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A Garden of Her Own–Gina Perregrino

When you were a child, what did you dream of becoming?

I have always dreamt of performing! I wasn’t always sure if I would be a singer or a dancer (I originally wanted to be a background dancer for pop artists), but early on I eventually landed on being a vocalist and I have been singing ever since.

What first drew you to opera, and when did you know it was the path you wanted to follow?

I stumbled upon opera in my early teenage years. Growing up listening primarily to Motown and soul music, opera was completely foreign to me at first. But the more I studied and sang, the more my voice naturally moved in a classical direction. I am of the mindset that most voices can learn to sing multiple styles if you train the mechanism properly, but like people, voices have their own temperaments. Classical singing came to me more naturally than any other style—it just felt right.

After training formally for a while, I discovered my connection to opera was ancestral. My great-grandfather, who immigrated from Italy, loved opera and listened to the Met broadcast religiously every Saturday morning, so when I made my debut and became part of a broadcast myself, it felt like coming full circle.

Were there pivotal moments or mentors who shaped your journey as a singer?

Absolutely! I’ve had a few mentors who shaped my path so profoundly that I wouldn’t be where I am today without them. My first musical mentor came into my life when I was 12 years old, and I was fortunate that each mentor who followed appeared at just the right moment throughout my development. They were spaced a few years apart, perfectly timed, like passing a baton from one to the next. Looking back, I think what I miss most about being younger is having that many mentors and that level of support around you as you’re coming up. Once you’re more established in the field, it’s a different kind of journey.

What has been the most meaningful role or performance in your career, and why?

I have favorite roles and favorite composers, but two experiences stand out—both rooted in music that have international influences and that are outside of the standard operatic canon.

The first was A Thousand Splendid Suns at Seattle Opera, written by composer and now dear friend Sheila Silver, based on Khaled Hosseini’s novel. The story is profound on its own, but coupled with Sheila’s music, it jumped off the page. Indian music is wildly complicated – it was also quite possibly some of the most difficult music I’ve ever learned. The opera is set in Afghanistan, so the score incorporated Indian ragas with a traditional tabla player joining our Western classical orchestra. Even more amazing was that it was an entirely woman-led team, with our director being Roya Sadat, an Afghan film director who fled the Taliban herself. The entire experience was incredible.My other obvious top experience was Ainadamar at the Met last year, which was intertwined with the story of Federico García Lorca in Spain and featured music heavily influenced by flamenco. I was in a role that combined two passions of mine: song and dance. It was absolutely exhilarating.

You’re also a teaching artist. What do you hope to pass on to your students, and what do they give back to you in return?

I love my students! My studio ranges from ages 9 to 92, with students from all different musical backgrounds. What I hope to pass on is a sense of creative autonomy—that they are the creators. I have clear teaching goals, but this isn’t school where they’re told what to do. We reach the same destination through very different paths, and each student’s passions dictate how we get there. That’s what being an artist is really like—we thrive when we lean into what calls us on a soul level, which is different for everyone.Additionally, when I was young, I had to venture outside my circles to find a teacher who could prepare me for the level I wanted to reach. We eventually found her, but it meant driving 1.5 to 2 hours each way every week. When I started my studio, I wanted to be that one-stop spot for people so they wouldn’t have to search as far as I did.My students give me so much—they remind me to stay flexible, to be present, to cultivate what brings us joy. They make me laugh, they let me into their lives weekly, they trust me to prepare their performances. The list is endless. I’m just honored to play a small part in their musical journey.

Beyond singing, you’re a writer and speaker. How do these parts of your work connect with your music?

Most of my writing and lecturing is deeply rooted in my experience as a performer. I wrote an article for the Huffington Post about a poignant experience overseas that changed my perspective on performing, and when I’m asked to speak or lecture, it’s usually for performers. One of my favorite workshops to teach is one that is a collaboration with a social worker from Penn Medicine called Stage Ready, about performance anxiety and how it affects us on and off stage. That class, as you can imagine, is usually full… Managing nervous system stress is one of the most challenging parts of being a performer.

What advice would you give to women pursuing a creative life today?

Children learn from mirroring, and there is a little girl out there who needs to know she’s free to be herself.

Who is a woman, from the past or present, that you admire or find inspiring?

My favorite artist of all time across all genres is Chavela Vargas, a ranchera singer. She was so defiant and authentic in a time period that found everything about her blasphemous. Ranchera is a genre in Mexico that was traditionally only sung by men—until she came along. Her sound is visceral and imperfect, and I find her authenticity and wildness inspiring.

You can check Gina’s website here: https://ginaperregrino.com/

TAGS: artist, interview, kennettsquare, pa, people, PeopleofKSQ, photography, portrait, story

A garden of her own–Laura Wentzel

March 21, 2025 art, artist, business, interior design, interview, lifestyle, people, photographer, photography, portrait, powerofawoman, project, Story

Meet Laura, an interior photographer and designer.

When you were a child, what did you dream of becoming?

When I was a child, I dreamed of becoming many things. At different points, I imagined myself as a graphic designer (which I ended up doing!) an animator and writer, and even working in wildlife management, helping to protect and preserve nature. Each of these dreams reflected my curiosity and passion for creativity, storytelling, and the natural world. And, I’m fortunate that in many ways, I’m still engaged in most of these interests in my adult life.

What inspired you to pursue this particular path?

After spending 15 years in the graphic design industry, I started to realize just how much of my free time I spent learning about interior design, architecture, and photography. It turns out that the subjects that dominate your bookshelf or Pinterest boards are telling you something.

I’ve always had a deep interest in space and environment — how people live around the world, the environments they create, and the ways those spaces affect their emotions and interactions.

I’m the kind of person that tends to embrace opportunities as they come rather than charting out 5- or 10-year plans. When we moved from Arizona to Pennsylvania, a design/build company in my area was hiring an interior designer. We were halfway through our home renovation (which was a complete gut of a 1970 home) and I had taken interior photos of the renovations I had done at our home in Arizona. With these photos as my portfolio, I applied, got the job and took the leap into the world of interior design.

After about a year at the company, there came a point when they were in need of a new photographer to photograph their completed projects for social media and marketing. Given my love and experience for photography—especially capturing my own home and life—I offered to take the photos. That moment sparked my career in interior photography, which I’ve come to love just as much as interior design.

To sum this all up, I’ve learned over the years to take my interest seriously and not be afraid to put myself out there and try. It is hard to do, but in my experience these leaps have paid off.

What tool, object, or ritual is essential to your workday?

With two young kids and a number of active work projects underway at any given time, my workday is never the same routine. One ritual that I love is making an afternoon espresso (and usually chocolate!) at home. It makes me pause from my busy workday and appreciate simple pleasures.

What’s the most valuable piece of advice you received when starting your journey?

“You can do it” is one of the most basic and obvious pieces of advice I’ve been given, but it can also be the hardest to believe. It was especially hard for me to believe as I switched careers after having kids. But having someone tell you that you have all of the tools and capabilities to achieve what you are looking for is so valuable and really, so true.

What has been the most rewarding part of your journey so far?

Seeing my interior designs come to life in real spaces is truly mind-blowing. It’s especially remarkable since I’m not the one handling the installation. I find myself just as amazed as the clients when I see everything that has started in my mind come together in the real world.

With photography, there’s a unique moment when the shot is perfectly set up, and I look through the viewfinder, knowing it’s going to be beautiful because the composition and lighting are hitting just right. In that instant, I feel a rush of joy and a deep sense of relief—it’s incredibly rewarding to capture that moment.

Can you share an example of a mistake that turned into a valuable lesson or a stepping stone to success?

I make mistakes pretty much every day! What I’ve learned is to reframe mistakes as just an inevitable part of learning by doing. Mistakes are stepping stones to improvement, knowing that with each one, I become more proficient and confident in my work. Also, when you make a mistake and survive it you realize that you’re more resilient than you may think.

I know that not naming a mistake may seem like a cop-out of an answer, but actually I think remembering what we learn from mistakes is more important than remembering or dwelling on what the mistake was.

How do you stay motivated during challenging times?

I read once that design is inherently a hopeful practice. The act of creating something new is a belief that what you’re making will improve the future. Think about something as mundane as renovating a room in your house. When you’re redesigning, you’re actually saying, “This present situation can be improved. This space will be better through this work.” That’s optimistic and hopeful. When you’re taking a photo, you’re really saying about the thing with photography, “This thing is worth preserving. This can be inspiring to others.”

When you look at design and photography this way, you realize that even in challenging or even dark times, there’s things around you that can be improved for the future and at the same time, there’s beauty around you that’s worth appreciating and preserving. That motivates me to keep creating.

Who is a woman, from the past or present, that you admire or find inspiring?

Leslie Williamson is a photographer and author who has carved her own path, creating projects that reflect her own unique passions. She seamlessly blends photography, design, interiors, writing, and travel to tell stories. She goes beyond simply capturing beautiful spaces; she documents the lives and narratives of the people who inhabit them, weaving their stories into her photography and writing.

Her work inspires me because it shows that we don’t have to conform to predefined job roles. Instead, we have the power to design our own careers and lives by merging our passions into something meaningful—both for society and for ourselves.

You can check Laura’s website here: https://laura-wentzel.com/

People Of Kennett Square

August 30, 2021 baking, Kennett Square, kennettsquare, life, lifestyle, people, peopleofksq, photographer, photography, portrait, project

Meet Hilary, pastry chef.

How did your passion for baking start?

For as long as I can remember, I have always been in love with the magic of baking! As a young
child, I would look up wide-eyed as I watched my grandma create these beautiful pies for our
birthdays and holiday celebrations. She taught me how to make pie crust by hand, how to
carefully crimp the edges of the dough, and was always willing to try my new ideas! As I grew
older, I became more adventurous in my recipe choices and I started to get super excited about
the chemistry and science of baking. I love how you can start with the same basic ingredients
but your techniques, temperature, and baking method can yield wildly different results. This
enthusiasm and fascination led me to pursue an associate’s degree in pastry art in 2014! Once I
started working as a professional, I was able to truly hone my skills and focus on consistency
and speed in a large scale production environment. Working in a busy kitchen is an experience
that I wish everyone could have. It pushes you to develop production speed, fast reflexes,
discipline, quick communication, and problem solving skills in addition to appreciating the joy of
hard work and creating amazing food for others. These are life skills that I will always carry with
me! Over the past few years, my passion for baking has shifted and changed a bit. I still love it
intensely, but I know that it’s time to chase my next career dream. I left my pastry position at
Terrain at the end of May and I will be starting graduate school in a couple weeks for digital
marketing! I’m an avid food photographer as well and I hope to someday combine my visual
skills with my food knowledge into a successful career.

Where do you find your inspiration for each of your creations?

I am inspired by a few things: balanced flavors, varied textures, and aesthetic beauty. My
favorite desserts usually contain herbal or floral notes! I love using things straight from the
garden when I can, especially summer fruit. I am often attracted to more rustic styles; I love
French breakfast pastries and I don’t like anything overly sweet. I’m a pastry chef who doesn’t
have a big sweet tooth! I’ll take fruit pie over chocolate cake any day. My absolute favorite
pastry is a fresh “kouign amann.” Imagine croissant dough rolled in sugar (and salt!) before
being carefully folded and tucked into a metal ring for baking. The result is out of this world! It’s
both sweet and salty, super flaky, and the sugar on the bottom melts into a crunchy caramel
layer that dreams are made of. You can visit my friends at the Malvern Buttery to try one
yourself!

Is there anyone who’s been a big influence on what you do?

I had the privilege of working closely with pastry chef Robert Toland for the past five years at
Terrain in Glen Mills and he’s had a huge influence on what I have accomplished. His menu
vision and ideas always kept me learning and pushing to expand my own repertoire. He
introduced me to countless desserts and methods; his drive to try new things opened my eyes
to flavors, ingredients, and recipes that I never would have reached for! We have both recently
moved on from our roles at Terrain but I count him among my closest friends and it’s a
connection that I will cherish for the rest of my life. I can’t wait to work on another project
together.

What is your most well used cookbook?

To be honest, I have a habit of mostly using online resources for recipes. I do have a large
cookbook collection, but I don’t bake directly from it as often as I should! My most frequently
used resource is Deb Perelman’s blog smitten kitchen. The recipes are delicious, streamlined,
and heavily tested; every single thing I’ve made from her site has been amazing! She has a
wide variety of both savory and sweet recipes, ranging from weeknight dinners, to amazing
party appetizers, and wedding cake advice. She explains things in simple terms, tries to keep
dirty dishes to a minimum, and she’s hilarious. Check it out! I will add just a few of my cookbook
author favorites: Rose Levy Beranbaum for all things pastry, Erin Jeanne McDowell for pies, and
Yotam Ottolenghi’s Plenty and Plenty More for delicious vegetarian food. I am also a huge fan of
the New York Times Cooking section — they have excellent savory recipes, fun desserts, and
great videos!

How long have you lived in Kennett square? And What do you like most about Kennett
square?

I’ve lived here almost all my life! When I was two years old, my parents moved to a family farm
outside of Kennett. It has truly been an incredible place to grow up. This is where I got my start
as a professional baker! Dan and Dorothy Boxler of the Country Butcher hired me as their head
baker in 2013 and I spent a year learning the ins and outs of bakery production, ordering
ingredients, keeping track of inventory, taking custom cake orders, etc. It was a great place to
get my start! I adore the warmth and energy of this town. I love Kennett Square for its
welcoming support network and engaged community; over my lifetime, I have watched this
place evolve and grow into a vibrant town of extraordinary people and businesses with a strong
shared identity. After the past year and a half of fear and uncertainty, it’s particularly comforting
to see Kennett emerging as a thriving community once again.

TAGS: pastrychef

The Artist–Elaine Brooks

April 26, 2021 art, artist, handmade, interview, photographer, photography, portrait, project, Story

What initially attracted you to textiles as a medium?

I was always drawn to the weavers at artisan shows. Not just the texture and colors but the mechanics fascinated me. It is a tactile art and has such a rich history not just in this country but throughout the world. It was an important part of the community in early societies. I decided to take a class which led to several more before I felt confident enough to purchase my own loom. Weaving is an organic art in that the loom is made from wood of trees grown from the earth, the fabrics are derived from wool from the animals and the end result provides fabric for rugs, clothing, household linens, etc. full circle.

What or who were your early influences and how has your life/upbringing influenced your work?

I grew up surrounded by fabric, my mother sewed. She made all of her clothes, my own and even that for my dolls (much of which I still have today). Her sewing table was tucked into an alcove in her bedroom and she allowed me to play amongst the bias tapes, spools of thread, cutting table and loads and loads of material bursting from her dresser. I told myself I would never have a room so cluttered with stuff when I grew up – well there it is – I grew up to have a room dedicated to weaving with a 300 pound floor loom and loads of fabric and tools for my craft all around.

Tell us a bit about your process

The process starts with deciding what I want to make and then choosing the fabric. I use reclaimed upholstery fabrics that otherwise would end up in the landfill. I also repurpose jeans. The fabric will tell me then what color to use for the warp (the vertical threads that go on the loom and weft (the horizontal threads that are hand thrown with a shuttle). You measure your warp threads, dress the loom and begin to weave. When done, you take your project off the loom and finish it off with sewing or braiding of the fringe. I follow the traditional style of rag weaving using upholstery fabric as the weft. You never know exactly what it will look like until you are finished. Many of my products are wearable or for the home like table runners, wine totes, purses, pillows, and belt bags.

What currently inspires you and which other artists do you admire and why?

I am currently exploring the early colonial craft of coverlet weaving and hoping to explore more in the next year. I love the history of the craft both from the woven item to the machinery it was produced on.

Tell us about a piece of work you have fond memories of and why?

I particularly like when the piece brings back memories for someone. I had made a simple wine tote but the fabric reminded the person of their own grandmother. She accidentally lost the bag but I still had fabric left and made another for her. She was thrilled and I was able to give her back the memory.

The Artist–Annie Sinton

February 18, 2021 art, artist, handmade, interview, people, photographer, photography, portrait, powerofawoman, project

Meet Annie, the glass artist.

When did you first start making your glass art, and who or what inpsired you to begin?

I started making glass art a long time ago at the University of the Arts in Philadelphia. Over the years after I graduated I made art on the side while working in restaurants and gardening, but recently decided to focus on glass to see if I could make a career out of it.

What mediums or techniques do you work with?

I’ve been working lately with stained glass, specifically the tiffany style, which is copper tape and solder. I sometimes do mosaic work which involves cutting glass, glueing to a surface and grouting. I really enjoy exploring different processes and techniques and I just purchased a kiln to do some glass fusing and slumping.

Please tell us a bit about your design process?

My design process has gone through many changes over the years and varies depending on what I am making. With my stained glass sun catchers I try not to rush an idea, I do a bit of light sketching and look at things that inspire me (mostly plants) until I finally get a design I like. I then darken the lines with a thin sharpie so I can trace the glass. Next comes choosing glass. This might be my favorite part because the colors of the glass itself have a lot to do with inspiring the design in the first place. After colors are chosen I trace the design onto the glass on my light table, cut glass, grind glass, copper tape the edges, solder, add hangers, add a patina if I want, and then polish and clean!

What is the main inspiration for your designs?

I find that my inspiration often comes from deep in my psyche and is very nostalgic. My childhood was full of exploring nature and having adventures with my sisters, so I would say that along with the natural world I experience today in beautiful Chester County is the basis of my inspiration, coupled with my love for plants and interior design.

What has been your favorite piece that you’ve made?

I would say my favorite piece would be a circle suncatcher that I recently made. Shades of blue, geometric shapes, asymmetry and circles are things that I love very much and they are all included in this piece. I don’t think it’s any crazy feat of skill or talent but I feel very satisfied with it’s authenticity.

The Artist–Catherine Marie Charlton

October 5, 2020 art, artist, Kennett Square, kennettsquare, people, photographer, photography, portrait, powerofawoman, project, Story

Meet Catherine, she is a Pianist, improviser, Steinway Artist.

Who or what inspired you to take up the piano, and pursue a career in music?

When I was 8, my parents bought me an 80 year old piano at a yard sale with a cracked soundboard. My dad who was good with woodworking repaired the soundboard and built me a piano bench. I played non-stop after that! I was a music minor in college when I discovered that I could improvise, and the music started coming in torrents after that. Even though I was performing classical and my original music in many solo concerts a year, it wasn’t until five years after graduation that I decided to leave my corporate job and pursue music full time. By that point I had released two albums and was performing throughout the region!

Who or what have been the most important influences on your musical life and career?

Pianist George Winston, Cellist David Darling and his organization Music for People, and Pianist Dr. Robert Bedford.

Which performance/recordings are you most proud of?

River Flow, Maiden’s Voyage and I Dream About This World: The Wyeth Album.

What have been the greatest challenges of your career so far?

Learning to be self-aware enough to know when I need to practice and continually improve!

How do you make your repertoire choices from season to season?

Purely by emotion, and a reflection of my state of being! I have found that some years I’m more melancholy and want simplicity and depth, others I’ve craved structure and light-heartedness, and others I seek a deep-dive into intellectual and technical challenge.

The Artist–Rebecca Adler

January 9, 2020 art, artist, interview, lifestyle, magazine, painter, painting, people, photographer, photography, portrait, powerofawoman, project

I found Rebecca’s work in a west chester interior store and I loved it. I think we have something in common–our subjects are women.

1. How and when did you decide to be a painter?

I started painting about five years ago. I left my job in New York City as a magazine editor to stay home with my son and was in search of a new creative outlet after moving to the Philly suburbs. I’ve always loved art and interior design and thought why not? My sister was moving abroad and gave me some old paints she had lying around so I began to experiment.

2. Who were the artists inspired you most?

There are so many amazing artists on Instagram that inspired me to start painting–women that are professionally trained, self-taught, painting with a kid under one arm. I’m currently saving up for a Claire Johnson collage or a Rebecca Russo portrait or a Gee Gee Collins anything. I’m obsessed with Milton Avery’s use of color and patiently waiting for a nearby museum to give him an exhibit.

3. Do you work from life, photographs or from imagination?

I work from photographs to find poses for my figures and then let color and imagination take it from there.

4. Please tell us some of your considerations when using color in your work? what sort of paints do you put out on your palette?

Color makes me happy! Acrylic and oil pastel are my go-to mediums and I find a lot of pleasure just mixing paints on my palette. I love the way color creates a mood. A mark of fuchsia or indigo or chartreuse can totally transform a painting. Finding the perfect color composition is one of the most rewarding aspects of painting for me. In many ways I find the process similar to writing. It’s all about piecing together a puzzle.

5. what are you working on now?

I’m working on a still life commission for a friend’s new office and gearing up to try some different substrates like wood and unbleached linen.

TAGS: chestercounty, interview, malvern, pa, people, studio, west chester

The Artist–Jill Beech

December 12, 2019 art, artist, interview, people, photographer, photography, portrait, powerofawoman, project, sculptor, sculpture, still life, Style, Uncategorized

“Creating is an integral part of my life. Working with clay, other natural materials, and metal connects with Earth. Their transformation is alluring and fascinating to me – as it has been to humans through the ages. Myths, animals and other forms of nature influence my work. Capturing and expressing the essence or spirit, not soley a realistic portrayal, is my goal. I would be delighted if my functional work is enjoyed in everyday use and my non-functional work provides visual pleasure/provokes contemplation.”–Jill Beech

“I first took a ceramics class around 1981 and immediately felt an affinity and bond with clay. Since then, I have taken many classes, mostly in hand-building, and nearly all at Penland School of Crafts – a truly inspirational place with great artists and teachers. As my passion and involvement increased, I built a large gas kiln to expand firing capabilities beyond electric. Until 2011 when I retired, I was a veterinarian on the UPenn Veterinary School faculty so I juggled time between the studio and working at New Bolton Center, in the large animal hospital. Since then, I have been able to devote much more time to working in my studio adjacent to my home.”

“My functional and sculptural work is mainly made from porcelain or stoneware clay, and less frequently low fire earthenware clay. Some of my hand built forms are perforated with hundreds of varying sized and shaped holes whilst still damp and malleable; they are then dried, fired to a low temperature ( approximately 1800 F) then sandblasted, and finally re-fired to a higher temperature, usually between 2100-2300F. Glazes or stains are applied to some pieces. Others have multiple layers of different coloured slips (clay suspension) applied and then rubbed through to reveal different colours, and some are left unadorned, revealing just the clay itself. Some are mounted on steel stands that I forged. I have sometimes used metal containing paint on the final fired piece to give forms the appearance of metal. Encaustics have been used on some vessels to create layers on the surface, giving subtle colour changes and texture. Less frequently, on the low fired non-functional earthenware pieces, I paint multiple layers of acryllic paint. Horses, and to less extent other animals, influence both the forms as well as the images on the decorated surfaces of functional ware. Imagery from travel also has influenced forms.”

“Over the last few years, in addition to working with clay, I have worked with copper fold-forming,( using commercial patinas on the finished forms, and making wall panels, leaves for mobiles, and wearable wrist cuffs), clay monoprinting,( influenced by the late Mitch Lyons, who had a studio in London Grove) , hand made paper, recycled cardboard, paper sculpture, and also wire sculptures. I particularly like Kozo for making paper, and sometimes use encaustics on surfaces. My studio is near Ercildoun and is open by appointment and at my yearly open studio days.”

People of Kennett Square–Hannah Kelleher

December 3, 2018 animal, art, artist, Coffee shop, Kennett Square, kennettsquare, painter, painting, people, peopleofksq, photographer, photography, portrait, project

How long have you been painting?

Coming from a family of creators and performers, I grew up with a love for all things creative. In high school, I was more drawn to music and performance but still dabbled in painting. Visual/fine art was something that I had always loved and when it came time to decide on a career path, the visual side took the lead. I went to Delaware College of Art and Design for my associates in Fine Arts and West Chester University to finish my bachelors. After that I was employed as a photography assistant for an auction house in Downingtown, I now currently work there as one of their lead photographers. Although I loved all of the creative formats that I had been allowed to experience, I felt like there was something else that I could use as an outlet, so I decided to play around with the idea of watercolor. But it wasn’t until I worked at Philter that I started painting as a freelance artist. The owner, Chris Thompson, allowed me to hang my work in the shop, which received an awesomely positive response and things continued grew from there.

How did you become interested in watercolor?

The funny thing is, I have always been more drawn to oil paints and heavier mediums. In school, I had a very heavy hand and loved high contrast and texture, so oils and charcoal were always my go-to. The love for watercolor came as quite a surprise. I fell in love with the way each layer influenced the next, allowing you to see a history beneath them. Its such a delicate medium, and I was always told how scary it was to use, so it was pretty intimidating when the time came to try it. I wanted to experiment one day, and after I painted my first goldfish, I fell in love with the medium. I’ve never been one to create clean and crisp work, which is something that is usually associated with watercolor. Through playing with it, I had realized that it was much more fun to make a mess. Watercolors are known to be hard to control, and with this knowledge, I’ve learned to let go of my own expectations through the process and allow it to have an active role in creating the piece as well. Why try to control something that can be so beautiful in it’s own right? That’s where the splashes and drips come in. 🙂 Though over the last 3 years, I have worked in a bigger format, moving to larger canvas pieces. This required a heavier paint to stick to the canvas, so a lot of my more recent pieces are done with acrylic in a watercolor style -which opens up a whole other world of playing and experimentation. But I must say that every time I go back to watercolor, my heart is re-stolen. It is a truly beautiful art form.

What attracts you the most–when looking for potential subject matter?

Painting is truly an outlet for me. So it really depends on my mood and whats happening in life, as cliche as it may sound, those things really do influence what kinds of works come to fruition. Sometimes when I’m not feeling anything in particular but have the need to create, colorful abstract pieces with come to mind. Most of the time my works consist of animals. I’ve always been an animal person, if I didn’t choose this career path, then it certainly would been one involved with fur friends. So I’d say that they influence my work quite a bit. I love the idea of the spirit animal. I feel like everyone has one that they connect with, so shedding light on that is always a fun adventure. I’m especially drawn to woodland creatures- foxes, wolves, and hawks are some of my favorite subjects. They’re pretty independent creatures, though obviously wolves can be big “pack” animals, I feel like there’s a quiet “loner” side that is easy to relate to as well. Color also plays a huge role in my process. I’m a huge fan of color, and I love playing with it in spots that you may not usually find it- like if something is supposed to appear black or in shadow, in nature if you really look at something that appears black, it actually consists of so many other colors. I think that’s half of the fun when creating these pieces, finding things that you wouldn’t usual see at first glance, but somehow makes it all work. It allows the viewer to really observe, search for, and discover something, creating their own connection to the piece, which is really my goal.

Who were the watercolor artists who inspired you most?

Though I haven’t seen many watercolors by him, Cy Twombly is a huge one….I even nerded out to the point of naming my cat after him. At first I never really understood his work, but that’s what made me fall in love with it. He seemed to be purely about color and placement. Things don’t have to make sense in his pieces but they certainly convey something. Lora Zombie’s works really helped to inspire me in taking on watercolor. Her pieces are super fun and edgy, usually consisting of pop culture subjects. And she’s never afraid to make a mess when it comes to watercolor. There is also a ton of talent in my personal tribe and local community that is super inspirational. I’m extremely lucky and thankful to have so many talented friends who influence and inspire my work as well. Its great to be able to bounce ideas back and forth, get feedback and to really be able to be completely supported and vulnerable with these fellow humans. That kind of connection is important.

What are you working on now?

I’m currently gearing up for the Holiday freelance season, it’s always a super fun and creative time. There are a few pieces that I have in mind that will need to be put on canvas soon (and possibly t-shirts!), so be on the look out for those! There are also some pretty exciting things that are being balanced with the freelance painting as well – my family recently started the On the Roll Inc, Food Truck, which has kept us all very busy and excited! I am thankful to be apart of that endeavor. I am also currently planning out the holiday display at Philter Coffee. Its always a fun process and its nice to take a shot at 3D work between paintings. So I’m super excited to see what we’ll come up with next!

People of Kennett Square–David Ferron

April 2, 2018 art, artist, business, Fashion, interview, Kennett Square, life, lifestyle, people, peopleofksq, photographer, photography, portrait, project, Story, Style

Meet David, the owner of Unionville Saddle. David is a fashion designer, after living in New York for a decade he is bring his love of custom garment making back to here.

What sparked your interest in fashion?

Growing up I always had an interest in fashion, I remember reading GQ or sketching what my favorite pop stars’ were wearing but I was always more interested in fine arts. I grew up painting and drawing and didn’t begin to sew until I was a senior in high school. I really got interested in fashion when I went to Parsons School of Design in NYC. While I was studying I realized that fashion was a way to communicate concepts while exploring traditional construction techniques and making people feel amazing.

What is your brand philosophy?

My brand philosophy revolves around the concept of Your Body Infinite Options. Studying and working in the fashion industry for a decade opened my eyes to some major flaws in the current fashion system. From not providing adequate sizing in stores to crippling runway and production costs I have decided to approach the business in a much different way by creating single pieces specifically to a client’s needs. I believe that clients are looking for something that is made just for them, in the past women would have clothes made for them by dressmakers, working one on one to create something completely original and with a perfect fit for them. My goal is to make every client feel at home while working with them to create pieces that will flatter every part of them, last, and look modern for years to come.

How do you describe your fashion and style?

I like when there is a mix of minimal clean lines and rawness, I love when frayed edges contrast the perfect fit. There always needs to be a balance comfort and elegance, weight and lightness, color and texture.

What are you fascinated by at the moment and how does it feed into your work?

Currently, I am working with the concept of my transition from a city life in NYC to life in Unionville. I have always used personal experience in life as my inspiration for my collections and this transition has been the most shocking and rewarding process of my life.

Talk us through the process of creating a garment. How long does it normally take to create a dress? what’s the procedure like?

Making a garment can take anywhere up to a year, particularly for bridal gowns. The process always begins with a conversation, what do you need, when do you need it, what will the function be? Then I will show a client some fabrics that may work with what they need and we begin to sketch. Once a design is selected I drape the piece, make a pattern, fit a muslin, and order the final fabric. Once the pattern is corrected I cut the garment in final fabric, sew it, and fit the final piece. Depending on how complicated the garment is it may need more fittings to get the correct the fit.

Check David’s website and instagram for more information.

TAGS: fashion designer