acceptable way for me.

Whereas the fine arts almost was like a prove yourself sort of deal.

I come in with a lot of energy and I just didn't fit in.

I'm not saying the pretentious attitude bleeds into all the capital region because shout out to Tony Iadicicco from Albany Center Gallery.

- Tony!

- I love Tony.

He's amazing.

And he has helped me as an artist so much.

I would not be where I am today if Tony had not helped me out.

So I just shout out to Tony there real quick.

But I did notice a lot of other pretentiousness in other spaces where they weren't accepting of new ideas or new types of art or just pushing the limits of what it was like as contemporary art in the capital region.

But I'm noticing a difference now, which is really great.

- Yes, there is a shift changing within the capital region, which I am also witnessing and I love to see it.

So you're saying like more in the graffiti world, the street art world, it was just more accepting.

- It was, yeah.

You didn't have to be, like there's obviously an ego that comes into the graffiti world, but when you're within a crew, they become like your family.

I was homeless at one point and I was putting myself through college while I was working, and that was really hard.

And not having that support system from family because they're going through their own things at that time and they weren't able to be there for me.

I don't judge or blame anybody for the position I put myself in.

I wanted to go to school.

So inevitably I had to do certain things to be able to go, and I was able to create a family of likeness through graffiti with them.

- That's awesome.

That's awesome.

Really beautiful story too.

So let's talk a little bit about Paint Cohoes.

So what is, and how did it get started?

- All right, so Paint Cohoes is a studio and gallery, studio because we offer an array of classes and space for people to come create in.

It is a working studio for myself.

I like to create in there.

We are also a gallery because we exhibit local and non-local artists.

And we do not discriminate on where you are in your path as an artist.

We want everyone to feel safe and comfortable to be able to creatively express themselves within the space.

So a little bit about how I always wanted to have a space, I've craved a space like that.

And I didn't have anything in the capital region that I could go to.

So I'm the kind of person where I'm like, I'm more of a, what am I gonna do next?

Let's do it sort of situation, but also I gotta be smart about it, right?

Because I need to create revenue to keep the space going.

And I kind of always took jobs besides my time at Starbucks where I could take my skillsets and apply it to like my higher purpose, which I felt deep inside my soul.

So I always wanted to have a place, a creative space.

And I have an educational background.

I've worked with children since, I mean babysat all through high school, I taught early childhood education from 18 years old up until 26 I think.

I still work with children, but I got out of, this is the schools, and started working with not-for-profits and working at my space doing classes and stuff.

- Awesome, well I love that paint, and it does exist actually in Cohoes, correct?

- Right on Remsen Street.

- Just wanna make sure.

How did the name come to be?

- So the idea was potentially, because I like to think like, I'm like, oh here's an idea.

I always think outside of that, like how can this expand and grow?

And I thought the idea of maybe not necessarily franchising, but like an idea of being able to franchise the business and bring other cities and other places and have a model or a setup that other people can adopt to make the arts more accessible within their communities while creating revenue.

- So like Paint Albany, Paint Troy, Paint Cohoes?

- Yeah, Paint LA.

- Oh my God.

Outside here too.

- Because sometimes as an artist it's hard to have the confidence to be able to effectively create revenue and to be actively involved within your community, in your creative community.

- Do you ever, I guess, have any conflicting feelings about, as an artist, like focusing on the revenue business side?

Some artists are kind of stuck in the middle.

Some artists are like, oh, I would never, you know, I don't even care, I would never create for anybody but myself.

And then you have some artists who are like, yeah, like art should be able to be a business and you should be able to monetize off of your work because that's how we're living.

- Absolutely.

That's like any profession, right?

We should be able to.

A lot of my strongest feelings that were a little bit more, my most negative feelings were towards the Sip 'N Paint industry, which is funny because a lot of people know me as a Sip 'N Paint lady, which is hilarious.

But at first, I had worked at a Sip 'N Paint up in Latham, and while working there, I had learned the importance of teaching people how to create that never created before.

So I was able to create a comfortable environment for them to feel safe and happy and to explore something that they haven't done since they were a child.

And to see their eyes light up, how proud of the work they were creating.

And then they have a new appreciation for the arts and artists, which was amazing to me.

And I'm like, oh, there's something here, you know?

And to make revenue off of that as well.

So it's like I'm supporting myself while doing good for people within the community.

- Yeah, that's great.

So what are some events and things you have done in the past with Paint Cohoes, just to paint, paint a picture for folks to know, like if they were to go in there, what would they walk into?

- So typical Sip 'N Paints, where you come in, step by step instructions to paint the painting that I'm painting.

I also work with children, do a lot of children's parties.

I also do an afterschool program where we learn the seven elements of art.

It's a 12 week program, which is amazing.

We also do Drag N' Paint where we work with local drag artists, which is amazing.

They get to creatively express themselves.

We've had people do zine release and book release parties of illustrations they have, art and healing where we do intuitive painting.

And it's led by guided meditation.

And then we get into the painting portion of it, which is really nice.

So we have sound healing at the space.

We also offer yoga.

We have had people come in and do experimental music, which is really exciting.

- Oh wow.

So you guys do a plethora of things there.

And it seems like all these things are very intentionally communal driven.

So why is it important for spaces like Paint Cohoes to exist with that inclusive safe space feeling that you seemed, because it seems like you loved that when you were in the graffiti world, it seems like it's kind of reflective within your business, Paint Cohoes.

- So I think it's extremely important for people to feel safe and comfortable so they can authentically, unapologetically, creatively express themselves without expectation or for any particular purpose or reason and no judgment.

So by having a space like that and having people be able to come in and fully be who they are creatively allows them to grow, and then the space grows with them, and then they grow out of the space and then this, you know what I mean?

There's so much movement happening, and I think that if people have safe spaces to start in or to move into the next chapter of their life and to expand upon, that's lasting, that lasts outside of the space, which is amazing.

- It really does.

And that kind of circles back to Tony, like how he created a safe space for both you and I and now look at us.

We're just flourishing within the creative economy and community.

Well I appreciate you, Alicia, and thank you for telling us about Paint Cohoes and all your creative endeavors.

- Thank you, Jade.

- Thank you.

- Please welcome the Insolent Willies.

(upbeat music) (upbeat music continues) ♪ High and lonesome in the park ♪ ♪ Riding by until you spark ♪ ♪ Amplifying every thought ♪ ♪ Learning things that can't be taught ♪ ♪ I'll be in connection, changing direction ♪ ♪ Not getting very far ♪ ♪ Do you know exactly who you are ♪ ♪ I heard horses in my head ♪ ♪ They say you might have a better day ♪ ♪ Terrorize my very soul ♪ ♪ Devil's following me home ♪ ♪ I'm facing my demons ♪ ♪ Must be a reason ♪ ♪ Not getting very far ♪ ♪ Do you know exactly who you are ♪ ♪ Woo ♪ (upbeat music continues) (upbeat music continues) ♪ High and lonesome in the park ♪ ♪ Riding by until you spark ♪ ♪ Amplifying every thought ♪ ♪ Learning things that can't be taught ♪ ♪ I'll be in connection, changing direction ♪ ♪ Not getting very far ♪ ♪ Do you know exactly who you are ♪ ♪ Do you know exactly who you are ♪ ♪ Who you are, who you are ♪ ♪ Who you are ♪ (gentle music) ♪ Birds aren't real ♪ ♪ They're government drones ♪ ♪ They're sent to spy on us in our homes ♪ ♪ In their beaks, tiny microphones ♪ ♪ Birds aren't real, why can't you see birds aren't real ♪ ♪ Lizard people are running the show ♪ ♪ They walk among us humans don't you know ♪ ♪ They have orbital mind control lasers ♪ ♪ The earth is flat, it isn't explored ♪ ♪ It's a fact we'll expose ♪ ♪ All the lies Gallileo told ♪ ♪ The earth is flat, why can't you see the earth is flat ♪ ♪ Your next door neighbor is a Communist spy ♪ ♪ Beware the chemtrails up in the sky ♪ ♪ And Walt Disney's frozen all-seeing eye is watching ♪ ♪ They never put fellow up on the moon ♪ ♪ Or maybe he never left ♪ ♪ The world is ending on the 7th of June ♪ ♪ If the freemasons let it ♪ ♪ The news is fake ♪ ♪ You can't trust the feds ♪ ♪ Don't let Mr. Gates ♪ ♪ Put a chip in your head ♪ ♪ I'd rather take ♪ ♪ A shot of Clorox instead ♪ ♪ The news is fake ♪ ♪ Why can't you see the news is fake ♪ ♪ Nostradamus predicted it all ♪ ♪ The Nazis have a secret base in the mall ♪ ♪ And I hear Bigfoot's mating call in my nightmares ♪ ♪ Oh baby ♪ ♪ Birds aren't real ♪ ♪ The earth is flat ♪ ♪ You better put on ♪ ♪ Your best tinfoil hat ♪ ♪ Birds aren't real ♪ ♪ Why can't you see birds aren't real ♪ ♪ Birds aren't real ♪ ♪ Why can't you see birds aren't real ♪ ♪ Birds aren't real ♪ ♪ Why can't you see birds aren't real ♪ (singer whistling) (gentle music) - Thank you for joining us.

For more arts, visit wmt.org/aha, and be sure to connect with us on social.

I'm Matt Rogowicz, thank you for watching.

(upbeat music) - [Announcer] Funding for "AHA" has been provided by your contribution and by contributions to the WMHT Venture Fund.

Contributors include the Leo Cox Beach Philanthropic Foundation, Chad and Karen Opalka, Robert and Doris Fischer Malesardi, and the Robison Family Foundation.

- At M&T Bank, we understand that the vitality of our communities is crucial to our continued success.

That's why we take an active role in our community.

M&T Bank is pleased to support WMHT programming that highlights the arts, and we invite you to do the same.