Customer Spotlight: An Interview with Lisa Golightly

This post is part of our ongoing series highlighting the work, expertise, and creative practices of Metropolitan Picture Framing customers.

Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world."

Can you describe the process that you use?

My paintings are based on found imagery, photos, color slides or old 8mm home movies. Sometimes I have a specific image in mind I'm hoping to find, but more often than not I will just connect with an image and go from there. I have collected a huge library of images over the years and regularly go back through it to find one I connect with. I then manipulate the image digitally and often work on a paint study on paper before moving to a large acrylic painting on dibond panel.

What led you to start using Metropolitan frames?

I honestly can't remember! Metropolitan frames have been my go to for so long, I don't know how I first came across it, though I likely saw another artist mention using them. (Lisa has been a customer since 2016.)

How do you attach the dibond panels to the cradle? Did you find our framing advice videos helpful when you first started ordering?

I use polyurethane adhesive to attach the panels. Yes, the videos were definitely helpful along with some of the available hanging supplies!

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Do you order online or on the phone?

I order online. It makes it easy for me to plan out what frames I need seeing them visually listed out. The feedback once the order is placed is incredibly helpful as well, such as suggestions of crossbars etc. for larger paintings.

How have you set up your studio for framing? Any tips for other artists?

Usually I end up framing several at one time, so they are spread throughout my studio and home. My family loves it when I have a show deadline etc and the dining table becomes one of those spots.

How do you market your work? 

The galleries I work with are great and through them and their collectors and participation at art fairs my work is exposed to new people. The galleries that represent me are:

Billis Williams Gallery Los Angeles, CA

Maya Frodeman Gallery Jackson, WY

George Billis Gallery New York City, NY and Fairfield CT

 Julie Nester Gallery Park City, UT

Patricia Rovzar Gallery Seattle, WA

I sell many of the studies I do on paper directly on my site, unframed.

I also share new work on instagram and send out newsletters sharing upcoming shows.

How many shows do you do a year?

Typically one solo a year, with many group shows and new work for art fairs as well.

How do you price your work?

I have worked with galleries to establish pricing and use a formula based on length and width that makes it easy to keep pricing consistent.

Editors Note: Many of our customers establish a price per united inch i.e. 16 +20 =36 united inches and then multiply times an established price. For example 36 united inches X 100 =$3,600. A 40 x 40 canvas would be 80 united inches x 100 = $8000. This takes the guess work out of pricing different size artwork and keeps pricing consistent.

Any other advice for artists about your practice?