Listen Here

Amy Campbell’s story is featured.

“Amy Campbell is a Contemporary Abstract Artist and Creative Business Consultant, making her mark on the internet through her popular brand Motivated Creative™. Amy has inspired and is equipping thousands of up and coming creative business owners with the skills and strategies they need to create, build, and grow profitable businesses by optimizing their online presence.

Amy started her journey to entrepreneurship as the founder of Craft Collective – a community focused art workshop, garnering the attention of media outlets like The Bay of Plenty Times and Indulge Magazine with her weekly column on creative industry trends. After a rocky separation in 2016 that left her needing to build a profitable business quickly, Amy transformed her passion and love for both art and digital marketing into the successful business she has today.

She’s also a founding board member of the Flying Squirrels Charitable Trust, set up to create free art schools for children.”

Welcome to the Story Therapy podcast, so I wanted an excuse to have conversations with and do a deep dive look into the stories of entrepreneurs I respect and that’s exactly what the story therapy podcast is going to be. It’s time spent discovering and learning about the unique, complex and inspiring stories of many different types of creative and ambitious entrepreneurs, business owners, content creators, and more. All focused on making an impact and changing the world in small and big ways.

On the podcast today, the stories that we feature here, artists, incredible. I love doing this so Amy has some really fun, incredible things to share her story and we gotten a great discussion about this because I can relate on many levels around art, around how it’s hard to combine art with business because we have those who are truly passionate who wants to put art first and foremost, but you can’t have a profitable business you can’t make a living without implementing some business and marketing strategies into that art. So she is first and foremost and incredible, incredibly talented artists and second, a business owner and second to that or first to that basically combining those two so she can coach and help guide others to combine art and business and to make great profit out of it and to live a life where art can be very profitable and very life-sustaining early because there’s– there are definitely those starving artists that exist, but I feel like that’s going away. I mean there are so many ways to make money with art and so I love our discussion. I love hearing her story. So let’s get into it a little bit more.

Dallin Nead : So I wanted to get you on, Amy, to talk about your story more. You and I have met in person, we talked a bit, but I want to learn more about what makes you, you or your background and to do that, I like to start from little Amy. Little young Amy running around. And at what point did you discover, I mean, you’re an artist, you’re an incredible artist. At what point did you discover that you were a very artistic person? Little kid or older kid?

Amy Cambell : So that’s for me started when I was 12 years old. I think my parents had noticed at home I was really interested in painting more than anything else. So they enrolled me in a, what was called a Beacon Art School and it an incredible format because it was so different to school. There was no curriculum, there was no testing. It was pretty much a free for all, which is what creative love. We love freedom and no boundaries to create. And the teachers would take us into a room full of pillows. I’m thinking back, it’s actually quite amazing and we would have a guided meditation and this is like the eighties were like meditation and new age stuff wasn’t even about. So it was quite ahead of its time. So we’ll do a guided meditation would, they would talk us about, so maybe going for a walk into a forest and we can see a wizard and the wizard would sit down and talk to us and then they would finish the meditation. And then they would go around the room and ask everyone, you know, what did your, was it look like, what was he wearing, was he old, was he– So it was encouraging creativity and I’m also getting you to understand that everybody’s minds and the way that they view things are different. So I think I had quite a lot of benefits more than just creativity and also helped you to sort of calm the class down before we started and then we would go into the classroom and they would say, “Okay cool, we are learning about this today.” Whether it’s like marbling paper or on the dark paint or something different. And so they would give us a prompt or you could do whatever you want. And so I feel like a creative kid, it was like all the colored papers, all the paints, like everything that you didn’t have at home and you can just go nuts with it. And so that’s where I started. And then sadly we– it got quite expensive for my parents and they had three children and I just had to, I had to stop going and it was really quite sad that I had to stop going, but I kind of, as a kid, you don’t really know why you stopped going, you just don’t go anymore. And then when I was in high school at about 14, I did a sculpture for my art class and it was a bust of Jimi Hendrix and I got top of the class and I kind of went, “Oh, okay, maybe this is something that I’m quite good at it.” So my dad’s still got it in his office actually, is actually still good. And then I guess when you’re at school, when you go to the careers advisor, “What are you going to do with your life?” Sort of thing, that’s a career never discussed. It’s always like money making and you’ve got to think of long-term. And I got talked out of it basically. So I then ended up, in my working life, became an executive assistant for like investment banks, so it was like total far-into-the-spectrum and way-far-away from creativity. So I worked as an executive assistant for global CEOs for companies like Deloitte, Pricewaterhouse Coopers, Viva, like all these blue chip companies. I worked in London and Munich and Frankfurt and then when I came home from traveling I was, I don’t know, I guess I just had had enough of the corporate stuff and I was like, “Could I do this?” It was seeking permission to have a creative career. “Could I do this?” All your life you’re told that it’s not a way to make money, but I thought, “I’m not happy with what I’m doing” rather what I should do things that makes me happy. So then I sit out to recreate this art school that I had growing up because there was nothing else around and New Zealand, the prime minister at the time was very pro saving money and doing cuts all over the shore and they actually cut art and science out of the school curriculums. So if you’re an autistic kid, I thought it was so sad, there’s no art. At least you had a really artsy teacher literally at art class. So I thought, “How can I do this?” So I created a business called Craft Collective and we have workshops for adults and kids and we just basically bring creativity back into people’s lives. We had the big workshop, we had all the supplies come and just make, just hang out, have a cup of tea, get away from your kids if they want to, away from your job and we’ll clean up all the mess and it was really popular. And we did like ladies’ nights, we did birthday parties, we did after-school care, school holiday programs. And then I also, off the back of that, set up charity called The Flying Squirrels Charitable Trust and created free art classes so that kids similar to me who are creative, who his parents couldn’t afford private art tuition could come along. We had a gun teacher and like it make monsters and just really feed the creativity. But about a week after we opened, I found out that I was pregnant with number two and it was like, “No, I just set this all up, just invested all this money.” And so it kind of settled on for another, like after the baby was born, I think even Dassey was probably about nine months and the sleep deprivation was kicking in and that was just an– I was having issues with staff and it was just too much to manage. I had a toddler and a nine-month-old baby, so I just closed the doors and just gave myself permission to rest, to have some time out. And then so I took about nine months off and in that nine months I spent a bit of a little bit of soul searching and thought, “What am I going to do now? I still love business and I still want to be creative. How can I sort of put those two together?” So I started doing art, just painting. I started getting commission, people like my art. I was really stoked with it. I started selling prints online, selling originals. But I noticed that the vast majority of creatives, it’s not really– I guess it’s a skillset missing. We’ve got the creativity down, we’re not short of ideas, but marketing has had for artists, they don’t know how to sell beyond one painting, they don’t know how to make it a sustainable business. And I had all of that experience from running a business and a workshop or their organizational and time management stuff from supporting these CEOs. I just kind of rolled it all into one and created a course and thought this is how I can help a lot of people beyond working with me one on one and in the course we cover everything from productivity to mindset to digital marketing to pricing and planning. So all the stuff that creatives shy away from, but they actually need to build a sustainable business beyond selling individual painting. So that’s kind of a fast forward from the little Amy to the big Amy.

Dallin Nead : I love that. I can relate so much. And you, would you say you cater more so to the artists who does more canvas based art or oils– I mean, what kind of art do you niche into with your business and your programs?

Amy Campbell : The program is actually for a wide range of credit, so you don’t have to be a painter or artists, it’s illustrators, it’s designers, it’s event planners–

Dallin Nead : –photographers, filmmakers.

Amy Campbell : –videographers, all of that. Anyone with a creative business who is looking for ways to scale their business and get beyond that trading for one hour at a time for dollars rather, and helping them to create packages and just build a bit more of a robust business and rather than floundering around knowing that they love what they do and they’re passionate about what they do, but they just don’t really know how to move the blocks around to sort of make it sustainable.

Dallin Nead : That’s a massive pain point because I’m a storyteller, I’m a filmmaker, I’m an artist, first turned business owner. I love the business entrepreneurship side, but it’s such a hard thing for artists to– you don’t have to break away or detach completely, nor should you, but you have to find a way to marry the two, right? You have to marry the art side and marry the business side in filmmaking. It’s show business emphasis on business, right? And so– or on Broadway and things like that. So I completely agree. Creative entrepreneurs, a creativity artist, they struggle with the business building know-how and actually making it lucrative and to fight the starving artists’ stigma that exists.

Amy Campbell : It’s really perpetuated from a young age and either add as a hobby. It’s just something that you do for fun. And there’s not a lot of role models. If you have a look at the creative industry who is out there killing it, making six figures, could you name one, probably no, at least your talking about the Damien Hurst or these guys who are doing massive pieces, multimillion dollar or–

Dallin Nead : –or mainstream, right? People may think of like the pop of Picasso. Would you use a very general but you think of your parents, right? Who weren’t necessarily identifying as a viable career choice. My parents too in a similar way with my arts pursuit. But realizing it’s really– and if you do name the people, they’re such at a high level that it’s like, it’s not like you can be the next Steven Spielberg or the next Pablo Picasso or however else you want it. The easy ones to identify it’s like calling, like when you’re an entrepreneur, it’s not like you can be the next Steve Jobs like, “Okay, good. I’m not trying to be.” You can still make six figures in kind of be behind the scenes a little bit.

Amy Campbell : Well, if you think about those past masters when they were creating their art and then their time and in their heyday, they were probably thinking exactly the same thing. I can’t beat The Rembrandts, I can’t. These guys are just absolute masters at what they do. So I think that that’s a mindset piece, which is why that’s the first module on my course has people thinking I’m not good enough. “I’m not good enough to make this as a career. I can’t even look at someone like David Hockney or people who sell paintings.” I mean, there was– there’s a New York based artist, John Michel Basquiat, and he, he’s sold a piece of painting for 68. I’m sorry, 98 million. So yeah, for one piece of work, so–

Dallin Nead : That’s a modern piece. That’s a recent piece of art. It’s not like they’re selling, I don’t know, some random example, but–

Amy Campbell : Yeah, so there’s definitely a massive art market out there. It’s growing as well and people see art as a way to invest. So while my course is focused around creatives in different industries and stuff like that, I think that you can use the examples of the same– they’re always big heavy hitters, I’m sure in your industry that you looked to and model and see how they’re doing their business to try and get ideas and stuff like that. So, and every industry, there’s the big guys, you don’t have to be him, but I just think it’s about not being intimidating and feeling like, “Well, they are so good and I’m never going to get this. I’m not going to try. I’m just going to keep scribbling away in my, in my home office or in my garage. And it’s just a hobby.” And just getting them to understand that it’s absolutely a real business opportunity in the market is miss, have you just have to have those foundational blocks around time management, pricing, profit and trading at like $100,000 business and it will become the– and yeah, I definitely think there’s a lack of role models because I even growing up I was like, “Who do I want to be like?” Well, this is now I know one. Yeah, this is not the only kind of familial middle guys. And also to creativity. It’s not just around building it as a career, it’s a skill set that can be applied to all different areas of your life as well, like problem-solving or just working things out and critical thinking. And it’s a way of thinking and it’s a mindset as well. Being creative, thinking, “I can work this out.” And having that growth mindset that, “No, I’m not amazing now, but if I keep trying, I will eventually developed a skill set and I will be better.” Like I love looking at Instagram. If you find someone who’s art or style that you like and then you scroll back to when they started and you have a look at their work and you’re like, “Imagine if I had looked at what they had produced back then and just gave up and went ‘Oh crap.’ “ And then you look at them now, they’re amazing and it’s really inspiring that you just have to keep chipping away and have to have some clear goals in place and go easy on yourself because you will, you can only get better. You’re not going to get worse.

Dallin Nead : That’s so true. And you may have a worse moment, maybe one piece of arts and maybe not as good. I mean, that’s what I find, right? Like there are in my art experience, like there are ebbs and flows for sure, and it could be down to effort or passion behind the project you’re working on but I think it’s having that support system but also watching– you’re like looking at art with the lens, like an objective lens because– or is it art that is subjective, right? Where it’s not necessarily dependent on your sole opinion, but on the opinion of others, right? Like those, if you’re going to make art for other people, understanding what your audience is looking for in their interests and what they’re willing to pay for as well.

Amy Campbell : There’s a fine balance and looking at what’s commercially viable and what’s currently selling and maintaining your own artistic integrity. Not compromising that. Like I found when I first started painting and creating work I’m all about– I was thinking about selling prints and highway stools, so I was looking at the Pantone color of the year. I was looking at interior designs. I was looking at Instagram artists too. They had massive followings and I don’t really think it was might be screwed because I was trying to fit inside this box of what I thought would sell. I mean, looking back at it, it’s not bad art. It was pretty commercially viable, but it didn’t have my heart and soul in it. So there’s something that I think is really important is, is to create what you absolutely love and then find the market, find the people that love it because you could have one painting and show it to 100 people. 50 people think it’s rubbish. You have 50 people think it’s a masterpiece and the other next big thing now. So art is one of the only industries like that. It’s really dependent. It really is in the eye of the beholder. And some people I keep that on my Instagram and stuff and people were like, “Oh, that’s amazing.” I’m like, “It’s not my best work.” but you know what I mean? And they don’t know that’s how I feel about it.

Dallin Nead : So true. It’s so true. I kind of spoke about you cater to the audience, but it is such a fine line, the true artists that are just like their heart of hearts, the passion and something can turn out so incredible and sell really well. But maybe the artist is like, “Well so like my heart wasn’t fully into it.” but yeah, I usually you can tell when people’s heart is fully into it, a piece of art. But there is definitely a fine line I feel like to walk between the– like you used the term commercially successful so to speak versus the kind of a true art project where they can definitely line up. They can be commercially successful and like the passion project and be one in the same. But a lot of times they’re kind of unparallel paths I feel like where it’s constantly shifting and like the ideal connection between the commercially successful and  the passion projects, I feel like is where you sit to help guide artists because it’s trying to figure out like you can be very passionate about it but you also can be very commercially successful and you don’t have to draw a line between and you can’t cross over. Like there has to be crossover. So you can make it a viable career choice because it totally can be despite popular belief. But like finding a way to marry the two together and then be mean guide on that path and it’s a hard thing. It’s so hard. But I think it’s, I think you used the word nurturing or enabling or something like that early on experience. Being able to be nurtured and enabled and know that it is possible. And I love that you build programming around that.

Amy Campbell : Yeah, I think we own our way of critics and we don’t feel good enough. So I think first and foremost we need to except that art, it is a viable career and then you just need a roadmap, “How do I get there?” Start with your Facebook presence. Start with your website, making sure that you’re showing your art, you’ve got good photography, making sure that you have a particular idea to find the niche market. So there is a market for every artist. They’re really as in, it’s just having someone to show you how to get there, how to package it all up, how to make sure that you’re professionally represented. Some people like to go the path of galleries and they take a large commission, but you have access to their database of files or going your own path and setting up your own website and market yourself that way. It really is marketing. So I wanted to get past that mindset place and you go, “Okay, I want to do this. That’s good enough. I love what I do and I want to do this for the rest of my life, even if I never got paid.” Now the notch this honestly marketing and getting it out there. Julie says to us, quite often, businesses just meth. Now get your art in front of enough people. You got to have a conversion, right? You gonna make sales. It’s just about having a nice step by step way to get to the point where you’ve got yourself visible regularly and in front of the right people and it’s inevitable. That’s what I say to myself quite often actually, success is inevitable. If you keep trying and you’re regularly putting yourself out there on Instagram or Facebook and you’ve got a bit of a strategy behind it, you cannot not make sales. Just about giving hope I guess to creatives and knowing that they don’t have to hide the paintings in the garage and it’s just a hobby that will never turn into anything.

Dallin Nead : Well and you bring up a good point just the end there. Keeping your painting in the garage is– if you want to be successful in a way that making art your career and having that marriage of the two, employing the math and marketing, all that. You have to be willing to publish your art and to not be such a perfectionist. And this is, it’s a struggle in my side of the art, your creative industry as a creative entrepreneur, yours I’m sure is that there are plenty of paintings or art that goes unnoticed. It doesn’t get any attention because it’s that art that’s hidden away in someone’s garage somewhere because they’re too much of a perfectionist. They’re too scared to share it, to put themselves out there and to publish and I think one of the thrills I get out of art, whether I’m experiencing it in of other people’s art or I’m sharing mine, I was like, “As art as it is, I have to share things that I create. Otherwise what? I’m not sharing it and people aren’t seeing it. That’s so hard for me.”

Amy Campbell : Yeah, you can’t really– I find myself have a physical uncomfortableness if I haven’t made a painting for a little while, so I have to get it out. Hard to describe what it is, but it’s an urge and that’s how I know that this is what I always meant to do now. How I’m feeling uncomfortable enough that I need to constantly creating, I’m on the right path and this, I know so many artists who are so talented and have incredible painters or sculptors usually out of a multi-talented. They usually can do sculpture and art and drawing and music. Now that’s kind of like the vein that they plugged into. But they’re scared. They’re scared of either rejection or people saying that their works are no good, they’re scared that they’re going to put all this effort into a normal buyer. So what’s the point? And well, they just don’t know how, they don’t know what to do. They think that if they put a post up on their facebook page and then if no one buys it, then it’s a failure and it’s just like, “Well actually you need to like kind of be on people’s face constantly.” And then that dream 100 strategy that we talk about a lot in the mastermind, identifying who it is exactly your ideal collectors and just make sure that you are where they are. And I was actually just talking about this yesterday with a client and I’m unpacking that strategy and when you need to find who you would like to buy you art or who you think will be in the market for your art, who can afford it. Think about the day we with that person. Where do they go get their morning coffee, where did they take their kids to daycare? Where will this person going get their hair done, what do they know, and be on all of those places so that this particular person doesn’t– you’re not marketing to everybody, feels like they see you everywhere. And so it’s almost like they feel like they’re being followed around by you and just little things like that artists like, “Oh, we get taught a lot about, about the work and about provenance and learning about art history and all of the technical aspects of creativity, but I don’t know that marketing or art as a business nearly as enough time on.” There’s just so many people that I know– my cousin is a fantastic artist. He actually does, 3D sand art and so he’ll go down to the beach and all he uses is a stick and correct these anamorphic sculptures that appeared to pop up from this end. It’s just amazing. He’s been flown to Dubai, he’s been with, been flown to Israel to teach people how to do this. Also, an amazing painter, also a sculptor, as always tend to be and I was talking to him about Instagram. I was like, “Okay, so you’ve got to do video. People love to see works in progress.” They’re just trying to give him some gene told not just to get himself out there because he is really, really good. And he said, “I don’t want to be annoying. I see that sometimes in my newsfeed, people plugging their events or I don’t want to be that guy. Don’t like putting out.” We’ll find out. I guess there is that negative connotation with marketing and self-promotion that’s at the end it’s slimy and I think that needs to change. You could actually just sharing and more you share the high attack self, somebody saying it’s amazing and want to buy it.

Dallin Nead : Completely agree. You offer all these incredible experiences to creative entrepreneurs. You have programs, you’re building up a massive content strategy where people see a lot more of you through video in other forums and already your paintings or your art just in general is incredible. I do want to step back a little bit and to talk a little bit more about your own journey and story. So from young Amy to big Amy or like you said older Amy, if you can boil down this journey to where you are now and where you’re going into one core goal or desire of what you want to accomplish out of everything you’re doing, what would that be?

Amy Campbell : I’m quite a spiritual person as well and so I think underneath it all what I’m trying to do is to change people’s vibrations, so whether that’s with my art, by bringing colors and bright colors because that’s my style. I’m a maximalist I like to use every color possible in every painting because I know that has a vibratory fix like I feel that we are not just it’s gonna bind, we have vibratory beings and that when you see a painting like that, it changes you. It makes you. It can be uplifting and make you feel good and make you feel better and the same with these creatives and these artists. I want to shift the mindset and shift the vibratory and the vibration and make them understand that they are good enough and that they are telling talented, they are amazing. So it’s almost like a– I’m almost like a therapist. Like it’s just getting people to understand that they are amazing and anything that they can do as possible, you just need help. There’s nothing wrong with you, there’s nothing wrong with your art, you just need some help with the marketing. So that’s really what I’m trying to do is to, I guess change the world one artist at the time and change the world one living room at a time and, and fused positive energy.

Dallin Nead : I love that. I love that so much. And so what stops you from accomplishing that? What’s so challenging and so hard about trying to accomplish that amazing goal?

Amy Campbell : I think that I suffer exactly what I’m trying to help everybody with it. And it’s too many ideas and having too many projects on the go and just try to do all things at once. And so that’s what I’m really focusing on at the moment is monotasking. I just doing one thing at a time saying no to everything else. And not that I can’t do it, I just can’t do it right now. And just learning to park my ideas and just go. And I did the exercise actually where I am, I’ve got this Trello boards and I have a less call in my inbox and usually on the computer I’ll be like, looking around I’ll be like “Oh, that’s right. I’m going to call that guy because I want to do the interview with him.” or “Oh, I want to check out that artist I’ve heard about.” And so what I’ve been doing as parking these all these ideas into this list and this list is getting bigger and bigger and bigger. And then at the end of the day I’m like, if I had have actually acted on all of those consequences ideas or those phone calls or those websites and that’s what I have been doing. And that’s what’s slowing me down is that I’m just acting on all these impulses and not staying focused on one thing. And since I’ve been doing it, I’ve just made great strides in my productivity because I’m not chasing shiny objects. So I guess I’m just trying to master myself and then as I’m learning along the way and thought of sharing that with other people because I know that we do. “Oh wow. What’s that? Oh, that’s cool.” Because we just actually curious.

Dallin Nead : Yeah. And that’s what unique curiosity as an artist. Curiosity as an artist is so important because that leads you to new paths and new ways to do things and new passion projects really. And I think it always like it relates to entrepreneurship, artistry is always needing something to chase, always looking for that next thing. And that’s not in a way of like being distracted or never fully fulfilled. But I think when you lose that element of having something to chase or look forward to, then you lose a purpose. Whether relate that purpose to a spiritual self or a professional self or personal stuff, whatever that may be, we always need something to chase. And I think as artists, it’s chasing like whether it’s to get your art in a certain place or to make a career out of being an artist or as an entrepreneur, to make a certain amount of money or to make a certain amount of impact in people’s lives. You know, you said your goal being changing artists, creative entrepreneurs one person at a time and that journey and that goal is, I just, I think it’s incredible. And how you frame it is incredible because you’re not talking about like, “I want to do it for a million people.” You’re talking about that one person at a time because that’s, that is a much more personal touch.

Amy Campbell : Yeah. I think what we’re seeking is growth and progress and we light up when we learned. We actually expand when we learn something new. So I think that’s also what we’re chasing is new experiences and new formats as artists. Like I was talking about before, how they usually multitalented. And it’s not only an art, I think sport, like you look at somebody like Kelly Slater or Tony Hawk or they are like world-class skateboarders or surfers. They’re like, “Oh, I’m just going to try snowboarding.” Oh, number one in the world. Oh, I’m just going to try– they both switch codes and stuff like that. And they’re just as talented. So I think it’s, it’s almost like the medium is irrelevant. It’s just the passion and the energy for what you’re doing. Then that’s creating, learning, expanding and growing. And that’s what we’re seeking because it feels good. It feels good to learn stuff and go “Ah, that’s how you do it.” And it’s, I think we’re chasing mastery, we want to get to that point where we feel like, oh, this, like “I’m really, really good at this thing.” Yeah just growing as a person who is actually a phrase and Japanese called icky guy and it talks about purpose and they say, “The biggest killer of old people in retirement, it’s retirement.” So when they stopped doing stuff and they have nothing else to do and the purpose has gone, they die, they have shorter lifespans because they don’t have that– you’re not connected to that purpose and the reason for living and that, that life force, that purpose is actually what keeps you alive. It’s, yeah, it’s pretty powerful stuff and I think it’s downplayed a lot. It’s not just painting a painting. We’re connecting to ourselves. Like I don’t go too far that way, but I do. I noticed like even when I’m painting how I’m, I noticed how I’m feeling in my body and I just, it feels amazing. It’s like, yeah, it’s fun.

Dallin Nead : Well, art is an experience. Oh, 100 percent an experience. But my wife is– I mean we both are, but we kind of, we have phases, right? Like I think how we experience art. I think last year it was, we went to, we live in Los Angeles and we went to as many museums as possible. Museums where literally there is art on the wall from, long, long ago to more modern stuff, modern exhibits. But we, I think probably hit every major museum across LA.

Amy Campbell : Wow.

Dallin Nead : It’s Broadway shows. The local Broadway theater in LA is called Pantageous, the Broadway hub here in southern California and we have seasons passes. We’re going to, I think 4 shows this year, but it’s like art is so much of an experience and you go to the cinema, right? It’s so much from an experience where you, when you focus on bringing present to experience that art and interpret it however you want to interpret it based on how the artist is presenting it, it’s different for everyone or the emotion is very similar. But, but that’s– I mean for your kind of art too, it’s so incredible just to– those who truly appreciate art and are willing to pay for it to make the artist’s career more lucrative is the ones who really appreciate being able, just to stand there, stare at the art and trying to figure out “How am I feeling? What am I feeling? Why am I feeling this way?” And I love it. I love the emotional power that art can invoke in us.

Amy Campbell : Yes, instant. There’s a quote from Wassily Kandinsky and he talked about “Colors being the keyboard.” I haven’t got that quite with me, but something along the lines of that, it’s really– and you changed after you’ve seen it. You know yourself when you’ve seen a particular movie or even music or a painting and it just sticks with you. Like you don’t know why. I love that painting, it really speaks to me. So it’s that you’re connecting to the artists through the art and it resonates with you. And then sometimes you can see a piece of art, even some of the classics I’m like, “I don’t really like it.” We’re all having a human experience like this and expressing our talents and exploring. And that’s really, yeah, it’s just downplayed as, like I said before, when it’s, especially when I was growing up and stuff like that, it’s just a hobby or movies or just things that you go and see for something to do. It’s recreation, but it’s not. It can actually be your, your whole life and your career. Oh, hang on, I’ve lost you. I can’t hear you.

Dallin Nead : There we go. I find– art for me and creativity is a form of expression for sure. But for myself personally, it’s a form of connection where I need that connection as too many humans that– I speak a lot about this because that’s kind of at the core of my own desire is the reason why I do things across every aspect of my life is to find connection. I find connection personally through art, creating something. I find connection with others through learning about their stories, through talking with them, through just meeting people and having relationships and then seeking new experiences. So I think art very– that’s one reason why I wanted to talk with you more and to have you on the podcast is to learn more about your story, but also have a chat about art because it’s so transformative and that what you’re doing too shake up that industry and to break down those barriers of artists working on trying to make it their whole lifestyle and to be successful at it monetary wise is incredibly achievable now more than ever to.

Amy Campbell : Imagine how many artists that discover me and learn the tools and techniques that they need to enter business. How many Great Picasso’s or Salvador Dali’s or Matisse, are just hiding because they don’t, he didn’t have the confidence or the skill set to get it out the end of the world that– that’s part of also what lights me up about what I’m doing was like, “I can’t wait to see all these musicians or filmmakers, lurking in the woodwork ready for– all they need is a bit of encouragement and a bit of support to make it. They’re real full time gig and I’m just saying all of the talent that’s out there can’t wait.

Dallin Nead : Completely. Completely agree. Amy, where can people be guided by you as a creative entrepreneur? Take your programs, follow you.

Amy Campbell : Probably the best way to follow me and see what I’m doing is through Instagram, so my Instagram handle is just Amy Campbell Creative and there I put both my art for sale and also my core stuff so that you can kind of keep up of everything that I put it all in one place.

Dallin Nead : Love it. Love it. Yeah because hands down artists need your guidance. They need to know that it is possible and that there are resources and tools to make it possible, so I’m super happy you shared some of your story. You share this insight and we’re going to have so many more conversations. This is fun. We obviously have met, will meet many more times and it’s such a fun community that we’re in.

Amy Campbell : Well, thank you so much Dallin, because you are actually part of the story as well that you’re realizing it by having me on your podcast and allowing me to talk to your audience or anybody who might come across this thing might be, yeah, it might peek their interest to go, “Oh, you know what, I really love painting and I just do it on the weekends, but maybe I could–”. And I say thank you for inviting me into your world and allowing me to share my message with your favorite as well. I really appreciate it.

Dallin Nead : Of course.

Amy Campbell : We’re going to find some more Picasa together.

Dallin Nead : Yes for sure.

Thanks for listening to the podcast today. If you found some inspiration and enjoyed what you experienced from listening to these stories, then will you please leave a friendly review on itunes, share this with someone who needs it, and just continue to follow us here on our storytelling journey.

Dallin Nead

Dallin Nead

Over the past 10 years I've worked in corporate, travel, film and broadcast video production serving major brands like Carnival Corp, Princess Cruises, U.S. Marines Corp., and Teachable. Through all of this I fell in love with the power of story and how it literally has the power to change the world and grow businesses. I've traveled the globe using video and content to capture stories he's proud of and actually make a difference in people's lives and in the legacy of success for a business and person. StorySelling was inspired out of the need to combine effective methods of marketing and storytelling with proven quality, systems, skills, and people.