Welcome to Studio Notes with Sasha DeWitt - a new podcast for creatives where I'll be chatting with a variety of artists about their creative journeys as well as the nuts and bolts of what goes on behind the scenes when making artwork. This podcast is for artist and art lovers alike. I hope it'll inspire those who are thinking about pursuing art as a career as well as those who are already on their journey.

Episode Notes:

In this fifth episode I chat with Katie Sollohub. During this conversation we covered everything from anthropology to doing nothing and naps. Katie is an expansive thinker so it was really great to go on this journey with her as she spoke about her origins as an artist as well as several of the projects she has explored over the years.

Her journey encompasses drawing in childhood, quitting art college and studying anthropology. Coming back to do an art foundation course at twenty-four. Diving deep into still life after being told still life was “boring”. Exploring interior spaces and historic houses. Making connections between people and stories and places. Her work growing bigger - moving off the page and onto the wall and into performance. Moving on to start the Immersed swimmers project. How that grew over lockdown. What it turned into and where she is now.

Towards the end we discuss what happens next after a big project. We talk about the meditation and drawings sessions she offers. The importance of doing nothing. Our studio spaces and how we use them. Plus naps.

We wrap up the session talking about the courses she has on offer next year - so many really exciting ones.

To find out more about Katie’s fascinating projects and journey visit:

Website:

https://www.katiesollohub.co.uk

On Insta:

@katiesollohub https://www.instagram.com/katiesollohub/

To find out more about the courses:

Seawhites Studio:

https://emilyballatseawhite.co.uk

Atelier by the Sea

https://atelierbrighton.co.uk

West Dean College

https://www.westdean.org.uk

Also with big thanks:

This episode has been made possible with funding from the Arts Council England as part of a DYCP grant I received.