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Amy Guidry
170 Plays4 years ago
Amy Guidry (b. 1976, Jacksonville, N.C.) is an American artist residing in Lafayette, Louisiana. She grew up in Slidell, Louisiana, a suburb of New Orleans. Guidry comes from a family of artists including the late painter Eleanor Norcross. She studied at Loyola University of New Orleans where she received her Bachelor's degree in Visual Arts in 1998. She was the recipient of the Loyola University Art Scholarship, which is awarded to only one student per graduating class.
Guidry’s work has been exhibited in galleries and museums nationwide including the Visual Arts Center of New Jersey, Aljira a Center for Contemporary Art, Brandeis University, the PhilaMOCA, the Paul & Lulu Hilliard Art Museum, and the Acadiana Center for the Arts. Her work is present in public and private collections throughout the United States, Canada, Europe, and Asia; including the Alexandria Museum of Art, The City of Slidell, and the Cedar Rapids Museum of Art. Guidry’s paintings have been featured in publications such as American Artist, Adbusters, and American Art Collector as well as online features such as Hi-Fructose and the Huffington Post. Her work has also been featured on MTV’s The Real World, Season 20: Hollywood. She is represented in New Orleans by LeMieux Galleries.
www.amyguidry.com
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Transcript
00:00:00
Speaker
You
Introduction to Amy Guidry
00:00:02
Speaker
are listening to something rather than nothing. Creator and host Ken Volante. Editor and producer Peter Bauer. This is Ken Volante with something rather than nothing and I have a guest here, Amy Gidry, who
00:00:25
Speaker
Well, I just adore her paintings and I'm really excited to be able to chat with you, Amy, welcoming you from Louisiana. Welcome to the podcast. Oh, thank you so much, Ken. I'm really honored to be here. Yeah, thanks. I appreciate your time.
Early Artistic Influences
00:00:45
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Amy, were you an artist when you were born?
00:00:49
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uh yeah i mean i i think it was pretty much destined to be um i've uh been drawing and you know painting to some extent uh ever since i could remember um i mean i obviously my my talent wasn't what it is now but uh i was always creating uh
00:01:11
Speaker
I mean, it had to be before I was even in kindergarten. And I come from a family of artists. And so that was something that just I had this worldview that everyone would draw and create. And so I didn't understand anything otherwise. And
00:01:30
Speaker
You know, my mom could draw. She would do drawings for my room sometimes. And my brother, he's a bit younger than I am, but he eventually started to draw. He wasn't into it as much as I was. And I didn't understand that I would kind of force him to draw, even though he didn't want to.
00:01:52
Speaker
But, you know, we have a lot of artists and writers in the family. You know, I had done my ancestry. And, you know, I knew that my grandfather would write just recreationally, but his father was a newspaper editor and journalist, as was his father.
00:02:14
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Uh, you know, he had also written a book that that would have been my great great grandfather. Um frank norcross. Uh He wrote a book about shoes like shoe making and um, it was called the swamps of new york But then uh, you know also on on my grandfather's side Uh, you know my my cousin eleanor norcross, you know his who's a
00:02:40
Speaker
I mean, I would say she's kind of famous, but it's more like under the radar kind of fame. But she was friends with Mary Cassatt. She lived in Paris. She painted. But her father didn't think that it was appropriate for women to be business people. And so he wanted her to just paint. And he would support her to do that. But he didn't think that she should get into selling her work.
00:03:10
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And then most people don't know this, but Emily Dickinson is apparently my cousin as well. So it's just in my blood. Like I said, it's something that I've always done ever since I was little. And it was all I ever knew how to do. And it just
00:03:31
Speaker
It took up all my time. That's all I did. I would draw so much that I would go through an entire package of typing paper in a very short period of time. And my mom, she said that she threw out so much stuff because I had created so much and she couldn't store it all. But yeah, that was my childhood right there.
00:04:01
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So yes, yes, I was definitely born an artist. Yeah, no, I read a little bit about that background. And I'm originally from Rhode Island. So I noticed that there was some with Eleanor up and outside of Boston and Fitchburg. Yeah. And of course, Emily Dickinson. I learned more about her when I went to the University of Massachusetts in Amherst. Okay. Yeah, which was her town, Amherst. And
00:04:30
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Just, wow, just incredible, incredible, incredible poet.
Purpose and Impact of Art
00:04:38
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One of the things I wanted to ask you, Amy, and this has to do with your art and your painting.
00:04:49
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And I'm not going to try to describe your painting. It's always a trouble with audio. But what I love are it's a fantastic world of animals in nature. And there's juxtaposition. And there's this kind of these hybrid components to it. All that sounds blah. What I want to ask you, Amy,
00:05:15
Speaker
is what do you think your art is and what do other people think your art is? Interesting question. I actually think that the answer is pretty similar because just from what I hear from other people when they view my art, they really do get it. And some of them
00:05:42
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can actually hit the nail on the head. But obviously, like you said, my art is very nature-oriented, and it always has been, again, back when I was little. And it's a surrealist approach to the issues that are going on, well, that have been going on, but continue today.
00:06:07
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with our environment, with animal welfare, with ecology and biodiversity, and ultimately my goal is to educate people of these issues and to provide them with a visual that
00:06:27
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you know, you don't always get that when you read an article about, let's say, the decline of a population of, you know, certain birds. But I can provide sort of a through the looking glass visual, you know, reflection of what's going on today. And
00:06:49
Speaker
You know, I remember hearing in an interview, I think it was with Terry Gross and they were saying that, you know, science fiction will present like this dystopian future that actually inspires people to want to do something to keep that from happening. And I feel like visual art can do the same thing.
00:07:10
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And that's not to say that my work is all doom and gloom. It's just to raise awareness. And some paintings may just be more like portraits of animals. And like you said, they show some hybrid elements. You may see a human eye or maybe there's a human torso combined with
00:07:33
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you know, another animal and this just speaks to the connection that we have as human animals to the rest of the animal kingdom.
00:07:44
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And sorry, I think that in order for us to care about these things, we have to find that connection. I hate to sound narcissistic there, but I feel like humans care more about animals in the natural world when they can see themselves in it. And when, you know, we attribute
00:08:07
Speaker
more anthropomorphic qualities to animals, suddenly we relate to them better and I think that just gives them more significance to us and it makes us care and it makes us want to keep them around and not let them go endangered or go extinct. So ultimately that's what I'm trying to do with my work and
00:08:31
Speaker
You know, like you said, it's kind of hard to convey audibly. And really, even if someone just asks me, I mean, I really don't have a good elevator pitch, so to speak. I usually just get a postcard out and show them a visual.
00:08:49
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That being said, just to give people a visual, my work is very detail-oriented. I tend to work on a smaller scale, although some of my pieces I consider them medium-sized, but some might consider a small, like an 8x10, for example.
00:09:08
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But they're very complex, you know, usually very complex backgrounds. And whereas some artists, they may blur out things in the background, I tend to bring in as much detail as possible so that you're just completely immersed in this world. And I like for people
00:09:30
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to have to get a closer look because it's crushing as an artist to see when people just walk by and if they just notice something on the wall but then they just kind of keep going. They may look at it for a second or two. I really love it when I can draw people in because I feel like that gives them the opportunity to have this internal dialogue with the painting and really
00:09:55
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learn more about it and it'll make them want to learn more as well because I love it when people see a piece and I happen to be there and they ask me questions and we can really dive in you know to learn more about it and
00:10:11
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you know hopefully I can leave them with something that inspires them and you know they walk away from that experience and it wasn't just that they went to a gallery or a museum they they actually learned something and it inspired them to want to help polar bears or you know to
00:10:30
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learn to recycle more and and reduce their waste output um you know all all of these things to me feel like i i did my job you know if my painting can can speak to people on that level not just be a pretty thing to look at yeah and i i i appreciate your comments um uh around around your art and and i i i personally appreciate um
00:10:58
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the respect and dignity towards animals. I've been a vegan for 26 years. Oh, awesome. Yeah, yeah. And which is more than half my life. And so I love, I love when art disrupts or causes or creates that space for the consideration. And I know, and I see that in your art and the ability to
00:11:27
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to build empathy or simply wonder about what's out there. So let me ask you something, Amy. Your art disrupts, but does art have to disrupt or do you think it should disrupt?
Emotional Depth of Art
00:11:44
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Art doesn't have to disrupt per se, but I'll say this. It should make you feel something. Whether you love it or you hate it, it should make you feel something because then it's done its job. If you feel absolutely nothing, then it's hotel art.
00:12:04
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You know, so there are all kinds of types of art. There's so many genres of art. And, you know, I'm not going to say that an Alexander McQueen dress is, you know, the same as a Picasso. I'm sure some people may disagree with me there, but, you know,
00:12:32
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They're just different types of art. They have different purposes. But they both make you feel something. And there are those who hate Picasso and there are those who love his work. And then the same could be said about Alexander McQueen's work.
00:12:52
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Either way, they're both art. It's not something that's just been mass produced, whether it's a print that hangs in a hotel or just a t-shirt in a super store. We won't mention names.
00:13:12
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You know, there's a difference. You feel something. There's emotion. It hones in on your personal experience. And that's going to be individual for everyone, obviously. But it's their experience. It's their reality. And it taps into something with them. And like I said, that could be good or bad.
00:13:36
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But either way, it's touched them in some way. It's elicited a response. And that's what art should do. Otherwise, it falls on deaf ears.
00:13:48
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It, you know, it's art is supposed to say something and you may not agree with it, but it should say something. It should have a message to it. You know, art is all about expressing ideas and and communication. So, you know, anything less than that, you know, what what's it really doing? What would its purpose be? Yeah.
00:14:13
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And thank you. Amy, I wanted to ask a different question. Living up in the Pacific Northwest, as I do, it's had a significant impact on the art I create or simply being in Portland, being around a bunch of artists, expression, space, a lot and a lot of it. I've been to Louisiana. I love it. I haven't been all around the state, but
Artistic Influence of Louisiana
00:14:43
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When I was in New Orleans, I adored the unique American cultures. I don't think I could find that anywhere else, and it was so artistic. There was a lot to it. Now, I wanted to know if you could just convey, does the place where you live and reside, does it bring in unique elements to your art?
00:15:10
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Um, yes and no. Uh, obviously I'm dealing with issues that affect the entire world. So there's that aspect, but, um, I, I am, you know, as you mentioned the whole vegan thing. Um, I've been a vegan for 22 years now and, uh, you know, I live in Louisiana and this is, I mean, it, the state is known as sportsman's paradise. So
00:15:39
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There's that part that drives my concern for animals. And as a vegan, I really don't know many vegans here. So there's that. But I do see where people, they put a lot of emphasis on food here. And that's great.
00:16:08
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I think that we should be looking at more plant-based options just from an ecological standpoint, you know, regardless of, you know, my feelings towards cute fuzzy animals, you know, it's imperative right now that we live more sustainably and we all have to do our part. So eating less meat would definitely help. And not that I want to get into
00:16:35
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propaganda here but just you know realistically speaking though we do have to work towards more sustainable future and we can't just eat as much meat as as we do so that plays into my work and I try to emphasize not not just here but on a on a world scale
00:17:00
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uh you know what our consumption is doing concerning habitat loss uh concerning rainforest uh destruction and and what that ultimately does concerning you know the sea level rise and global warming um so all of that is is important not just to louisianians but um you know i i did a piece called pervasive and
00:17:29
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it's got these pelicans whose wings are morphing into black smoke and You know the the whole background is It's meant to look like the whole sky is on fire. Basically a lot of rusty tones and and and just clouds of smoke and and then you see a line of fire along the you know the water and and
00:17:54
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That was in response to the Gulf oil spill. That's as local as my work has ever hit, but it's something that has become, hence the title, pervasive. It's hitting species from all over now because as they migrate,
00:18:19
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You know these these chemicals and toxins that have stayed in their bodies are now being Handed down to their offspring and you know that just spreads you know, so on and so forth as as they migrate and You know bring these toxins to to others that were not anywhere near the the spill so
00:18:43
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That, of course, is something that still resonates with me. It's painful to know that we've made mistakes that still have an impact on our wildlife. And that's something that I'm
00:18:59
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trying to get people to think about and consider the ramifications of all of our actions. We want to do so many things that are convenient for ourselves and make things bigger and better and faster. We want better technology and we want everything now.
00:19:17
Speaker
we don't think of the impact that that has on our planet. We can't be so greedy, we can't have everything and not in the way that it's being done now. Stuff that's made to be cheap and quick and easy
00:19:36
Speaker
you know, isn't necessary the solution. Sometimes it has to be the more expensive, you know, safer way to make something, produce something that doesn't pollute, that doesn't require, you know, cutting down rainforests or killing endangered animals in order to get at it.
00:19:54
Speaker
you know, something that's more sustainable, that uses sustainable energy, you know, sometimes those things can be pricey at first, but it's well worth it to make that investment now because we're definitely going to pay for I mean, we're paying for it now to an extent, but it's only going to get worse if we keep it up. Yeah. And thank you on that too. Because
00:20:22
Speaker
Although I haven't got very far into it in the course of the podcast, environmental concerns are deep and important. And I recall even some of the artworks, Christopher St. John, who I've had as a guest who used animals and I don't want to say used, you know, as material, like of the pictures and to create awareness.
00:20:48
Speaker
I wanted to mention some hard statistics, Amy, that I just plugged in on some of your points with, if you take you and I as vegans, we've been vegan for 48 years combined, I used the vegan calculator, and between us, we've saved 19.272 million gallons of water. Wow. We've saved 700,800 pounds of grain
00:21:17
Speaker
We've saved half a million square feet of forest. This is me and you. Yeah, that's amazing. 350,000 pounds of CO2 not produced and 17,500 animals not consumed. Wow.
00:21:34
Speaker
So it's a resource somebody handed to me one time, the vegan calculator, as far as the material impacts of just saying, I'm going to consume plants instead of animals. And I find when I plug that in, it's encouraging because it's just a material way of saying, hey, that's not bad. Right, right.
00:21:54
Speaker
Yeah, go ahead. Sometimes you need to see the numbers. It's easy to think about as just this lofty ideal, but when you realize the impact that not just one, but two people have, I mean, that's incredible, especially when sometimes I hear people who say, ah, vegans can't make a difference.
00:22:19
Speaker
I mean, I think that's proof in the pudding right there. Well, I think just water. I mean, obviously, all those statistics are fantastic. Animals saved a lot of that type of thing. Just the question of water and efficiency. So a different question for you, Amy.
Nature's Role in Art and Life
00:22:37
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Conceptual, what or who made you who you are?
00:22:44
Speaker
That's a very complex question because there's a lot to it.
00:22:54
Speaker
something that I realized really not that long ago, I used to think that, you know, because I've always done art, that that's, you know, that was the driving force is that I just have to be creative because I love art. It's what I've always known and done. And, you know, I used to equate it to if you took my art away, that would be like taking away my oxygen.
00:23:17
Speaker
And it wasn't until that, you know, not that long ago that I realized that it's not really the art that makes me who I am, it's nature. Because, you know, I touched on this before when I said that, you know, I've always drawn animals and it's from day one when I was born, my dog Juno, she was my life.
00:23:45
Speaker
And that dog was my best friend, like more so than any kid at school, because she was just she was just loyal. She was incredibly sweet and kind. And she was very quiet dog. But I don't know, she just had like this
00:24:05
Speaker
wise all-knowing sort of energy about her. And I would hang out with my dog and we would be out in the woods next door. We'd be out in the ditch. I'd be checking out.
00:24:22
Speaker
all the little tadpoles and minnows and I befriended the dragonflies. I actually had one that was kind of trained. I would see him like every day until the winter came and then sadly I didn't see him anymore. Wait a second. You trained a dragonfly.
00:24:40
Speaker
Yeah, yeah, apparently it's not that unique. I thought it was special. But apparently, you know, if you if you're slow enough, you could just slide your finger up underneath them. And, you know, they'll just kind of hang out there. And I did this every day and it became a ritual. And, you know, I kind of knew to find him on the porch swing. And
00:25:03
Speaker
You know, he was like, all right, you're cool. I know you now. I named him Oso. I have no idea where that name came from. I was a little kid. I like it. But Oso. So anyway, Oso and Juno were a big inspiration for me. I always cared about nature, and I was always fascinated by it. And I was always drawing animals.
00:25:32
Speaker
you know, I guess I was around 10 that I had decided, because I had been reading a lot of animal books, I would check out animal books in the library all the time. And so I learned about, you know, clubbing seals for fur and
00:25:50
Speaker
I knew that there were endangered animals and I knew that some went extinct and so I thought I'm going to make a book and I'm going to include all the animals of the world.
00:26:06
Speaker
I didn't realize how many species there were. I thought, I'm going to make people care about these animals. I'm going to make the most beautiful art, and they're going to love these animals as much as I do, and they're going to want to save them. That was my goal, just as a child.
00:26:27
Speaker
It really isn't that different from today. I tell people this every now and then because I just hope that my work will touch them enough to make them care and make them want to do better and do better by nature.
00:26:46
Speaker
I'm actually starting to forget your question now. That's a hazard of this show. I mean, if it's something rather than nothing, it's a hazard of this show and it's okay. It's okay. Like specifically who and who or what made you who you are.
00:27:05
Speaker
Yeah, yeah. So really, I think it was just nature that molded me to make me care about it so much. And that's been my focus all this time, even with my art. It's what gets me out of bed every day.
00:27:26
Speaker
I can't think of creating anything other than that. I have tons of ideas and tons of concepts that I want to cover with my work. My work is more time consuming than I can possibly turn them out.
00:27:44
Speaker
I have no shortage of ideas for what I want to paint. And I don't think that's going to go away anytime soon, sadly. But this is just something that has always mattered to me. And I've always been kind of a driven person.
00:28:08
Speaker
you know, I didn't have an easy childhood. That's probably about as specific as I'm going to get. But, you know, it just kind of taught me to persevere. And, you know, no one's ever been able to call me a quitter. And so I think that I'm the right person for this kind of job, you know, because one,
00:28:28
Speaker
art is just a hard career anyway. You're going to face a lot of rejection at first. I mean, it's going to be just one after another. So that takes a lot of drive and some inner strength. And then the other reason is because
00:28:51
Speaker
you know nature needs someone who won't quit on it and and and i certainly won't you know um i'm going to continue to talk about the importance of nature for as long as i live because it's always mattered to me and and that's not going to go away that won't ever change um
00:29:07
Speaker
It's just something that, you know, like I said, I grew up with it. I grew up with animals from day one. It's all I've ever known. So that's that's my mission, you know. Yeah. And that's what drives me. And that's what makes me who I am, I think. Yeah. Well, and I and I want to just just recently on the show, I've had a guest Zoe Presley did
00:29:36
Speaker
Forest, you know, forest bathing forest, the concept of going into the forest or having a connection to nature that's kind of
00:29:47
Speaker
a more harmonious or mindful connection to it. It can even be as blunt as going into the forest, walking through the forest, smelling what's there, seeing what's there, hearing those sounds. But also recently I did one with the oceans, with Elizabeth Best in England, and just connecting to what is around us, a little bit of space to notice it. Or in your case, with your paintings,
00:30:13
Speaker
to put eyes or to put our ears to it. I see a very similar dynamic going on, just like just notice. We're talking with Amy Guidry, a painter artist based in Louisiana.
00:30:31
Speaker
Amy, I got the big question for you. Why is there something rather than nothing?
Philosophical Musings on Creation
00:30:41
Speaker
There's always going to be something rather than nothing because
00:30:49
Speaker
Even though we don't always see them, there are so many minute infinitesimal cells and particles and organisms that are always creating something that it may take time for us to eventually notice it, but
00:31:12
Speaker
they're always creating, they're always evolving, and they're always shaping everything around us, and within us even, you know, our own cells, you know, they're, they're always, you know, replicating and, you know, unfortunately mutating, and sometimes that can go awry.
00:31:32
Speaker
But even our ecosystem, there's bacteria that are feeding plants, that are feeding insects, that are feeding birds, that are feeding mammals, and so on and so forth. And there are all these
00:31:50
Speaker
itty-bitty little actions that are going on around us. And so even though you may not see them or hear them, they're always happening. They exist. And even at that, I looked into some stuff. Stephen Hawking said that even in a vacuum state,
00:32:20
Speaker
you know, there are virtual particles and there are space time bubbles that will just spontaneously appear, you know, and there's always going to be some kind of instability that will make these reactions occur. So there's always going to be something, you know,
00:32:48
Speaker
There wouldn't be nothing. We wouldn't be having this conversation now, I guess, if there were nothing. None of this would happen. None of this would exist. There's always something. Even though we can't explain exactly where that came from, there's always something.
00:33:11
Speaker
Like I said, they're happening all around us at any given moment, and we don't see them. We can't feel them, hear them, touch them, but they're always there, and it ends up having a major impact.
00:33:28
Speaker
bringing back home that relates to all of our actions today. Everything that we choose to eat, to use, to toss out, all of these things have an impact. And even though we don't see it, eventually it has this domino effect. And eventually we feel that.
00:33:56
Speaker
you know, hopefully we do something about it before it's too late. Yeah, yeah. And I appreciate what you have to say. And I think one of the big things that I noticed with your works is
00:34:19
Speaker
that they immediately pull you in. And so that isn't easy to do as an artist. And actually, I want to ask you another question, Amy, before getting into kind of letting the readers know where to find your listeners, where to find your stuff.
Surrealism as a Tool for Expression
00:34:36
Speaker
I was very interested in your use of surrealism.
00:34:45
Speaker
A lot of people know of surrealism or they think Adali and things like that. But there's a lot of complex notions of surrealism that the popular understanding doesn't get at. I was wondering if you could just explain how you use it or how you think it's effective or what surrealism is for you.
00:35:10
Speaker
Well, initially when I started this series, I would sometimes look at elements from dreams and also just like with free association exercises where I just kind of think of a concept and then just let my mind go and just whatever imagery would come to mind, which is usually just fragments of something. But I used to use all of these little hazy
00:35:39
Speaker
obscure bits of visual information and turn them into paintings and try to fit them into something bigger. I do use that to an extent, but now I guess I rely more on a lot of just
00:36:00
Speaker
brainstorming and just writing things down You know, I I look at a lot of news articles and I'll just write down facts and figures, you know kind of like what you were doing earlier and I'll I'll just take a concept like that and I'll just start writing down anything that has to do with it You know, it could be some as simple as something like ice water melt, you know and I'll just let it go from there and
00:36:27
Speaker
I'll start thumbnail sketches, usually just a little something, not the entire idea worked out, but just kind of like the main subject. And I'll take it from there. And I might create like 50 thumbnail sketches around this same concept. And they may be just slight variants from each other, just because I want to include
00:36:56
Speaker
one other little tiny thing or one little tiny change to it.
00:37:02
Speaker
That's how I approach my work, but surrealism is something that I've always been interested in even as a kid. I just remember being struck by any kind of imagery that was, you know, more fantastic and surreal, even whimsical. But, you know, I was always drawn to Dali and Magritte
00:37:32
Speaker
you know, even Botticelli's Birth of Venus, that was probably one of the earliest pieces I'd ever seen as a child. And it was just such an amazing, I mean, I didn't see the original, I saw a print of it in an antique store.
00:37:53
Speaker
But it literally stopped me in my tracks because this mythology and that whimsical element, magical, I was always interested in that.
00:38:10
Speaker
I've always naturally been interested in psychology, which surrealism was very much influenced by Freud and psychoanalysis and the id, the ego, the superego.
00:38:27
Speaker
kind of translating these inner workings of the human mind onto canvas. And I've taken that, but I've also applied how we relate to nature, how we see ourselves in nature, you know, even seeing ourselves through the eyes of animals.
00:38:52
Speaker
So I've applied that to my work, but using surrealism as the vehicle to get that across and getting back to what I was saying before about the reflection of our world, surrealism allows me to illustrate concepts that are fairly abstract to a lot of people depending on where you live. I mean, if you
00:39:17
Speaker
You know live in an area where you're suffering from drought and flood and famine and whatnot, you know, that's a very different reality but You know for a lot of people These concepts they they can't really really visualize them and I can use surrealism to relay that to them give them a visual and Hopefully inspire them to do something about it then Yeah, there's some
00:39:48
Speaker
One thing I wanted to mention to you, Amy, as far as a work of art, when you mentioned that the Botticelli that just kind of stopped you, I had that experience with Las Meninas by Velázquez. And I got into painting because of that painting, I think because
00:40:13
Speaker
Well, it's an incredible painting, but there's so much philosophy and who's the painter, who are the viewer, what are they looking at? There's so many questions that have been taken up with that. You know, where a painting just opens up that universe, like you said, with the Venus.
00:40:31
Speaker
One other thing I wanted to mention, because it's actually my favorite graphic novel, and I think it was kind of written for you, and they're translating it, and they're going to make a show out of it on Netflix in June called Sweet Tooth. Oh, I'm not familiar with that. Yeah, it's by Jeff Lemire, a Canadian writer, and the graphic novel or the series Sweet Tooth is the best I've ever read.
00:40:58
Speaker
And also, it's I don't I want to give anything away, but it is about the environment. It is about animals and it is about post-apocalyptic. OK.
00:41:10
Speaker
And so that's coming out. So I recommend it to everybody. Yeah, yeah. And Amy, I swear, I think they kind of wrote it for you. So take a look.
Where to Experience Amy's Art
00:41:21
Speaker
Amy Guidry, Amy, I was wondering if you could point the listeners to where to find your work, see them, whether it's physical in person, if that's appropriate or applicable online. Yeah, yeah.
00:41:35
Speaker
Right now they can see, I have a piece in a group show at Modern Eden Gallery in San Francisco as part of their actual size show, which is going on now through June 5th, in which all the subjects are animal subjects painted at actual size. And then I'll be doing some work for Corey Helford Gallery
00:42:04
Speaker
That'll be coming up in August That's I think that's about all I can share right now about yeah, but that's a wonderful gallery, too. Yeah in Los Angeles and And online you can find my work at Amy Gidry comm
00:42:27
Speaker
And also, if you happen to be in Louisiana, just as one of their exhibiting artists, I have worked at Lemieux galleries in New Orleans on Julia Street. So you can always see something of mine there. And I think that's about it.
00:42:50
Speaker
Well, well, well, well, thank you.
Closing Remarks
00:42:52
Speaker
Um, and, uh, as I mentioned to you, I followed your, your work, uh, for some time. And, um, I personally really appreciate the opportunity to chat with you about it. I've learned, I've learned a lot. Um, and even in particular, I've been just wondering about more about surrealism because it's popped up in the show. Um, but also, you know, just down to it, you know,
00:43:16
Speaker
you know, the earth, right? Our use of the earth, which is, you know, a big concept, but it's also probably pretty simple at its basis. So I want to thank you for spending the time on the podcast. I really enjoyed chatting with you and gosh, I can't wait to see
00:43:39
Speaker
I can't wait to see what else you create. Well, thank you so much, Ken. I really appreciate it. And like I said, I really love having these opportunities to explain my work and give people a little more insight, you know, because like you said, it's an important topic. And, you know, it's really simple when it comes down to it. You know, we all just need to be aware. Thank you so much, Amy. Thank you so much, Ken.
00:44:13
Speaker
This is something rather than nothing.