From Lyon to Toronto: Get to know Canadian artist Natasha Pelley-Smith and her diverse creative influences

The wonderful Natasha Pelley-Smith joined Book An Artist mid-2022. Born in Toronto, the Canadian artist pulls from her Jamaican, Newfoundlander and Native backgrounds to influence her artistic creations. Natasha went to art school in Lyon, France and has since worked professionally as a mural artist, illustrator and canvas painter. Her work can now be spotted on the walls of Europe and her home region, as well as on several book covers. She is even credited in an HBO Max film for her illustration, flexing her diverse artistic skills beyond just painting.

We asked Natasha to take the time to share with us some insight into her experience as an artist, her creative process, and what advice she has to share for those starting their art career. 

How long have you been creating art?

N: My whole life, but went to a fine arts school in Lyon, France 2014-2017, that specialized in mural painting. I had internships during school years and worked professionally ever since in mural, canvas art and illustration.

What kind of support network did you have as you started out in your art career?

N: I’ve always had really great support from my family and friends. My teachers and colleagues in France also were an amazing help despite not knowing French when I first began school there. One of my employers there didn’t speak a word of English but always believed in me and gave me opportunities that kicked off my mural painting career. I’m now fluent in French, and continue to have the support of many who brought me to where I am today in my art career.

What was your first project where you truly felt like a professional artist?

N: I guess it depends… Each project holds different traits. One in particular would be when I was asked to be part of the team to paint Paul Bocuse, a famous renowned chef, with the company CiteCreation of Lyon, France – a France based international mural painting company. This mural is located in front of the touristic spot “Les Halles de Paul Bocuse” which contains chefs and top-quality food of the region. In honor of his passing, an animation of Paul’s life was created and projected over top of the mural as a light show which can be seen at “Les Fetes Des Lumiere’s” in early December each year. This is one of many light shows that play in the city of Lyon all across buildings and monuments. It’s quite beautiful. I felt honored to be a part of one of the largest mural memorials of Lyon.

What do you enjoy most about your artistic process?

N: The parts I most enjoy of my art process would be constructing an image and the evolution it takes on when I start adding colour and layers of paint for more depth. I enjoy seeing people’s reactions to how my art transforms from beginning to end.

How do you balance your time? Do you work fulltime as an artist? Is that the goal?

N: I do work as a full-time artist, so balance is necessary for me to keep healthy mentally and physically and not feel overworked, especially when you are you are a team of one doing the administrative work and art creation. 

I do yoga, meditation and some light exercising in the morning, to have a refreshed mind for the work day. I have a physical calendar that’s on my desk which keeps me alert of my tasks and a desktop notepad with a to-do list for my day where I list my priority To-do’s at the top. When I’m not working, I’m usually reading, catching a movie, cooking or hanging out with those around me.

What do you do to ensure you continue to grow and develop as an artist?

N: I paint weekly if not daily, to keep my practice fresh. If I’m not painting physically, then I am doing so digitally to stay diverse and improve skills in all aspects. I’m always exploring new artists that inspire me, new paint mediums and techniques. Experimenting outside my comfort zone is what helps me grow and always treating myself as a “student” no matter how professional others may consider me.

How do you source customers?

N: In France, I had a great network of mural companies/colleagues that would never lead to a shortage of work. Otherwise, I would use social media and put myself out there at outdoor art fairs, exhibitions etc. When I moved back to Canada, I sourced clients through Upwork when I first was resituating back home. I then discovered Book An Artist during the pandemic era. LinkedIn, my shop site, my main website, resume site, my business Facebook page, city project websites, Instagram or word of mouth are all used as well!

Outside of creating art, what elements of running your art business do you enjoy? What parts do you enjoy the least and why? 

N: I enjoy creating Instagram reels that showcase my art process, packaging and behind the scenes of what I do for my business. I also enjoy the process of learning about sales and online marketing, something that, pre-covid, I didn’t know a whole lot about. 

What I enjoy least would be of course those burn out periods when you are a solo artist. When it’s just you doing the administrative work (creating contracts, invoices, emails, marketing, shipping, packaging, supply orders, social media content/posts) sometimes you need a small break before getting into the actual artwork part. I enjoy doing it all, don’t get me wrong, but a team in the near future or assistant is my next goal.

What was your first commission via Book An Artist? What was special/unique about it? 

N: My first commission was my favorite commission. It was a large 40×40” inch portrait of a client that was super fun to do! It fit my style and I really had an amazing interaction with my client that motivated me to continue being on Book An Artist for more positive experiences such as this. What was unique was that not many people up until that point gave me the opportunity to paint in my own style, so it was a pleasure having that freedom to get paid to express my work in the way I envisioned.

How do you work with customers? What’s your typical process like?

N: When I work with customers, I always ensure there is regular, professional communication, especially during a long-term project. It’s important to have that dynamic.

My process usually starts with understanding what they aim for in their project in terms of design, feeling they want to portray, deadline they may have etc. This first interaction also gives me an understanding on the clarity they have of their project and their flexibility.

Once we agree on a quote, to ensure we are both working with what we are comfortable/happy with, I then make a contract before an official start. I give them updates throughout the project until completion in which I make sure they are fully pleased with the work before requesting the final payment release. The most important part of the process is that both the client and I enjoy working with each other. I always aim for smooth and joyful experiences so everyone’s happy throughout the project.

What makes the Book An Artist platform different/unique from using agents, galleries, or finding commissions on your own?

N: With Book an Artist, there is the weight lifted off of providing invoices and receipts. There is also the security of having Book An Artist as a support if there is a difficult customer for example not willing to pay or if there are issues with communication. The service fees I find are very reasonable also considering they showcase your work in a professional manner through their website and social media, giving wider opportunities of publicity than for example a gallery that may just showcase in one location with much higher rates.

What advice would you share with new artists looking to get their foot in the door? Any first tips?

N: One tip would be to not feel intimidated by the millions of artists out there to get started. Everyone is unique and can offer something beautiful to the world in their own way. There is no competition with this mindset, and your confidence as an artist is what people will flock to. Take risks, and post your work, let the world see your talent! 

Many young artists aren’t sure of what their art and time is worth. How did you learn to price your work? 

N: I learned to price my work over years of experience and paying attention to the market. I always calculate the average material cost range for a project, then take what I believe I should get paid daily and multiply that by the honest amount of days I believe it will take to complete a project. If I am working through a platform or gallery that takes a small commission, I also make sure to include that in my quote. If it’s a project that requires shipping after, I never include that in my pricing as shipping rates tend to fluctuate, and especially after covid – inflation rates have been unpredictable.

If you always provide a solid flat rate without investigating current prices of materials, shipping etc., you may end up just breaking even or losing money from under calculating. Also, if a client wants you to go under your proposed rate, there’s always room for negotiation to some degree, but never fluctuate too much, stay true to your worth. People willing to pay for your worth tend to be better customers who value and respect your time.

What has been your favourite part of using Book An Artist?

N: Book an Artist has been amazing for bringing me great, easy going clients who also support and respect me and my time. I have only had positive experiences so far!

Thanks to Canadian artist Natasha Pelley-Smith for taking the time to speak with Book An Artist. It has been a pleasure learning more about your creative process, your inspirations, and your advice for other artists. To see more of Natasha’s portfolio of work, visit her profile on Book An Artist. Natasha is open to commissions for murals, canvas paintings, illustrations and workshops.