Every year we share with you our picks of exhibitions to visit over the summer for creative inspiration. Here's our top picks for summer 2025.

Summer Exhibition at the Royal Academy
until 17 August 2025

The Summer Exhibition is an an annual treat, particularly so when we know artists who've been selected to exhibit! This year's no exception with our friend, Stoke Newington based photographer, Jannine Newman having her In The Greater Scheme of Things photograph included and it has since sold several times over. It's a beautiful piece, well worthy of inclusion.

And closer to home, regular at our Makers Fairs, Muswell Hill based Sonja Bucherer of Sobu Handmade was selected to exhibit her Too Many Feelings hand-stitched piece. This was sold even before the exhibition's official opening!  Congratulations to them both. Do look out for both pieces if you visit.

Hiroshige: Artist of the Open Road at the British Museum
until 7 September 2025
Recommended by Vanessa Hernandez, VH Prints

Hiroshige is one of the great Japanese woodblock artists (and hiker) and this exhibition is an insight into his woodblock prints, the elaborate process of making this art during the Edo period in Japan. He made art for the people and his love of travelling around this fascinating country is documented through his prints. I especially loved his Japanese fans in Prussian blue.  

Read more here

Edward Burra at the Tate Britain
until 19 October 2025 
Recommended by Ros Freeborn, Papershades
 
"As a child I loved an art book which showed one of Edward Burra’s Harlem, New York paintings. The elongated, stylised figures fascinated me and it was an image of a place I had no concept of. What a joy it was to see this painting for real at the fabulous Edward Burra show at Tate Britain. It was a treat to see so many of his exquisitely drawn narrative watercolour paintings. He had an astonishing eye for detail, visual jokes and relationships between his subjects. Stricken with rheumatoid arthritis as a child, he was in constant pain and preferred to make his art on paper, flat on a table and use watercolour in a very original way. He loved clubs, pubs, seedy gin joints, theatre, ballet, sailors, glamorous costumes and flamenco dancers. He loved London in the 1920s, flappers, Paris bars, New York’s Harlem, the rough areas in Toulon and Marseille and Spain before the civil war.  He hated war and violence. Towards the end of his life his work became more concerned with nature and landscape. What an artist! What a show! What a treat!"

The Genesis Exhibition: Do Ho Suh: Walk the House at the Tate Modern
until 19 October 2025
Recommended by Vanessa Hernandez, VH Prints

I visited Walk the House by Korean born, London based artist Do Ho Suh.  This is a great one to do with kids as it’s immersive with lots of textural details that make the art come to life. The exhibition questions what home means to each of us. I really enjoyed it.

Cecil Beaton's Garden at the Garden Museum
until 21 September 2025
Recommended by Kate Sealey Rahman

"A small but beautifully curated celebration of creativity; incorporating painting, garden design, and set and costume design as well as photography."

Read more here

The Power of Trees at Kew Gardens
until 14 September 2025
Recommended by Vanessa Hernandez, VH Prints

From Kew's website: The Power of Trees invites visitors to explore the enduring beauty of trees across art and culture.  The exhibition showcases a diverse range of works, from intricate botanical illustrations to a groundbreaking video installation, which look at how trees have shaped human creativity.

Vanessa says "There are some really beautiful things to see and do spread across Kew. A tip to avoid the full entrance fee, from 4pm it's only £10 and as the gardens close at 7pm in the summer this gives 3 hours to see something. It’s a decent saving considering it’s over £20 for an adult to enter. "

Kiefer/Van Gogh at the Royal Academy until 26 October 2025
Recommended by our contemporary jeweller, Michele Wyckoff Smith

From the RA: Vincent van Gogh has had an enduring influence on Anselm Kiefer and this exhibition shows their work side by side. In 1890 Vincent van Gogh painted his final works. Seventy-two years later an eighteen-year-old Anselm Kiefer received a travel grant to follow in the footsteps of Van Gogh, starting in the Netherlands, through to Belgium, Paris and Arles in the south of France.  Kiefer has been inspired by Van Gogh’s work throughout his nearly 60-year career. The pioneer of Post-Impressionism has informed the subjects and techniques of Kiefer’s monumental paintings and sculptures which draw on history, mythology, literature, philosophy and science.

Also recommended, by Michele:

• Heiress: Sargent's American Portraits at Kenwood House until 5 October 2025
• Grayson Perry: Delusions of Grandeur at the Wallace Collection until 26 October 2025

Jen of Crouch End Candles took a trip down to Chelsea in Bloom this week to enjoy all the floral displays in this free to visit flower festival which coincides with the RHS Chelsea Flower Show. This year the festival's theme is fashion.
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We hope you enjoy our little floral gift guide* which shows how much we’re inspired by flowers here at Muswell Hill Creatives.

​What do you make? 

As a handweaver, I produce bespoke textiles to enhance everyday objects, from wearable accessories to home decor. My creations range from scarves to gift items like eye pillows, sleep masks, and pouches. I partner with a micro mill in Bristol to produce limited editions of merino wool scarves and snoods. Currently, I'm weaving a collection of cosy merino wool lap blankets and exploring opportunities in interior design.

How long have you been running your independent creative business?

I returned to handweaving after purchasing my first table loom in 2014, and By Cecil officially came to life in January 2018. I joined the Muswell Hill Creatives in April and undertook my first markets by the autumn of that year, marking the beginning of a happy partnership with the group.

What inspired you to start your creative business?

As a child, I was always creative and loved working with textiles. When I was 13, a trip to the National Gallery with my dad solidified my passion for art. Seeing Turner's paintings had a profound impact, and I knew I wanted to pursue something creative. Initially drawn to photography during my A-levels and early college years at Camberwell, my trajectory took a significant turn during my foundation course when I worked on a textile project on an old Harris loom. I fell head over heels in love with weaving, leading me to Central Saint Martins to study Textile Design. After a decade as a product manager, working extensively with factories in China, the urge to return to a more hands-on creative process was irresistible. I felt the draw of weaving tugging at my heartstrings again, so I attended a part-time diploma in 2013 at the Handweavers Studio and haven't looked back.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

I manage By Cecil part-time, which allows me to balance my business with raising my two boys, who were just 2 and 5 when I started. Although they are older now, they still manage to keep me busy. I've also recently joined the team at Ray Stitch, a haberdashery on Essex Road. It's a fantastic environment, surrounded by creative colleagues, and I've already picked up a new hobby in quilting. I've recently joined an online group called the No Rules Textile Society to encourage a more playful approach to creating new work. Every six weeks, there's a new prompt, with a weekly Zoom call as a source of accountability and inspiration. I'm treating it like an unofficial MA, something I have wanted to do for a long time.

How did you learn your craft - are you self-taught or did you attend courses - if so what and where? 

During my textile design degree, I learnt how to weave at Central Saint Martins, specialising in constructive textiles. After stepping away from the loom for a decade, I refreshed my skills with a diploma from the Handweavers Studio. I continually challenge myself technically, diving into weaving books and experimenting with new techniques. Weaving involves a significant amount of mathematical planning and precision, and I dedicate a lot of time to sampling and refining details to achieve the perfect outcome.

What is it you love most about the creative process?

I'm fascinated by the transformation inherent in weaving. There's a phrase I often hear weavers use: ""turning chaos into order' and I find a deep satisfaction with creating a functional and beautiful piece of cloth from a tangle of yarn. It starts with designing a warp, organising yarn, calculating patterns, using maths to create a repeat, and slowly untangling the thread as it winds onto the loom. Weaving is a kind of alchemy, as so much can happen between the loom and the final piece. Washing and finishing can change a fabric so much. 

Weaving is a series of decisions that reduce your choices, taking an idea down to just one or two options. Then, when you start to weave, they open up again in unexpected ways. I love the constraints of weaving—trying to create new work with small changes and working within the restrictions you set yourself. It's enormous fun to see where you can take it."

Is there another craft you are drawn to other than your own?

I've always had an appreciation for furniture, especially woodworking. The precision required and the influence of the material's inherent traits on the final piece resonates with me. Wood seems like a material that very much has its own personality and say in the end result. It demands respect for its natural properties and a mathematical, structured approach. However, at heart, I remain a devoted textile designer. Recently, I visited an exhibition at the Turner Gallery in Margate, where I was naturally drawn to works by former textile designers, reaffirming my passion for textile art.

Where do you look for creative inspiration? 

I often find inspiration in phrases that strike a chord with me, whether they emerge from everyday conversations, books, podcasts, or moments of reflection. For example, "stitch yourself together" resonated with me during the pandemic, and lately, I keep returning to "the stories we tell ourselves." I keep track of these ideas in a notebook and often notice recurring themes. I have a collection of weaving books that I enjoy flipping through, and I like to experiment with new techniques from my growing list of projects. I also want to design practical items, such as café-style net curtains for my home, turning everyday needs into creative challenges. I'm always seeking new courses to learn different methods and materials, as embracing unfamiliar approaches can shift my perspective on familiar themes.

How do you find you benefit from being part of a creative collective?

Being a craftsperson often means working in isolation, which has its perks for focus but can feel quite solitary. Joining a makers' group has brought a valuable balance to my practice. There's a real comfort in the camaraderie and accountability that comes with being part of such a community. It offers a supportive network to share ideas, techniques, and feedback, enhancing our creativity through collaboration. Moreover, the friendships I've formed within the group are vital; they enrich my personal life and inspire and invigorate my professional work. This collective dynamic helps us grow and evolve as artists, demonstrating that creativity works best in a collaborative environment.

What advice would you give to aspiring artists, designers and makers?

It's been an interesting year for me in terms of work, and I've been struggling to find inspiration and motivation. This has required patience and acceptance, but also listening to the advice that kept popping up from many sources: You can't wait for inspiration to strike; you just have to keep doing the work. Often, motivation emerges from the process itself.

It's crucial to trust your voice amid the noise. You'll receive plenty of advice, much of it conflicting. Learn to sift through it and find your path by picking what works for you and tuning into your instincts. Stay focused on your goals, and don't spread yourself too thin. Remember, creativity ebbs and flows; trust that it will return even during dry spells. You need input to create work, so read, explore, look, and listen to everything. Nobody creates in a vacuum.

What is the biggest challenge of running a creative business?

One of the most significant struggles is simply the scarcity of time. As a small business owner, you must wear multiple hats - designer, marketer, salesperson, accountant and more - all at once, often in areas that are not your expertise.

Social media is a powerful tool for visibility and sales, but it also demands constant engagement and content creation, which can be incredibly taxing. It has been a tough year for many businesses in all fields. The phrase "running to stand still" has often felt relevant due to the immense effort required to maintain visibility and viability in such a competitive space.

Despite these challenges, I understand how lucky I am to be able to follow my passion. Weaving is my therapy, and I would not want to part with it in any way.

When you're not working on your business, how do you like to spend your time?  hobbies, pastimes etc

I frequently think about work even when I'm not actively working, but I recognise the importance of taking breaks occasionally. I'm passionate about sewing, particularly making clothes, and I recently started quilting, which has allowed me to explore new dimensions of fabric and design. For relaxation, I enjoy swimming at the pond - a wonderful space and community that rejuvenates my mind and body.  I'm also an avid reader, often reading multiple books at once, mainly non-fiction covering a range of subjects. I also enjoy history-themed podcasts and unwind by watching sci-fi and fantasy TV shows as a form of imaginative escapism.

Head to the By Cecil website to shop for beautiful woven scarves, blankets and accessories and subscribe to the mailing list for fascinating insights into the creative world of weaving.

What do you make? 

I am a street photographer who looks for the abstract in the everyday scenes I see around me. I work mainly in London but I also venture to Europe and the Essex coast on occasions to add a different perspective to my work and offer to my range. I work both in colour and black and white to produce a selection of framed prints alongside photo books and greeting cards. 

How long have you been running your creative business?

Two years.

What inspired you to start your creative business?

The last company I worked for went into administration just before lockdown in 2020 and I was made redundant as a result. As we emerged from lockdown in 2021, I needed to make a career decision and as photography was a lifelong hobby of mine, I decided to see if I could try making a living from it.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

I do not work full-time on my creative business as I currently work part-time helping people with alcohol and drug dependency issues seek recovery. This is often very challenging but can also be very rewarding.

How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

My interest in photography stated way before the digital age was upon us. I started out with a cheap Russian 35mm camera and bought black and white film in bulk which I loaded into film cartridges, before venturing out to capture whatever fired my imagination around me. Back in those days I had my own dark room so processed my own film and prints. I worked with a few local bands and music venues as a photographer on an ad hoc basis. Fast forward to today, I taught myself the digital skills I need to find my way around a camera and use programmes such as Lightroom and Photoshop for post-production. I have attended many workshops in order to further my street photography skills with Streetsnappers, in Central London. 

What is it you love most about the creative process?

The thing I love the most about photography is when I am in that frame of mind and space as I call it.  I am totally absorbed in my creative process to the extent that all other thoughts are shut out. I use reflections a lot in my work and on occasion I can take 30 minutes or more getting the shot right, but when I do, that moment is very satisfying. When that moment results in a sale that then becomes a very special moment.

Is there another craft you are drawn to other than your own?

I enjoyed pottery at school and wasn't as bad at that as I was painting, for example. So ceramics would be the other craft I might be drawn to other than my own.

Where do you look for creative inspiration? 

Street photography ambassadors such as Saul Leiter, Alex Webb, Vivian Maier and Harry Gruyaert are a great inspiration, as is the artist Edward Hopper. They all have a unique skill in capturing street life and its landscape. I have a large collection of photography books which I take inspiration from. I think my style is a reflected in these books, sometimes deliberately and sometimes subliminally. I also get to as many exhibitions as I can, although finding free time is difficult. Instagram can be a useful tool for inspiration, but in the main, is a reminder of what not to do. So many traps and rabbit holes to get sucked into where cliché and repetition live.

How do you find you benefit from being part of a creative collective?

Being part of a creative collective is great. Sometimes being a creative can be isolating and to be able to talk with, and be surrounded by, similar minded people can lift that isolation. It is also a friendly and supportive environment to be in.

What advice would you give to aspiring artists, designers and makers?

Have the courage to believe in yourself and power on through those moments when giving up sounds like a good option.

What is the biggest challenge of running a creative business?

Transporting me and my art around. Otherwise, closing the sale as that's the time when as an artist I need to remember, ultimately, I am here to make money.

When you're not working on your business, how do you like to spend your time?  

Birdwatching, country walks, supporting my local Park Theatre, and seeing live music.

Follow Barry on Instagram and Facebook
www.bgbphotography.store

​In October 2014, I was chatting to a few friends in the playground of Muswell Hill Primary School and had an idea. Before an extended career break to raise my two children, my career had been in PR and communications for a leading PR consultancy and then as PR manager for disabled children’s charity Whizz Kidz. With an appetite to use my skills again and finding the playground full of creative parents, I suggested we join forces in some way.

​An initial meeting over coffee at the home of MHFGA committee member and photographer Zoe Norfolk, along with long-term Muswell Hill resident artist Jess Albert, local jewellery designer maker Michele Wyckoff Smith, and then florist Tania McLaren, the idea of a collective was conceived. The aim was to bring local makers together to sell their work, but with me dedicated to event organisation and promotion, it would enable them to focus their energies on what they love doing most – creating. 

Just six weeks after the first meeting, Muswell Hill Creatives held its first Open House on Hillfield Park with a wider group of local artists, designers and makers and was a huge success. A further Open House was held in 2015, before we bravely took ourselves out to St James Square for our first market in 2015.
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In 2015 I established a membership arrangement for a “dynamic collective of local artists, designers and makers who take pride in quality craftsmanship and promote creativity.”  

It is common for independent artists, designers and makers to work alone in a studio or at home and it can be a lonely existence. Muswell Hill Creatives provides a supportive and sociable community of like-minded individuals with whom to share the ups and downs of running a small business and to help develop and grow their creative enterprise. They benefit from my marketing expertise, but also the shared experiences and expertise of their fellow collective members. 

Over the last 10 years, Muswell Hill Creatives has held 32 markets outside in St James Square, a large-scale exhibition at the Hornsey Town Hall and nine pop up shops including two in East Sussex!  We have supported over 40 artists, designers and makers in their creative endeavours as members of the collective and many more as guests at markets and events.

​In 2022, the Muswell Hill Creatives Make and Mend Festival was introduced as a twice-yearly event, to give local people an opportunity to enjoy learning a range of making and mending skills under the expert guidance of local creatives.  This has proven to be a popular, friendly and fun afternoon of creativity which we plan to continue in 2025.

The collective has had to navigate its way through a pandemic, an increasingly tough economic climate, wild weather and many more challenges along the way, but we’re still standing (just about!). We’re proud to have shone a spotlight on all the amazing creativity in the area over the last 10 years and to have built such a thriving creative community and hope to do so for years to come. 

"I joined Muswell Hill Creatives in 2018 and it has hands down been the best decision I ever made. The sense of support and community has kept me going and I feel that I am much further along in my creative endeavour than I would be if I were on my own. Working in a self-employed creative business can be lonely, but the feedback and encouragement I get from the group is invaluable." Cecilia, By Cecil.

www.instagram.com/n10creatives
www.facebook.com/muswellhillcreatives
Email: [email protected]

What do you make?

Fused glass and jewellery

How long have you been running your creative business?

1 year - glass fusing for 8.

What inspired you to start your creative business?
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It was all I could think about when in my office job, so I finally decided to take the plunge and do what I love for a living.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

Full time

How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

One in person fused glass jewellery making course at Rainbow Glass Studios in Stoke Newington.  I also took a couple of specialist online fused glass courses, but otherwise self-taught with a lot of experimentation.

What is it you love most about the creative process?

Opening the kiln after a firing. It feels like a surprise every time, as you can't see the transformation of the hard sheet glass melting to form a new piece until the process is over.

​How do you find you benefit from being part of a creative collective?

Having a pooled resource of real life advice and experience has been great.

What advice would you give to aspiring artists, designers and makers?

Keep going! It can take time to find your artistic voice, hone your craft, and life events can overtake sometimes, but try to do some of what you love regularly.

What do you make?

Wheel thrown and slip cast porcelain vases, bowls and dishes. All hand decorated in bold black and white 60's inspired designs on the outside and glazed inside with a shiny orange glaze. I also make raku fired vases.

How long have you been running your creative business?

Just over a year.

What inspired you to start your creative business?

I had been taking weekly ceramics classes for several years. Lockdown gave me the opportunity to spend more time making and improving my throwing. And I suddenly had more pots than I could house!

Is there another craft you are drawn to other than your own?

Over the years I have worked and taught lots of art and design disciplines including graphics, illustration, jewellery, printmaking, 3D design. I feel that in my ceramics my interests come together. My fashion textiles background is reflected in the way my ceramics are about shape, pattern and colours. They are also very tactile; they are meant to be handled. I like to leave the exteriors unglazed to allow for the feel of the ceramic surface

Where do you look for creative inspiration?

​I feel very lucky to live in London and I often go to exhibitions and museums. I love the V&A which has an amazing ceramics gallery and fashion court. I have always collected ceramics - Brick Lane and car boot sales used to be happy hunting grounds. And I still manage to squeeze a treasure vase into my luggage when I visit European cities.

How do you find you benefit from being part of a creative collective?

Apart from the mutual support and sociability in Muswell Hill Creatives I think that becoming a member has opened more doors for me. The sharing of information about events and activities has meant that my work has had more exposure. I am particularly grateful for the business and marketing support. Like most creatives, I prefer to spend my time making.  MHC encourages me to work on my website, photography and social media.

What advice would you give to aspiring artists, designers and makers?

Love what you do and surround yourself with supportive people.

What is the biggest challenge of running a creative business?

Keeping on top of admin!

When you're not working on your business, how do you like to spend your time?  hobbies, pastimes etc

With friends and family; walking my little dog Kenneth; northern soul dancing at the Mildmay Club in Newington Green.  I also love to do a bit of travelling. 



Shop Jill Tattersall Ceramics​

What do you make?

A collection of hand-loom and hand-embroidered scarves, throws, accessories and bags using natural fibres such as cotton, linen, silk and Merino wool that reflect my passion for sustainable and authentic craftsmanship.
 
How long have you been running your independent creative business?

5 years.
 
What inspired you to start your creative business?

​After a sudden stroke in 2010, which left me with Aphasia, an impairment of language, I focused on my rehabilitation. Having worked with the charity Aphasia Re-Connect, I regained most of my speech and while recovering from my stroke, I rediscovered my passion for sewing, leading to a hand-made collection of cushions to raise money for the charity. Since this limited-edition collection, I have focused on honing my skills and have since launched various collections that truly reflect my creative life.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

Full-time
 
How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

​After studying fashion design at Kingston in the late 70s, I had a career as an international fashion designer for over 30 years, including at Laura Biagiotti in Rome, Conran in London and Esprit in San Francisco. I worked closely with iconic British brand Paul Smith for 20 years most recently as menswear director working closely with Paul and Derek in the design team. I was involved in the whole process from initial ideas and inspiration through to the finished product. 

What is it you love most about the creative process?

It’s all about adding the uniqueness of the hand embroidery to my pieces. I enjoy creating the initial sketches for a piece and then gathering the fabrics and how I am going to introduce the embroidery to the piece. When I recently worked with artisans in Marrakesh, I loved giving them my designs and seeing them work their magic using hand-looms and stitching. It’s so much more rewarding than working on pieces that have been produced on a larger scale as each piece is so individual. The people were just so wonderful to collaborate with.
 
Is there another craft you are drawn to other than your own?

Ceramics - the possibilities of it and the idea of coil building and pinching. It’s so tactile.

Where do you look for creative inspiration?

I am a creative person who loves everything that feeds creativity - a mood, a feeling, a thought about say some fabrics or a piece of art or colours I’m surrounded with. I went to a Sean Scully and Anna Albers exhibition recently which featured stripes which led me to an idea for how to use stripes in a throw. I spent time in Marrakesh and created mood boards from the incredible sights and wonderful people I encountered – from visiting the markets to being inspired by the colours of a pile of egg boxes on the street. 

What is the biggest challenge of running a creative business?

Bringing the brand to life and showing its beauty when these days so much is online. Getting out and showcasing your products in person is so important
 
When you're not working on your business, how do you like to spend your time?  hobbies, pastimes etc
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Exhibitions, travelling and I have a real ambition to go up in a hot balloon. I also love mudlarking.

What do you make?

I design and make contemporary jewellery from silver, gold and semi-precious gemstones. I use a combination of traditional goldsmithing techniques, alongside more modern practices.

How long have you been running your creative business?

About 15 years in one form or another.

What inspired you to start your creative business?

​I repaired a broken bead necklace of mine and caught the bug. I signed up for a basic jewellery class and next thing I knew I was enrolled in a City & Guild jewellery degree.

Do you work at this full-time on your creative business or alongside other work?  Tell us about your other work?

My jewellery business has been full-time work, but since the pandemic I have pulled back a bit and made it more of a part-time endeavour. This gives me time to paint, sketch and travel.

How did you learn your craft - are you self-taught or did you attend courses - if so what and where?

​I did a 4 year jewellery degree (City & Guild) at City LIt in London, as well as a series of specialised workshops at West Dean, Metalwerx (US), Haystack (US) and with various private tutors. I also have a painting degree from The School of the Art Institute of Chicago which has informed my designs.

​​What is it you love most about the creative process?

"I love finding shapes in nature that I then translate into metal. When I was working on my painting degree, it was all about finding shapes and textures that were translated into mark making on the canvas. When I discovered metal, something clicked.

​I did a lot of bookbinding when studying my art degree, so I love to make and work in sketchbooks as a way to develop a design. But as often as not, I will pick up a piece of silver scrap and see if I can make something out of a piece that was left behind. A bit like scraps of collage paper that are more interesting than the bigger piece.

Is there another craft you are drawn to other than your own?

I went back to embroidery and stitching during lockdown. I provided focus and mental relaxation that I really needed at the time. I am less interested in traditional stitching and more drawn to the ides of mark making.

Where do you look for creative inspiration?

My primary source for design and inspiration is the seaside, especially in New England where I grew up. I am constantly taking myself on "artist dates" to see exhibitions (painting, textile, drawing in particular). I also have a degree in History of Art, so exhibitions constantly feed my creative and academic needs.

How do you find you benefit from being part of a creative collective?

I love the community that MHC provides. It is informative, creative, supportive and a place where we can go shout successes from the roof top or drown our sorrows. The group of Creatives changes and evolves, but the sense of community remains.

What advice would you give to aspiring artists, designers and makers?

Do it! I started on a kitchen table with the dream of one day having a studio and a business. Explore and take risks, you will eventually find your style.