Rising Stars: Meet Nancy Gifford

Today we’d like to introduce you to Nancy Gifford.

Hi Nancy, can you start by introducing yourself? We’d love to learn more about how you got to where you are today. 
My journey off the farm began at Kent State University in Ohio. After the shootings, I spent the next decade in Europe and Morocco modeling and acting before returning to Los Angeles, where I began my studio art career in the 1980’s. My early work in painting, mixed media, and sculpture consisted of environmental pieces in my first show, The Downwind Series. I was soon championed by the late Henry T. Hopkins who included me in many museum exhibitions nationally. Before returning to Europe, I received the Mayor Bradley Honor from the LA Arts Council at the Women’s Building in LA. I then proceeded to have studios in London, France, Miami, and now have a summer studio in Montecito, CA, and a winter studio in Scottsdale, AZ. My work is primarily narrative and comprised of various mediums which are informed by my personal history, literature, poetry, and the world at large. Though much of my recent work is text fueled, I am veering at a Loss for Words in reflecting a world seemingly running out the clock on itself. Mercifully, I keep finding beauty and some humor through my work. It allows me to live a life on my own terms filled with exploration, experimentation, and freedom of expression. I am represented by Robert Fontaine Gallery on the East Coast but welcome studio visitors in Scottsdale, AZ, or Montecito, CA. I can be reached for appointments by visiting my website at www.nancygifford.com 

Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back, would you say it’s been easy or smooth in retrospect?
There is no smooth road for an artist who works in non-traditional mediums. I never did work to “match the sofa.” Thus, in the early days, I did temp work to pay the bills while creating in my garage studio in Santa Monica. Though I was showing in many museums and had critical reviews, that does not always translate to sales. My subject matter is not decorative, so it lends itself to more serious and thoughtful collectors. They are harder to find but very loyal once they appear. I learned early on to not have expectations about the art market at large, then whatever happens is a bonus. I don’t believe a serious artist considers their “audience” when doing the work. We didn’t have the internet when I was starting out, so it was easier to be original. Now, so much seems derivative. Creatives are spending too much time scrolling Instagram and not enough delving deep into their own well for inspiration. But I am old school and eschew the spectacle in my own work though I do enjoy other’s spectacles for entertainment. 

As you know, we’re big fans of you and your work. For our readers who might not be as familiar, what can you tell them about what you do?
I have four series that got the most attention. My first, Downwind, which were temples made from feet cut from birds that were killed in a toxic cloud from pesticide spray back in 1982 south of Los Angeles. After 9/11, I did a beautiful book of graphite and ink drawings on vellum with haiku poems titled The War Room. I spent a decade collecting antique book covers and the series Undercover culminated in my masterwork Lament which was 10 feet high and 32 feet long containing 2000 book covers. It was accompanied by a short film I collaged titled Imaginary Novels. Having a surprising life of its own it traveled to over 30 countries and won over a dozen first-place awards in the Experimental Short category. I was fortunate to also curate over 30 exhibitions in my decade in Montecito. Three of which were magical spectacles in the Lotusland Gardens in Montecito titled Gone, then Swarm, and then Flock. During COVID, I was awarded the Woman’s Art Award by UNESCO in Italy but could not travel to receive it. But it was a tender salve in the middle of our isolation. My biggest thrill is when someone sees my work and “gets” it. 

Alright, so before we go can you talk to us a bit about how people can work with you, collaborate with you, or support you?
I enjoy collaborating with poets. We are doing an Ekphrastic poetry workshop at our home in January with Jodie Hollander. Poets will choose an artwork from our collection and write a poem inspired by it. I was very involved with the poetry community in Santa Barbara, and we did many projects and publications together. I also have the Arcadia Artist Residency at our home in Scottsdale near Old Town. Miami artist Kathy Kissik is the 2023 recipient, and she will spend six months this winter living on-site and creating in the studio space provided. I would love to work with an architect on a pavilion idea I have for a public art project. One can dream. 

Contact Info:

• Website: www.nancygifford.com
• Instagram: https://www.instagram.com/nagifford/
• Facebook: https://www.facebook.com/nancy.gifford.714?fref=ts
• Other: https://www.robertfontainegallery.com/nancy-gifford   https://vimeo.com/gifford7722640

Image Credits
Joanne A. Calitri