Gina Samson’s world is full of trips, exhibits, and painting sessions. It’s a wonder she’s able to put some time aside to do interviews. This past September, she and four other artists of Haitian descent, took part in a joint exhibit at the Harlem Fine Arts Show during Congressional Black Caucus Week.

How did her path as an artist begin? In childhood, like most visual artists! But lots of would-be artists tend to get derailed by self-proclaimed critics—whether teachers, parents, peers, and other folks in their surroundings. If this was the case with Gina Samson, how did she get the gumption to continue? Let’s get the answer to that question and a whole lot more in this two-part interview!

Kreyolicious: What childhood memories do you have about art?
Growing up in Haiti, I remember seeing high color everywhere, and I absorbed early on that our culture encourages expression through art at any level and for every occasion. I often visited the section of Marche en Fer, a lively scene where arts and crafts vendors were showing their wares every day: woodcarvings, elaborate decorated baskets, handmade dolls, and paintings of landscapes and every day life. Around the market were buses and public transport with embellished flatbed trucks, where the passenger seating areas is a wooden addition profusely decorated with flowers and proverbs. Nothing was left plain, and I remember houses with their bright doors and windows, and the very typical signage for stores that was hand-painted for the most part. While there was material deprivation, art seemed accessible to everyone as a part of daily life.

As a child, I was fortunate to visit the studios of two admired painters, first Nehemy Jean when I was just a five year old having drawing lessons with this master, and as a teenager seeing the gallery and studio of Claude Dambreville. I was very affected by those experiences, and that is where I formed a very concrete desire to be able to become a painter in the future, and started to crave being able to create art and have access to more complex artworks.

Kreyolicious: Lots of people who start painting get sidetracked or stop altogether because of comments they get about their premature efforts. What kept you going from the beginning to the artist you are now?
My first foray into exhibiting was a juried show of art made by young people at the German Consulate in Port-au-Prince. My High school art teacher submitted my two large scale charcoals and I obtained third place. That was encouraging.

After creating pieces for many years without showing them, I took the plunge twelve years ago, and on impulse, joined an artist-friend who was submitting work for a show, and just kept that going. What I learned from those early shows is that an artist is part of a process of communication, not only to create art to express a thought and moment and feeling in the work, but also to start conversations and exchanges by opening this experience to others.

There is a vulnerability in putting your work out there—when you have invested your thoughts and efforts and artistic skills. And, once you accept that, you will receive feedback and comments pro and con, it becomes a rewarding exchange. You hope that people enjoy or learn from [your] work—as is appropriate and relevant to them. They may not like the work or not relate to it in the way you anticipated. You allow this to happen and let the public take in the work and interact with it in their own way. Of course, it helps to be able to explain to viewers and collectors what you mean to express and what the piece means to you personally, but pretty much, once you are showing your work, you have to let go and avoid trying to control the experience. The best outcome is to have a body of work that resonates and is well-received…to be true to yourself, and your inspiration and message. And hopefully, to find good homes for your work by attracting collectors.

This concludes PART I of the interview with Gina Samson…Watch out for PART II…Meanwhile…

CLICK HERE TO VISIT GINA SAMSON’S WEBSITE! AND DON’T FORGET TO COMMISSION A PAINTING BY GINA SAMSON!

Painter Gina Samson has lived the path of the visual artist and painter. While drawing on her innate talent, she also studied art at the Fashion Institute of Technology and the New York University School of Continuing Education. Her paintings were part of the prestigious Harlem Fine Arts Show, and were on display at DC’s Carnegie Library in early Fall of this year.

The first phase of our conversation centered around her childhood, and how she tackled naysayers in the early stages of her career. The conversation continues…this time about the art business, and her future as an artist…

Kreyolicious: What inspired the last painting you completed?
Recently, I was approached to take part in a mural project in Harlem, aiming at placing representations of historical figures produced by local artists, to enrich and inspire the neighborhood, so I prepared a prototype for the proposal. The mural I visualize represents a vision of Sojourner Truth, as a brave and unconventional woman who embodied a message of faith, freedom and empowerment not just for herself but for women and the oppressed in general, and often presented this message to hostile audiences at great risk. When I think back [to] that choice, I see that it is a reflection of my experience as an immigrant, an artist from Haiti living in the United States, being a part of this community with a shared future. In this work, I am feeling the influence of Haitian art and history to produce a piece on an African-American historical figure who particularly inspires me.

Above: Motherhood, as portrayed in a work by Gina Samson.

Kreyolicious: How important is it for visual artists and painters to be involved in the business aspect of their art?
Very often, I am asked how long it took me to produce a particular piece. The real answer is that every piece reflects what I have experienced in life up to that point, not only the actual hours spent creating it, another artist likely said this before. It is not easy for an artist to make a living exclusively from art, and I am of the opinion that an artist does whatever it takes to be able to continue to create.

Quality original art is a bit costly because it’s not made on an assembly line. So, artists try to find a balance between keeping original artwork affordable and being fairly compensated for their work.

Just as any in other profession, artists have to network and cultivate exposure and a following, and promote their work in person, online and by seeking exhibition and selling opportunities. It is not only about creation: selling and distribution are additional skills and an investment of our time that we artists need to grow more comfortable with.

Above: Gina Samson’s portrait of Sojourney Truth.

Kreyolicious: Some writers say a lone room with their writing instruments is all they need to create. And you…How do you set up your workspace?
My workspace is a work table by a window with my materials and an easel – being alone is not necessary although quiet and music are better for the work flow and concentration. I also keep a small notebook with me so that I can sketch ideas that may come up during the day. I’m often thinking about a piece I’d like to create, and when I am out in public I especially scrutinize faces (without staring of course!). These observations come back to me and are reflected in my figurative work.

Kreyolicious: Did your parents and educational background pay a strong role in your growth as an artist?
My parents did not directly push me toward being an artist, however they knew some of the leading artists, and appreciated Haitian paintings. They had an interest in cultural activities, music, there were always plenty of books around, encouraging intellectual curiosity. My educational background included high school art workshops, and that gave me the confidence to continue to pursue development of those artistic skills through more workshops and self-directed efforts through today.

Above: Gina Samson is at the far right poses with fellow Haitian-American painters during an art show.

Kreyolicious: What are you most proud of?
When I look back at the past decade of working and exhibiting in the USA, I realize that it has been such a rewarding journey. From seeing the evolution of my style from being representational to moving towards more expression, symbolism and abstraction…being able to join the influence from Haiti’s culture with my experiences in the US…benefiting from mentoring and encouragement from established artists of the diaspora, working on projects and exhibiting with artists from many different countries as well…I am thankful to experience this professional growth and to be an active participant in the artistic community in New York…being invited to exhibit in galleries and restaurants such as Grandchamps in Brooklyn, and reaching more people through art. It’s also great to conduct workshops for the young artists that I currently work with.

Kreyolicious: You’ve been to Haiti recently? Did you get the chance to explore the art scene?
It is on my bucket list to have the opportunity to exhibit jointly with artists currently working in Haiti as a cultural bridge. I feel there is not enough exchange between the artists active in the US and those in the current art scene in Haiti. Having the joint exhibition would start a great conversation about the evolution of those two communities and their paths to today’s artistic expression.

Kreyolicious: Where do you see yourself two years from today?
Most likely, I’ll be working on a new series that I have not yet thought of, along with the music themed pieces I am working on now ! I’m working toward finalizing new projects such as the mural in Harlem, and expanding the reach of my work through exhibitions outside the US.

This is the concluding part of the interview with painter Gina Samson. If you missed PART I, CLICK HERE!

CLICK HERE TO VISIT PAINTER GINA SAMSON’S WEBSITE, AND SEE MORE OF HER WORK! AND DON’T FORGET TO COMMISSION A PAINTING!