Ep. 25 Nasia" Craig - Vivid. Bold. Engaged COMMERCIAL Art

Join us for a creative conversation on Commercial Art and Design with Anastasia "Nasia" Craig of Pink House Designs, whose vibrant spirit and creative genius are reshaping how we experience commercial spaces. 

As Nasia recounts her transition from the cobblestone streets of Odessa to the design scene of Madison, Wisconsin, you'll feel the verve of her European heritage in every tale of grandeur and every stroke of her abstract creations. Her pieces share bold, vivid colors that will draw you in.

Step into the studio with Nasia as she peels back the curtain on the process behind her commissioned pieces, inviting you into the intimate dance between artist and canvas. Her philosophical musings on art's tenacity mirror life's own journey, with each challenge on the easel offering a profound lesson in perseverance. From the tangible allure of ready-made art to the bespoke magic of a piece created just for you, Nasia's narrative is an open invitation to engage with the spaces we inhabit, infusing them with a harmony that only true artistry can achieve. Join us for a conversation that's as much an exploration of the soul as it is of space and design.

Transcript

Speaker 1: 0:03

Welcome to Heather Ewing, the CRE Rundown. I am your host, Heather Ewing, founder CEO of Abstract Commercial Real Estate here in lovely downtown Madison, Wisconsin, and today I have the privileged guest, a fellow creative. I have Nasia from Pink House Designs. Welcome, Nasia.

Speaker 2: 0:24

Hi, hi, heather, good to see you.

Speaker 1: 0:27

Good to see you too. So we've known each other for several years, but if you could share a little bit about you so that our guests get to know you a bit more.

Speaker 2: 0:38

Sure. So hello, my name is Anastasia Craig Nasia is for short, it's easier for people to remember. So I am an interior designer and I am an independent designer at Pink House Designs and I'm also an artist at Nastya Craig Art an artist and I am at Nastia Craig Art. So, and my work is has mostly been in the commercial spaces retail, hospitality, some corporate with a little bit of residential, and I think the projects that are mostly familiar to people could be restaurants I've done, such as their Sub-Zero Museum, some of the corporate offices and their retail spaces, but in Madison I think it's probably going to be the restaurants, because that's where everybody goes.

Speaker 1: 2:00

Well, and that's how I connected Well, actually through mutual friends years ago, but that's when I first saw your work was at Red Sushi and I fell in love with it. And he's like, oh, I like it, it's bold. That's that lines up with my heart. So, backing it up a little bit, how did you get into the art and share a little bit more about how you ended up in the United States?

Speaker 2: 2:28

United States? Absolutely so. I have actually, I think, with me, like with so many people, that really started early age. I was always the creative kid, from just like my early years. I was always drawing, painting, sculpting, all that and that just couldn't get enough of it. And kind of at probably age of 11, I started really wanting to take it seriously and that's when my parents they enrolled me with independent art studies with a teacher so, and I've done it from that age on until I was graduating from high school, graduating from high school, um, and then throughout the years, as I was um, kind of coming back home, um and uh, just doing independent work, um, and speaking of which, I was, um, born and raised in odessa, ukraine, so that's where I'm originally from and I think just kind of uh, I think, like you know, being uh from europe, in being around European cities and then traveling.

Speaker 2: 3:45

I think that public spaces that were, you know, just very, you know, well done, very beautifully done, and I think that was maybe kind of in the core of my mind, always having that sort of visual examples of beautiful environments. So kind of I knew I was going into creative field. So when I decided to go to school in the United States. I picked interior design. So I was doing that in New York upstate New York, and then Long Island, new York and then I came to Madison after I graduated and that's where I started working in the field, and yeah so, but during during that time, I still continue doing art and I always wanted to do things more artistically and more like. Again, I came with this, this idea of how, like, everything should be more grandeur, right, so everything should like design should be very powerful, very influential, exciting, bold. So that was always, throughout the work I was doing, that's what I was trying to do with mine.

Speaker 1: 5:10

And I couldn't agree more, and I think that's how you and I melded to like the yellow. I love the yellow, bold colors. To me there's a, there's a certain power, but also a simplicity, and it's clear, right, it's not cluttered and it makes a statement. So that's something I've aligned with quite a bit.

Speaker 2: 5:30

and then do you paint in oils you know, I started that uh, I by nature I'm very experimental and I love kind of uh, doing different things. So I did, back in the day, used to paint with oils and also watercolor and gouache, um, so um, that was uh, and that was actually my work was a lot more um, it was more like surreal. It was more, uh, had more realism, um, kind of elements. But then over the time I switched to abstract art and that's uh, more painting and collage. So even kind of some things that are behind me here as a backdrop I have that. Those are my collage works that I've been doing in the past years, but again, just bold colors kind of a very a lot of movement, organic shapes kind of, with the juxtaposition of some angular elements and some shapes that are more dynamic and geometric. You know, that's kind of how I like to play within my work, you know, just putting lots of you know just elements together.

Speaker 1: 6:56

Right. So then, from a size perspective, because especially with, like, the commercial restaurants and other commercial interiors, is there a size that is kind of your sweet spot, or what's the minimum to the maximum? Just to give people an idea.

Speaker 2: 7:12

Right, yeah, and it's a good, very good question because, and especially as a designer, understand how the scale of the work, uh, is important because when you a lot of times like, um, an artwork within the space is a focal point, um, and a lot of times it does want to be a larger scale, um, so it's so it takes in that space and it becomes that element that draws in. As an artist, sometimes you work by different standards. It's working within what the artwork dictates you. Sometimes you start with a certain idea or you're starting playing with certain colors and motifs and you start putting it together and you're almost reading what that piece is telling you. So it's not always you're thinking about where it's going to sit in the space, but you're more thinking about the artwork.

Speaker 2: 8:25

So, to answer your questions more freely, I started with smaller sizes of works because, especially with this technique that I was doing, it's something kind of I develop myself by mixing lots of different things that I learned throughout the years from different artists, from doing different workshops and uh things and doing a lot of my own experimentation. So, um, I did not want to start very big it, but I wanted to understand this technique and work out the kinks, um, and as I'm as I'm continuing, though I'm getting bigger, bigger sizes, because, as a designer, I know this is what, uh, people want to see, and I think the type of work I do looks really good in big size.

Speaker 2: 9:14

um, just, uh so, but I'm doing it gradually'm kind of getting right now into 30 by 30s a lot more. 30 by 30 inches, 30 by 40 is my next step. But I would really like to do and once I kind of know all the technical details, I would like to really do larger pieces like multi-panels, sculptural complex. I've done some of that already, but I want to really take it to the next level, which means I had to learn a lot of other things I did not expect, like tools. I did not know when I started that I'll be using a saw and like a sander and that I'll need to be getting all these supplies and these cutting equipment and uh, it just became this whole different world. Um, yeah, so it's, uh, it's. It's kind of requires some additional setup, some additional tools and me learning how to use them. That's why it's taking a while.

Speaker 1: 10:30

Oh, I bet Definitely Well, and too, you've been traveling throughout the United States for different shows, too, for several years. Share a little bit more about that process and how you got into that.

Speaker 2: 10:44

The shows, you mean the art shows. It's been actually done more shows more regionally. I would say it hasn't been so much throughout the States. Some of my works have been. I've been participating in some shows that would be in other cities when I would ship my artwork. So they, my art, has traveled more than I did. You're right, I'm going to follow. You'll see One day, you know, I'll do the same. So I have been doing mostly shows kind of in Madison and some Milwaukee recently, those areas and you know kind of some areas around Yep that's perfect.

Speaker 1: 11:37

So here's a question. So when I was oil painting back in the day and I loved color and art from a very young age, but do you get the question frequently of how do you know when the piece is done?

Speaker 2: 11:54

Oh, my goodness.

Speaker 1: 11:57

The infamous question right.

Speaker 2: 11:59

It's a great question because Do you ever know that's what my question is Do you ever know? Because, um, sometimes and I've done that a few times when I I feel like, okay, this is this is it, this is done, and, um, I would call it done, photograph it, um, resin it. And I have to resin after a photograph because the resin that I cover, as you can see it, has a lot of glare, it's very difficult to photograph. So I would say like, okay, by this coat of resin, I call this work finished. But no, there would be and I think that's, every artist has that itch to come back and change their work now and then, you know, your mind changes you see things differently.

Speaker 2: 13:00

You know your perspective changes. You know you're uh, the uh use. Your perspective changes. You know you, in a different mood, you grow. You know, I think definitely so many.

Speaker 2: 13:10

We're not static, we're not static beings. We, you know things change around us and, uh, our mindset so, um, and I think, think it's okay. You know, if you really feel that this work needs it it's asked it then you do it. You know you do what you feel as a creative and I think that's what's so compelling about being an artist, what's so compelling about being an artist. You have that power. You know that within this, within this space, the space of your work, you have that control. When you decide when it's done, you know it's not a deadline driven, it's not a client tells you, you know it's uh, it's you who are in control and in charge of this piece, um, and you, you you're kind of the one who decides and who tells it when it's done. And if it's ever done, you know it's never done until you know somebody buys it and I don't have it anymore, right?

Speaker 1: 14:13

have you ever tried going back on the resin? Oh, yeah, yeah. How does that work? Is it kind of like a water and oil thing? It just doesn't mix, or what?

Speaker 2: 14:23

yeah, so in that scenario yeah, it's a technical thing.

Speaker 2: 14:27

So for me to change the resin I have to sand it and then apply another coat of. So my work is actually I did not say that it's done on this specialty. It's called Dural Arts, a specialty archival polyester film that takes paint and I can draw with art markers on it and do different effects to it. So I I create this, these um paintings on this duralar material, and then I cut them up, I manipulate them kind of do additional drawings or painting, you know, add them on to each other and I resin them. So if I do want to change a piece, I have to sand it, because you know I'll have to coat it again later, and then I apply another layer. Sometimes I paint straight on the resin as well, and then, you know, I seal it again, and sometimes it's more than once, which means you know, I think that's I think doing this art practice really made me realize I think I have like a case of OCD.

Speaker 1: 15:50

I think to your point like yeah, we shift and change. Similar to books, right, you read a book, you come back to it, maybe a couple of years later, reread it, and you pick up different tidbits or insights that you just didn't on the round before. So I think you nailed it in the head that we're ever changing and evolving and life is not static by any means.

Speaker 2: 16:11

Right, right, and I think, yeah, and that's sort of like also that maybe desire to be a bit of a perfectionist too. You know you always want to improve and add on and you know you keep on looking for ways to do that.

Speaker 1: 16:30

So I think that's also it. That's where I say too there's the art of the walk away. Sometimes you just need to put the brush down tools and walk away. Come back later.

Speaker 2: 16:41

Right, yeah, and I mean ideally that's what you should do. You should kind of I think was it Andy Warhol who said like you know, no matter how good or bad it is, you know, just finish it, you know, and then start new. You know, just finish it, you know, and then and then start new. You know, you kind of it's a good idea to, even if a piece maybe is not, uh, you don't feel it's your strongest one to complete it, but then start new and do more and more and more and more yeah, right, and that's where I think painting teaches life lessons, and that's a perfect example of it.

Speaker 1: 17:16

There's all projects that we start where it's just like oh my god, if I would have known. Or it's not turning out the way you want it to be, that you still see it through and finish it off, and I think sometimes too, in those situations they become opportunities that maybe you end up shifting, changing something, and it ends up being one of your favorite pieces right, yeah, yeah, that happened a lot of times when I would be struggling with the piece for so long and, um, it's just, uh, would not, would not do it for me, and then you, you put it aside, you, you don't look at it for a while.

Speaker 2: 17:55

I think that's actually one of the really good strategies not for art, for design as well when I feel like when you struggle with something, it's good to completely switch off, do something different. You know, forget about it, you know for a while, and then you pull it out and you look at it and you start doing different things to it. You know, just change your perspective, change your actions, and a lot of times that can completely turn it 180 and it becomes something great that you just didn't think it would.

Speaker 1: 18:30

Which is the gift in the gift? Yeah, which is the gift in the gift. So let's say someone is developing a new space, a property, maybe they're revamping their current footprint in the commercial sector. What's a good way to work with you and kind of your process?

Speaker 2: 18:55

So I guess a lot of it depends on the goal. I think my best resource for people is if they're looking for something that's more unique, more bespoke, just because of the experience I have. Um, I think my, my, um, you know, my value comes in more if, like do looking for unconventional design and conventional approaches, um, and it's not it and it's both visual and functional. I really like studying the space and finding solutions for how it can be. You know how, like you know, you perceive the space in the best way, how you go through the space in the best way. So, for me, that's, I think, what I bring in the most. I I think it's, uh, um, having some unique vision and, um, something a little bit interesting. Um perfect.

Speaker 1: 20:06

And another question is do you sell pieces outright Like pieces? Do you have inventory? So let's say, someone walks into their office and they're like, oh, this plain wall like today is the day I want to get something. Is there a?

Speaker 2: 20:24

website that they can go to, or what would the process be for them in this scenario? Sure, so that is for the art If you uh we're talking about. Yes, I do have, um, an inventory pieces Uh like, um, the range from smaller to larger sizes, but, um, it could be a commissioned work, which I think is um good idea for a lot of people if they can trust, uh, the artist, you know, if they feel like I love the style, I like, like what I see. These are some examples, but for my space I really need something in a certain size, in a certain scale, maybe slightly different color schemes. I have a good example of commission work for friends of mine that was in a very peculiar kind of like wall shape. It was a sort of a triangular kind of up high, that sort of a wall space under the roof, and they had like a specific color scheme that they had over there that they wanted to stick with over there that they wanted to stick with. So we worked it through and created this sort of like a triptych piece with the layering panels that was specifically tailored for that space, and I think it's a really good idea for a lot of people because it kind of gives them more of a perfect fit, because it kind of gives them more of a perfect fit but not everybody.

Speaker 2: 22:01

You know, for some people it can be harder to envision something that's not there, or they might not know what they want. So that's when I think, like you know, ready-made art that's already there is a good idea. So there is some works on my website that are already there and I'm idea. So, um, there is um, some works on my website, uh, that are already there and I'm continuing to make more and the launch new, new collections. So, you know, just stay tuned, then there will be more, more pieces coming up exactly so as we end things for today, my dear, what is your website?

Speaker 1: 22:35

So people can go to your website, see more of your pieces, get a feel for it and whether they want to buy one outright. Maybe they're interested in commissioning, or maybe they have a co-worker or someone else that's looking. What is that website?

Speaker 2: 22:50

Okay, yeah, so I have. Well, I have a design site. Well, I have design, art, design side and have art side. So my design side, where you can get familiar with some of the interior spaces, uh, it's um, not, it's sorry thinkhousedesignsnet. I'm always was like reading through my email, so it's so, it's thinkhousedesignsnet and you can just see. And I think it's also a good, just idea to kind of show what kind of environments I create as a designer, because I think it really translates a lot even to my art and vice versa.

Speaker 2: 23:30

My art is nastyacraigartcom. So, yeah, you can find me on both of these or contact me through both of these sites. And I also should mention that I will also have a show coming up in Overture Center, in one of those galleries Perfect In the summer. So I believe I will have to say it's July, but I'll have to double check on that. It's coming up in a couple of months, so it will be very exciting and I will definitely have more specifics on my website about when it is, from which day to which date, and there are some other events coming up too. So, um, so hopefully people can check it out and, you know, come and see when the show is up perfect.

Speaker 1: 24:23

Well, nastia, thank you so much for joining me today, and it was a true joy connecting with you. I love your art I love the the spaces that you have truly transformed with your design, with your art, and I'm glad that our guests can learn more about you. If they're in the Madison Wisconsin area, they can definitely come and visit your show. But thank you again, it was a true joy and pleasure.

Speaker 2: 24:48

Thank you so much, Heather. It was great talking to you as well. Thank you for having me.

Speaker 1: 24:52

You bet Bye-bye, bye as well. Thank you for having me. You bet bye-bye, bye.