In our series Behind the Scenes, artists answer questions about their creative process, philosophy, and more. This installment features Joan E. Davis. See some of her work here. (Read our other exclusive interviews with artists here.)

How would you describe the subject matter or the content of your work?

My subject matter as I see it is Color. However, I use the floral form as an excuse to paint all the colors I wish, mixing them and arranging them in unlimited combinations. Once the flowers begin to “grow” on the canvas, then the image builds further through line and form. Every flower represents a person or an experience and how they interact within the composition tells the story.

Describe your ideal work setting.

My ideal work setting is one of my many studios I have had over the years. I work on the wall with a gutter below to catch my sprays and drips. I stand through the entire painting process. I need great ventilation and a high ceiling as I use paints loosely and fully. I keep my massive repertoire of pigments on a 10’ rolling table near me along with a peel away throwaway palette. My lighting is set above me and I use two standing lamps behind me so I can see detail and color in perfect exposure. I even have a rubber floor for support. A large sink to wash brushes and for rinsing watercolor paper is also nearby. I also always wear gloves and keep a collection of disposable ones in the studio to protect my hands. A set of untextured paper towels and masking tapes of many widths is also the key to my perfect studio workspace.

What are five things in your studio at all times?

1) Paper towels with no texture or design.

2) Paints in rainbows of colors and sheens.

3) Gloss medium

4) An array of brushes

5) A peel away palette

What is a favorite image of your work?

Favorite images of mine are usually my most recent. I am enjoying my flower fill – in pieces of objects and symbols right now. The process is exciting to me. It feels very organized and lends itself to a level of clarity and perfection. I just love the detail of the work, the subject matter and that I can take breaks without losing my direction. The direction is so clear it sometimes takes three or more attempts to create the final piece. I feel the subject matters are absolutely endless. Not only am I doing these pieces for the mass market, but also I am able to do any object and any scenario! It opens up a world of commissions and it all started with my doing a half a heart; then the second half. Broken hearts filled with flowers have now led to more joy in painting than ever. Symbolism in action…

What will make you feel successful?

My large abstract poured paintings make me feel like a very successful artist. These pieces sell for high prices and seem to be appreciated by high-end knowledgeable art collectors. This makes me happy and I get to work very loosely, playing with paint on the floor. I rarely use traditional brushes for these paintings. I use sheets of cardboard as I saw Gerhard Richter literally smear a meticulous oil painting. It transformed me as an artist. I now create very large pieces this way and have landed in many prominent collections such as hotels, celebrity collections and private collectors. I do incorporate natural and organic forms in these poured paintings but the flowers are less prominent. The colors and forms tell the story as well as the layered surface and sheen.

What’s the best advice you’ve ever received?

The best advice “Just Do It” like the Nike ad came directly from the famous artist Robert Natkin. I was invited to his home studio in Redding Connecticut. I was just learning to paint then in a landscape painting class at a conservative art school in Wilton. I just asked for advice. Natkin said, “Just do it!” and that I don’t need classes. I went back to my studio that day and started creating a body of work. I have never stopped Just Doing It to this day! Now I just do it my way again and again.

Is is better for an artist to take herself too seriously or not seriously enough?

I think to take your self too seriously is better for making a career from your art. Artists to be successful need to seriously schedule their time in the studio. Your painting sessions are the lifeblood of the work. Make sure you have the time protected without question. Make sure you have the best supplies you can afford and price your work seriously. Unless you’re a hobbiest, professionals are serious.

Is is better for an artist to be an optimist or a pessimimst?

Optimism is best for my subject matter and work. The élan in the signature I use mostly for my bigger pieces in Joan élan Davis, means joy. I only paint from a happy heart. I recently suffered tremendous loss in my personal life and have had to retrain myself to see joy in life. Painting through it is helping. Knowing that my beautiful joyous paintings are out in the world and helping others enjoy their home or that moment they have with one of my colorful images is a gift from me to them and vice versa.

If you could have any artist, living or dead, paint a portrait of you who would you choose?

An artist I would like to paint me is David Hockney. I love his colors, his shapes and his sense of shadows. It may not be a flattering painting, but I think it would certainly be artistic. I imagine there would be flowers in there somewhere; maybe inside my eyes….

Would you rather have not enough to do with your day too much? This is an interesting question. As an artist with my own businesses too much to do is great! I love deadlines and direction and knowing that the work is “needed” somewhere such as a new home or for an auction or event or presentation to the marketplace. But to be an artist, I truly believe boredom leads to creativity. So often when there is not much to do, I can ponder my next creative genius and go do it. Why not? Got nothing else to do! Ha! But then…once I get going on a canvas then I have so much to do!

If you could own the exclusive rights to any specific, which would you choose and why?

If I could coin a color it would be Joan Davis California Sky Blue. I wish that pale but rich color were all mine. I usually apply it afterward between some of the forms and toward the tops of nearly all my paintings. It completes the sky for a garden or suggests one in an abstract. I love pouring it into many of my canvas designs as well. Everyone loves a blue sky. Blue Skies. Clear Skies. The Sky is the Limit.