How To Buy Art with Katharine Earnhardt

 

 

Today I'm talking with Katharine Earnhardt, founder of the art advisory firm Mason Lane.  She is going to crush any mental locks, hesitations or insecurities you may have when it comes to buying art.  And does this by being incredibly approachable.  

 

ART ADVISORY AND ACQUISITION PROJECTS BY MASON LANE

 

 

CREATIVE WALL PROJECTS BY MASON LANE

 

EPISODE TRANSCRIPT

Hey there. Welcome to another season of the Style Matters Podcast brought to you by little yellow couch. This show is for people with real lives and real homes, the kinds of lives and homes that have constraints and are sometimes messy and they are never perfect. But despite all of this, if you're still obsessed with creating a home, you love this podcast is definitely for you.

I'm Sandra, your host. And I believe that how you set up your home can actually help you live your best life and how you set it up and how you design it and decorate it. That all becomes what we call your signature style. And the first step toward this, it has nothing to do with design rules. The first step is in knowing who you are.

So to that end, I do have a question for you. What do you think is the number one mistake that you're making in your home right now, if you're curious to know, go over to little yellow couch.com and take our quiz, and then I'll send you some actionable steps that you can take to start addressing that particular issue and hint, hint.

It probably has something to do with a shift in your mindset. Cause I love a good mindset shift. All right. I am really excited to bring you this conversation today. I'm talking with Catherine Earnhardt, founder of the art advisory firm Mason lane. She is going to crush any mental blocks or hesitations or insecurities you may have when it comes to buying art.

And she does this by being incredibly approachable. Let's get right to it. Catherine Earnhardt. Welcome to Style. Matters. I am so excited to talk about art with you today. Thank you so much thrilled to be here. Excellent. I want to talk about your background first, how you first became an art lover, you know, was it when you were five or when you were in college or whatever,

and then I want to hear about your schooling because I think you studied at Sotheby's. Yeah. Okay. And then MoMA and Christie's and I mean, and also the name of your company Mason lane. So let's hear it all. Let's start with when, how did you get into this? Sure, absolutely. So interesting. You're asking that today because yesterday my seven-year-old daughter started a painting and she said,

mommy, how did you get so good at painting? And first of all, that's flattering that she thinks that, but it got me thinking, when did I actually to paint and do art? He was building a landscape and I was in minded of you're going to laugh a Bob Ross. Okay. When I was young, I would have Bob Ross on repeat.

I loved the guy, I, the shows and my mom went out and bought me all the paints that he had Stan brush that he recommended the palette and I would paint alongside him. He, he did wonders for people, right? And now he's like had this big Renaissance where it's kind of cool to like Bob Ross again. Totally. It's actually fascinating to hear his videos now because I went on the internet and showed my daughter who he was.

He's so inspiring. I mean, especially if you're thinking from a 20, 20 perspective, like he's so peaceful and calming. And so anyways, I started painting alongside Bob Ross and then my mom started taking me to the month we lived outside the city and we would go to the mat and then the Whitney and MoMA. And I started noticing things in the art.

They're probably inspired by Bob Ross. You know, he talks about these happy little trees and clouds, and it's funny and people joke about it today, but it's actually a really refreshing way to think about a landscape that you could think of just the landscape, but actually what makes it optimistic or hopeful or what makes it more daunting and spooky looking. So I really prompted this interest.

And then when we were in the museum, we started looking around at other things and it became such a conversation point and a bonding activity for my family. So I think that really started an interest in studio arts, see through high school, mostly I did a little bit in college, but in college I transferred over to art history, alongside an economics degree,

and really got interested in the business side of the art world, where I eventually went to Sotheby's Institute in London and got a master's in art business. Then secured some business related positions within the art world at MoMA and Christie's and this international prequel company called GERD John. So then, so then you opened up your, you, you did all of this wonderful work.

You have this great educational background, and then you opened up your own art appraisal or art advisory, I guess is really, it's kind of a more broad term business called Mason lane. So tell us a little bit about why you decided to go out on your own. And is there a little story behind the name? Sure. I decided to go out on my own because after working at Gary,

John for a while, I had purchased my first home with my husband and wanting to buy art for it. And I had no idea where to go, which was so embarrassing because I worked in the blue chip art world for so long. But the keyword there is chip. I didn't know where to get art that I could afford. That was under a hundred thousand dollars the time while under a hundred thousand.

So I started researching the emerging art world researching what other art advisers were out there, helping people tap into this market and what the galleries and artists studios were doing to connect with buyers and realized it was a very untapped niche. And so I started buying for myself and then buying for others that I knew and decided that this would be a really excellent way to stretch my entrepreneurial side of my brain,

create a new niche within the art world and support a ton of emerging artists and families that wanted to make their home feel more inspired. So I went off on my own. I was trying to decide on what the company would be called and most art advisors out there. We did a whole competitive analysis on who they are and what they're doing. Most art advisors named their company after their name.

And my name is someone knowing for that purpose because a, I spelled Catherine unusually and I didn't want to deal with any sort of long Googling. Right? Exactly. If it's, if it's dot com, you've got to spell it exactly. Right. People will spell it wrong. Yeah. And then my last name Earnhardt toward it has the word art in it.

So it couldn't be art. So I wanted something that was really easy to spell, really memorable sounded boutique, but also like it could have been established. So there was this dinner with my family, where we were all throwing out names of childhood homes and places. And anyways, we have a family connection to a place called stone Hill farm and that after many glasses of wine developed into stone masons,

Stonehill Mason lane, and then I don't know dessert was served. And that was the name of the company. You know, it's funny because it does sound boutique and like it's been around forever. You really hit the nail on the head. I love this niche that you're in with, with supporting emerging artists and then connecting them to people who want art,

but need it to be affordable. You know, there's a lot of snobbery in the art world. And you know, if you think about comedies movies that, you know, the, the art advisor or the artists themselves, they're always depicted as being very snobby. And you know, it's only for the very elite. So you clearly have a passion to spread art to more than just that inner circle.

So when would someone typically come to you and, and how would they know to come to you? Is art advisory. It's not just for the very wealthy is what you're saying. So, so how would one approach you or how would you, how would you start with that? Great questions? Art advisory is not just for the wealthy. We are helping people buy usually within the five to $50,000 range.

Some projects are well below that what we do very well and pride ourselves on is translating art, jargon into something that's approachable for clients and understandable. So when people buy art and usually those people are what I call entry-level collectors bought their first home. They have some disposable income and the college posters no longer cut it. They, they want to feel connected to the pieces in their home and they want it to have a story that resonates with them.

So we tell those stories, we find out what makes our clients tech and we source artists and artwork and not just share the images of them because that's a big mistake that people make when they're trying to sell art is we share what the piece is and what the artist is about in real layman's terms, not in art jargon, so that suddenly people start understanding the artists,

understanding what's behind it. And that's what drives longterm enjoyment. A lot of people struggle to spend whatever your number is 5,000, 10,000, 50,000 on a work of art, because it's just a work of art. What if they get sick of it, but when they understand the story behind it and feel a personal connection to that artwork, suddenly the artwork feels interesting to them and it kind of has a life of its own.

That's what breeds a longer-term enjoyment and dialogue with that artwork. It's not whether you love it or hate it. I encourage all my clients to not think like that. It's whether it's interesting to you or not. All right, you've said two really great points here, which is one let's move away. How, how to address this, this barrier, this mental barrier.

And we're going to get into all the mental barriers that I think people have about buying art. But this one I didn't even mention to you ahead of time, but now I'm realizing is a big one because I hear it a lot, which is what if I get sick of it. And actually I hear that people say that about any kind of big investment piece,

like a couch or a dining room table, you know, and then, and then therefore the knee jerk reaction is to go with something that's incredibly generic because they assume that therefore it will last longer in terms of their aesthetic appeal to themselves. And of course the last thing you want is generic art, but that is exactly what is sold in big box stores.

You know, that's digitally printed on, on kind of like, kind of like plastic canvas. So you bringing up this point of let's get to the story behind the art, the artists history. Blah-blah-blah I have to say that is exactly what makes me feel so connected to a piece and what tips the scale for me when I'm deciding whether or not to buy something,

People spend real money, whatever that means to them on something that's meaningful, not something that's pretty, it needs to be meaningful to them, Which then brings us to the second point that you just brought up, which is what's interesting to you. I love that question. It's such a much more useful question because it's much more specific, I think, because you can answer.

Well, what's interesting about it. What, what is peaking your curiosity when you say, well, do you like something it's, that's so kind of a morphous it's like, really? Like, how do you, how do you tell somebody why you like something it's very hard to describe. Yeah. And I think the answer is a dead end answer.

Do you like it? Or do you not? Yeah. Then we're over it, you know? But when you say, is it interesting to you? I actually walk clients through the three levels that we can consider one aesthetically, what are the colors? Why are the colors interesting? Are they uncomfortable? Are they using, are they a strange combination,

right. Unexpected, unexpected. And then what's it made of, is it something obvious, like watercolor on paper or is it a photo gram made in a dark room with light sensitive paper and no camera? You know what the process is the process interesting to you? And then third is, well, how did the artists come to do that? What inspired him or her to figure that out and go to this place and select these types of materials.

So there are three levels, aesthetically aesthetic process and creativity I'll say that are involved when you're really assessing whether something interesting to you or not. And I will say that I, to answer some of your questions, we've been in business for six and a half years, and I have never very proudly had a client come back and say, I'm over that piece that I bought several years ago,

which you didn't make me. I haven't thought about it until you prompted that thought. And we were encouraging clients and recommending we're encouraging clients to get pieces that are interesting to them. And I think that that's the reason and clients come to us because they either haven't bought out before, or they bought the generic pieces that you recommended that you referenced before. They're just sick or their eyes just glaze over.

So it's not something that they enjoy seeing every day. It doesn't, it doesn't add any value to their life. They're not seeing it. And I guess that, that, that is going to lead us right into one of our, one of my main questions, which is about assessing value and just sidebar right here. I, we have several paintings that are oils and that I think,

well, we didn't start by. I think our very first object was not, was not an oil painting, but anyway, we have, we have lots of oil paintings because we both really enjoy seeing the brushstroke and seeing the thickness, the different variations of thickness in throughout the painting and all that. And just the texture alone has kept me interested in these paintings for 20 years.

You know, like, I mean, it's, it's, it's really, there's so many layers of what will keep you interested in something when you buying something the way you're describing it when you're, when you're being that thoughtful about it. But anyway, all right, so let's talk a little bit about value. What can you tell us about evaluating a P price and just,

and, and how do you help justify a purchase of something that costs as much as say a couch when, you know, because as you kind of hinted at earlier, people are going to say, well, gosh, this, this, this is, this is just art. This is, you know, how am I going to spend $5,000 on something?

Although people will spend $5,000 on something more practical, I guess. Yeah. It's interesting to hear how people preferences with spending and thinking around that evolve. The common side, I think is that a couch is worth the money because you sit in it every day and an artwork may not be because it's hanging above the couch and doesn't serve a function. Yeah.

My thought on that is that the art isn't physically holding you up in any way and helping you watch TV or socialize or whatever. But if it's good art, it has a huge, emotional impact on you every day. I mean, people really genuinely reaped emotional dividends from an artwork. That's interesting to them, it's showcasing their tastes, it's highlighting the character of their home.

It makes their home feel like there's an only there so that the, the functional value of art in my mind, and that's one drive one reason why I believe it's worth money in terms of the cost drivers of art or how pricing is established. I thought a lot about this. And I wrote a dissertation on art being used as an investment. And through my experience at girl John's,

they learned a ton about appraisals and there are essentially four or five ways that you can consider how art is priced. And I make the analogy to the stock market because it's an easy analogy that I think resonates with a lot of people. So if you're thinking about investing your money in a company, you want to know who is leading, you want to know what is that company doing?

Are they doing something that so many companies have done before? Or are they creating something new and artwork? Is this an artwork that you've seen copied a hundred times, or is it something new? Second point is who is representing this company? Is it a business leader with a reputation for building successful brands? Or is it someone else? Same thing in the art world who is representing this artist,

is it a gallery that has a reputation for leveraging artists, careers, exposing them at key international art fairs and getting quality solo shows? Or is it represented by someone with no history of doing so part three is what kind of press is this company getting? Are they written up in the wall street journal? And for then people are hearing about it or has,

is it not on the internet when you Google the gallery or the artist that I was talking about the company. So in the company, On the company side, if we're talking about the stock market. Gotcha. Right, Exactly. And if an an in the artists, on the artist side of that, what kind of presses the artists getting is the artists written up in the,

in art forum? Are they getting pressed in other important art periodicals and are serious art critics like Jerry salts walking in and seeing their shows and Instagramming about them, which is important. We're an artist. And for this who else is collecting, who else I'll do the company analogy? Who else is investing in this company? Is it Warren Buffett? Or is it your neighbor down the street?

Who has no history of successful investments? Who else is buying this artist? Is it MoMA a big corporate collection like JP Morgan? Or is it, or are there no big names collecting on ours? All those answers are okay. They're perfectly acceptable, acceptable answers, no matter what they are. But when you are buying an artist that has been bought by MoMA that has been shown at international art bears,

it's creating work. That's different from anything you've seen before. And that's getting incredible press, that's going to be a higher priced artwork, right? So those in mind, nine are the drivers for price in the art world. So now let's switch it up to how should you personally evaluate a price? Because let's say something is $1,500 and you've never bought a piece of art in your life.

$1,500 will feel like a big investment. It'll feel like you're spending a lot of money, right? Whereas somebody who's been buying art for several years, you know, you work your way up. Then you spend 5,000, then you might spend 8,000. And then pretty soon you're going to 12,000. But for the first time buyer, let's say it's $1,500.

How should they make the decision about whether or not to spend more than $40? Let's say on a piece of art that they might've gotten at target. My recommendation is to do some comparative research. Yep. You went to target and you saw there was a really pretty flower. What I think you said it very eloquently earlier, but plastic canvas, that's called a G clay.

And my translation of the words you play, nice poster and things that targeted looked great when you're comparing it with other things at target, but get out and also go to a gallery and start training your eye on what the difference is. Visually. It's interesting. People are so much better at understanding, big parts of culture and the quality difference between big poles,

parts of culture, such as food, clothing, and music, because we're exposed all the time. We know what other people are wearing. We see what looks good and what doesn't. We listen to music in stores or at home or wherever. And we can start, our brains are trained to understand quality in those areas, even if we're not an expert in it,

but for our people, aren't looking at our in person is often. So yeah, your eyes are not as trained. And I mean, look, I go into H and M sometimes to buy clothes and everything looks awesome. I'm like, why don't I get more of this stuff often, but then actually leave. And you go into Bloomingdale's. It was like,

Oh, reason why it was four 99, Right? The ham is a little bit off. They didn't take the time to, you know, they didn't, they didn't line the piece of fabric that, you know, right. It's Exactly there. That's just, it that the, you just you're getting what you pay for, which there's nothing wrong with.

You just have to know that that's what it is. So the more you can train your eye against comparative pieces, the better off, or the more likely you are going to be to get something that you like. I will also say it's not only looking and comparing. It's a lot of asking questions. Talk to an art advisor, talk to a gallerist,

talk to an artist and learn whether this piece is interesting to you and why That brings me to another mental barrier that we have, which is that the art world is not for us. We don't belong there. We don't belong at gallery openings or, you know, at artists show openings. I mean, I totally agree with you. That is these people,

even if you eat, you know, maybe not the artists themselves, if you don't have access to them, but these people like yourself or a gallery owner who work in this field, you are a wealth of knowledge. So how do we get people comfortable with getting into that gallery or calling you up for an appointment in the first place? Such a good question.

My first recommendation apply to this scenario as well as all of life. And that is that someone else's attitude or discomfort with your knowledge level has nothing to do with you, everything to do with them. And you don't need to hold that discomfort. So the first step is to not have a little barrier around you or better yet a barrier around that person.

Who's giving you attitude. And there's a ton of attitude from the receptionist at a gallery and free to the director, have a little glass wall around them and think if they're getting the attitude, that sounds, it's not me. I'm going to ask my questions anyways, try again at the next gallery, because you will find people who are helpful. There are some who aren't and there are many who are so step one is don't worry.

How, what attitude people are giving you, just keep going until you find someone who is open to talking. Second of all, ask some open-ended questions. What is this artist background? Why did he create that? Where is she going with her career? How long have you represented her? And why ask a lot of lies? Because that starts helping you understand.

What's interesting to you. I keep going back to that, but all of those questions really help educate yourself. Well, and the beauty of that is that you're, you're going to be surprised. Th th the conversation itself is going to be fulfilling because you're going to be interacting with somebody. Who's going to tell you something that you hadn't thought of before.

You're going to learn something new. I mean, it's very, I love talking with gallery owners because I mean, nine times out of 10, I'm not going to buy something, but I am an art collector. You know, I used to not even want to call myself that because it sounded so pretentious, but the truth of the matter is I buy art.

So, so anyway, so, you know, there nine times out of 10, I'm not going to buy anything. I have a fabulous interaction with another human being about something that she's passionate about, I'm passionate about. And I learned something new, so it's worth it. Totally. And I think you said something so interesting about connecting with the gallerist to me,

our job at my company is not to sell big, expensive material things. It's to help people feel more connected to each other, to their home, to the artists that they're supporting. It's about that just good, wholesome feeling inside. And when you go to a gallery and see an artist's work and find something that you're passionate about, and you said,

I find that the gallery is passionate about something I am too. Sometimes you don't even know that you're passionate about it, sparking some new interests or some serious thought that you've never thought of before, but in that conversation, your path is connecting with the galleries and artists who you would've never otherwise come across. Yes. And that you talk about that a lot on your website.

That, that part of what you're doing here is helping people find things they wouldn't have found otherwise. And, you know, I hadn't ever thought about art advisory in this way before I, you know, I had a very poor misconception of it being, you know, for the, for the lazy rich person who, who didn't want to be bothered with choosing their own art.

So they weren't even invested in it. You know, th they, they had somebody else do it for them. And well, maybe there are some art advisory clients that are like that, but your company clearly is the opposite of all of that. And, and I do think it's a big world out there, and it can be intimidating to know where to start.

And, you know, the analogy in interior design is kind of the same way. Well, there's 50 million different dining chairs out there. How do I even start looking? Right? And so that, that is clearly something that you can help. Yeah. And when people engage our services and buy art there, they're buying an experience. They're not just buying the art,

they're buying the experience of us taking them to these artists studios in Gawande or outside Toronto. Or we now have an office in the Midwest and galleries that are in people's apartments, only places that they would have never otherwise found trove of ridiculously cool, compelling art. And they're buying into that experience. And then on top of that, they're buying into these experiences,

living with this object that really sparks joy. One thing I've certainly learned in a pandemic is that it's much nicer to exist in a place with objects. That mean something to you. Even if it's something I bought at a craft fair for $10, and it's this little, I have this little wooden bird that I've had forever. It just sits on my bookshelf.

It just gives me a little shot of joy. And that's what it's about for us. We definitely need that now, right? With all the time we're spending, not only at home, but now we're getting into colder weather. We're going to have to spend more time inside again. Yes. One other thing I want to mention that he just thought of while we were talking,

that might be a mental barrier for people into, in terms of talking to someone like yourself or a gallery owner, is the fear that they're going to try to sell me something. And I already know that, that I might not be able to afford anything. And so therefore they don't even, they don't even walk into the gallery. And I suppose there are just like in any profession,

there are going to be some sort of sleazy used car type salespeople in the profession, but I I've actually never encountered them. I mean, I feel like, you know, you understand if you had a client that it's a process that's going to take time. You're not expecting somebody to walk out with a purchase on the first day you meet them. Absolutely not.

It's always a process and it's an education too. And I don't mean that we're giving them an art history book. That's definitely not what we're doing, but it's an education and walking them through how to train their eye. And what's interesting to them. And when we work with clients, we, I am so confident in our process. And we have this process that takes people along from understanding what their needs are,

to nurturing their tastes, to getting them something that resonates and living with it and experiencing it. And we're so clear about what that process is and what the timeline is and what the costs are that it removes a lot of those unknowns. How much is this going to cost me? Well, how long is this going to take? Am I going to be intimidated when I go into galleries?

And so we, through our process, it takes away all of those unknowns and just let people be comfortable with the fact that there's going to be some exploration, and then they're going to end up with something that they will love. And I think that gets, that removes the uncertainty and gives people more confidence to pursue the process. I, yes, that makes so much sense.

And it does. I just, you know, you, my shoulders just went down a little bit, right? Like you just breathe a little bit of relief, which again is not the image we have in our minds of what it would be like to work with an art advisor. You know, we, again, we started this whole conversation with,

you know, asking why is art advisory just for the wealthy and at least in your case, it is, it is not. I mean, it's, I'm not trying to downplay the value or the cost of, of really good art. It, it, it can be expensive, but, but I think just getting started with an emerging artist or two that really are,

they're just beginning and their, their artwork is priced probably less than what it's worth. You know, it'll, it'll, you'll catch the bug. I mean, I certainly have Totally. And it's something that you said earlier was interesting that people don't go into galleries because they don't want to be pushed into a sale. And it's true. You don't, you can't really browse in galleries or as you can in a store because you're probably the only one,

all the walls are white, Very obvious that there's a human in the middle of the floor when there's nothing else on the floor Awkward, right. Like inherently awkward experience. But I think the advantage of working with an art advisor too, is that at least the broad definitions of art advisers in the world, but we don't carry our own inventory, which is solely on behalf of our clients,

figuring out what works for them. And we're literally sourcing from all over the world to find what's right for that client. I'm not going into my back closet and figuring out which of these best which have been, I can sell. So that's also an element to my business that I, I don't have a shop. I don't carry an inventory. And it helps me be completely adjusted when speaking with clients.

That's an excellent point. Absolutely. All right. I want to, I want to talk a little bit about something else you do, or a sort of in addition, w which is beyond art, you, you look at the whole home, you look at the homeowner's goals for their rooms. And sometimes that leads you to suggest other options such as different wallpaper treatments,

or even hanging collections of objects that aren't, you know, that, that become art because of the way that you display them. But, you know, but they might not be art in and of themselves. So tell us a little bit about that side of what, of what it is you do. Sure. So that's kind of what I call the walls styling part of our business,

and that is the best description I've ever come up with it. It's usually met with some sort of question Mark from people, but it's honestly the best way to describe it if you have other suggestions, but happy to hear it. And it started when people wanted art and brought us into their homes. And I was thinking, this is your problem. This is not going to art on this wall,

actually, won't we won't create the impact that you want. I think you need to paint this wall dark or a green color or this putty color, and let's make this kid's room. Let's do, I've got a great wallpaper. That'll work well in here. And then we can create an accent wall on that wall over there. That should actually be there because we're going to do something over here and that there,

and it needs to balance it out. And we can even create some Style shelving over here. So wow. Developed really organically and kind of as a better way to solve client problems because they think they're walls are blank. They need art, but actually when you add the right paint, colors and interesting wallpapers and different wall treatments, even with Style shelving and bare walls,

it just creates a more cohesive, balanced work. So that's how we came to that. That is, I love, love, love, all of that because it's tying in, for me, another reason why I want people to buy more art, why I want to see more art in homes is because of, of, of, to me, they're usually the star of the room that they are the they're the soul they're the focal point of the room is,

is the piece of artwork, but it does have to be integrated in with the rest of your life and the vision that you have for your room, the mood you're trying to create the feelings you're trying to evoke, and I've never heard of anybody in your situation doing what you do, taking all of that into consideration. So that's, it's just, Thank you.

I love that. Heard of it. I think it's so much fun to really transform a space. And we have some projects on our website where specifically clients have come in and said, I need a big piece of art for over the couch. And I need to tread lightly and say, are you open to suggestion? And we'll say, instead of that,

let's wallpaper, your entire living room is dark Navy blue pattern, and then do art layers on top. And they're kind of like, Oh God. And then they do it. And it's the best transformation that their house has ever seen. And one of the most important things I think a home means is to create rooms with different energies, create a room.

That's more moody, create a room. That's not playful. W even if you have an apartment, create a bar area, that's got some sort of social energy liveliness to it. And you can really do that with the right art and wall treatments. Yes. I love that trait create a home with different with, with the rooms, have different energies.

Yeah. That's a great way to, to think about our, our home as a whole is because we're not just in one mood all of the time, you know, we have different moods. Yeah. Your home needs to reflect the diverse experiences that you have and externally, but I think it's so important that your home reflects the mood that you want to and need to experience in any moment.

I want to wrap up with my signature question. Why does Style matter in your case, you certainly could answer that, but also more specifically, why does art matter? I mean, I think we've been answering that question all along this conversation, but I'm wondering if you have anything you'd like to add. Yes. I think art matters because at the end of the day,

it helps you feel inspired and that's a feeling that's really hard to die. It's hard to find the right pieces that get that and the right way to make your home reflect that. But if you wake up every day in a place that really gives you that sense of inspiration, that sense of readiness for the day and that reassurance at the end of every day,

that's really valuable. So that's why I think art matters Is so valuable. And I'm just thinking about one of the things I've struggled with the most during this pandemic is the sameness of all of my days, because I can't travel. I mean, it's not just that we had to cancel our family trip to Italy, which was heartbreaking, but I can't even travel,

you know, a few States over, you know, I, and, and my kids are home all the time. And you know, there's just thing after thing that is just the same all the time. It starts to feel a little monotonous, definitely like drudgery. And so if I can feel inspired inside my home, I mean, that is huge.

That's going to stave off depression. It's going to keep you motivated. It's going to give you laughter and joy Completely agree. It really does. And that's why it's important to get unique art that resonates with you. Well, Catherine, this has been such a pleasure for me. I so happy that we found each other and I look forward to staying in touch and to continuing to be on our shared mission of getting more art into people.

Thank you so much for having me Zandra this was such a pleasure and can't wait to hopefully meet you in person. All right. Have a great day. I hope these episodes leave you feeling energized and inspired to create a home that gives something back to you because in this crazy world we live in. It's good to remember that things like beauty and happiness are within reach.

Now don't forget to take the quiz. What's the number one mistake you're making in your home [email protected] And we really appreciate all of the reviews that you've been giving us over on iTunes, or I guess it's called Apple podcasts now, whatever. Please keep them coming in because they help other people find us, which makes it possible to keep this show running.

Have a great day. And we'll be back in your earbuds.

 

 

 

 

 

Close

50% Complete

Two Step

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.