Dive into the vibrant world of art with Essence Magazine's Senior Entertainment Editor, Oakley Jones, as she hosts a captivating conversation at the Suede Men's Experience during Essence Fest. Joined by two incredible New Orleans natives and artists, Jaron "Jerk" Beasley and Terrence Osborne, this discussion is a must-watch for art lovers.
Discover what first ignited their passion for art. Terrence shares a beautiful childhood memory of watching his mother's pastel artwork illuminated by the sun, while Jerick reflects on growing up with an artist father and the subconscious journey to discovering his own unique talent.
Explore the deep connection between art and the soul of New Orleans. Learn how the city's rich culture, from its colorful food and fashion to its soul-stirring music, provides an endless wellspring of inspiration for Terrence.
Delve into the power of being self-taught. Jerick reveals how learning without rigid rules allowed him to embrace his creativity freely, turning mistakes into valuable lessons and shaping his distinct artistic voice.
Celebrate the significant achievements of these artists, including Terrence's iconic Jazz Fest posters. Understand the global impact of this platform and the profound honor of showcasing the spirit of New Orleans to the world. This is more than just art; it's a celebration of passion, inspiration, and the enduring power of creative expression.
#ArtCollectors #EssenceFest #NewOrleansArt #SuedeMensExperience
Discover what first ignited their passion for art. Terrence shares a beautiful childhood memory of watching his mother's pastel artwork illuminated by the sun, while Jerick reflects on growing up with an artist father and the subconscious journey to discovering his own unique talent.
Explore the deep connection between art and the soul of New Orleans. Learn how the city's rich culture, from its colorful food and fashion to its soul-stirring music, provides an endless wellspring of inspiration for Terrence.
Delve into the power of being self-taught. Jerick reveals how learning without rigid rules allowed him to embrace his creativity freely, turning mistakes into valuable lessons and shaping his distinct artistic voice.
Celebrate the significant achievements of these artists, including Terrence's iconic Jazz Fest posters. Understand the global impact of this platform and the profound honor of showcasing the spirit of New Orleans to the world. This is more than just art; it's a celebration of passion, inspiration, and the enduring power of creative expression.
#ArtCollectors #EssenceFest #NewOrleansArt #SuedeMensExperience
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LifestyleTranscript
00:01What's up Essence Fest? How y'all doing? How y'all doing? I'm back. I'm back at the Suede Men's
00:06Experience. My name is Oakley Jones. I'm the senior entertainment editor for Essence Magazine. I want to welcome y'all
00:11to this amazing conversation that we're about to have right now.
00:15So, if you love art, then you're going to love this next talk. I want to bring to the stage
00:21two amazing artists, entrepreneurs, and natives of New Orleans, Mr. Jaron Jerk Beasley and Terrence Osborne.
00:41Y'all give it up for Jerk and Terrence.
00:49All right, y'all. So, I'm glad to have y'all here. Y'all are very accomplished, too. I wanted
00:55to ask you for the first question. What made you fall in love with art, Terrence?
00:59Like, what was your first experience or your introduction into art and creativity?
01:05So, first of all, thanks for everybody being here. I appreciate that.
01:12My first experience with art was watching my mom work because my mom did art as a hobby. And she
01:21would put all of her artwork on the back of her wall in her bedroom above her baseboard.
01:31And at a certain part of the day, the sun would come into the room and hit the wall and
01:39make her artwork illuminate.
01:40And it must have been about like that golden hour, right? Like somewhere around like four or five where the
01:46shadows are long, sun's coming in. And I loved it. It just made me want to do that.
01:52Because she worked with pastel. Her artwork was real subtle. But when the light hit it on the wall, boom,
02:00the colors exploded. So, that was my first experience.
02:04Hey, Jerick, how about you, brother?
02:07Man, my father was an artist. So, I kind of subconsciously picked up on the things he left. And so,
02:17not knowing growing up, right? I mean, I was always doodling and sketching on different things growing up.
02:22But not knowing that art, I thought everybody, I thought that was an ability for everyone, right? So, I learned
02:28and got old and be like, no, I'm special and I'm different.
02:30But that was one of the first things that kind of got me into looking at my father's sketch and
02:36drawing. And he was into fabrics and clothes as well.
02:38So, that was one of the things that kind of grabbed my attention and I picked up.
02:41Amazing, amazing. So, Terrence, I know your artwork has kind of became synonymous with New Orleans, man.
02:47What is it about this city that continues to inspire you every time you pick up a paintbrush?
02:53Yeah. So, I think the thing that inspires me the most in the city is that, you know, as artists,
03:02really, really everybody does this thing that they may not be aware of that artists do intentionally.
03:09I was just telling Jay that what we do is we collect as artists, you know, like the young lady
03:16with the red glasses here.
03:17I like how she's sitting. I like her. I like her glasses are on her face.
03:21Beautiful.
03:22There may be, in nature, there may be a leaf that falls and brushes across the grass and you like
03:30how it looks slow motion, right?
03:32So, artists are always looking at that. Everybody else looks at it too. It's just that artists are doing it
03:37intentionally.
03:38So, we collect and we collect and the piece is a physical representation of all that we've collected.
03:47So, we've made it physical until we get more inspiration and we move to the next one.
03:51So, that's a pattern. Now, in New Orleans, there's a lot of stuff to be inspired by, right?
03:57We are, our food is colorful. Our clothing is colorful. Our, you know, our music, just everything.
04:07So, if you're an artist and you live in New Orleans, there's not a time where you're uninspired if you're
04:14looking.
04:16Now, I'm really proud of you too, man. I'm really proud of your journey in the sense that you were
04:21a self-taught artist too, man.
04:23Yes.
04:23Looking back, how did being self-taught kind of shape the artists that you are today and your experiences?
04:29Being self-taught, it kind of taught me how to break rules in art, meaning like I don't have to
04:36be too careful, right?
04:37Just do what I please. It made me become a free artist to where like, and don't get it twisted
04:44because my mistakes that I made, it became a lesson.
04:48And I learned a lot for the physical side of painting and the business side by being self-taught.
04:53I made the mistakes first, but now I would never make those same mistakes again.
04:58But, I mean, it just basically taught me to be a free artist and art don't have no rules to
05:03it, man.
05:03Just do what you please. And it's not for everybody. Everybody's not going to like you all.
05:07I had to kind of get to that too. They're going to have that certain group of people that will
05:10change your life if they do like it.
05:12So, that's all I focus on.
05:14So, Terrence, this is my first time meeting you in person, but I'm very familiar with your work, man.
05:18Especially your Jazz Fest posters. That is such an amazing accomplishment, man.
05:22Can you talk to me about what did that mean to you being able to highlight the city in that
05:26way?
05:27So, the Jazz Fest posters, when I first started working, when I first started selling my work, I sold locally.
05:40The Jazz Fest poster, getting that is a huge honor because if you do it, you have the world stage.
05:47The Jazz Fest poster is an international poster.
05:51So, I didn't realize at the time how big the Jazz Fest poster was until I got it.
05:59And that's a different market.
06:00You know, it's almost like going viral for something that you didn't expect.
06:06So, I feel lucky because if you get the Jazz Fest poster, and usually if you do well, they'll call
06:13you again.
06:14And I've done six of them so far.
06:16So, I feel so lucky to be here.
06:18That's amazing. Y'all got to get, yes.
06:20That's amazing.
06:23So, Jaren, I'm looking at your shirt, brother.
06:26You know, your Jay-Z tree of life paint.
06:28You know, Jay-Z has a lot of visibility, especially nowadays, man.
06:32What was going through your mind when you created that piece?
06:34And how are you feeling now of the success of what that piece has done, man?
06:39I mean, a lot went through my mind when I did that piece, man.
06:44When we came up with that idea for that piece, man, when I was painting, when I'm painting, I can
06:49feel it's a certain feeling each piece gives me, right?
06:52And as I was painting, as I was finishing up, I'm like, this is going to be a big deal.
06:56And every time I had someone come to my studio while I was working on it, they were like, Jay
07:01-Z is going to reach out and get that painting.
07:03And I'm like, man, come on.
07:05People paint Jay-Z all the time.
07:07Why would he want this painting?
07:09But sure enough, like, when it hit the internet, it went viral, man.
07:14And I realized that it wasn't just about the actual painting.
07:17It was about the story told, which makes the painting what it is, right?
07:21So, and I'm forever grateful for that moment.
07:26You know, that's a big deal, and that's going to live forever, man.
07:28Especially going to the Rock and Roll Hall of Fame at that time.
07:30Jay-Z, so just so that everybody understands what the painting is.
07:34Yes.
07:34And we see it right here, but it's pixelated on purpose.
07:37But what is it?
07:39What does it give people a visual of it?
07:41Yes.
07:41Well, I did a Jay-Z painting.
07:44It's called The Tree of Life.
07:46It's where Jay-Z, when he was growing out his reds, I turned the branches.
07:51I mean, I turned his hair into branches with leaves in it.
07:53And it's called The Tree of Life because of the legacy where he was and the legacy where he's going.
07:57He said that represents him.
07:59So it's a Jay-Z painting, tree of life, yellow background, nice colors.
08:04Yeah, it's a beautiful piece.
08:06And you can just Google Jay-Z trail of life and you can kind of find it.
08:09And I did this shirt.
08:10It's a pixelated version of it because I did an actual painting.
08:13I repainted it, but I painted pixelated.
08:15This is 864 squares.
08:18I said I was never going to repeat that piece.
08:20So this is the actual piece I did, the pixelated version.
08:23That's a work.
08:23That's a work.
08:24That's a work.
08:25We got two superstars up here, y'all.
08:28Terrace, a lot of people don't think of art as an investment sometimes.
08:32So I wanted to talk about the logistical aspect of art, man.
08:36When should someone consider getting a piece professionally appraised?
08:40Yeah, I think to get a piece appraised, I think you should.
08:45Well, first of all, whenever you purchase that piece of work, it's going to go for whatever you purchased it
08:51for.
08:51So you want to wait a little bit.
08:52I think about 10 years or so is a good time to get it appraised.
08:57Why?
08:59Well, because the artist has to gain some momentum because the idea is that you're making an investment to a
09:07degree.
09:07So you want to see what your investment is worth after 10 years.
09:12Five years, you know, if an artist is going to be successful and they're working on their career, usually it
09:19doesn't happen in five years.
09:20More like 10 years is a good number.
09:23And what do you think is the biggest mistake that you see collectors doing when they first try to purchase?
09:28Like a new collector, what's the biggest mistake they make, man?
09:30All right.
09:31So that's a good one.
09:32It's a big one, really.
09:34People who...
09:35So the whole point is to buy what you like, right?
09:39There's nothing more important.
09:40If you love it, then you buy it.
09:43One of the mistakes that people make is not getting it when they love it, when they see it.
09:48Because oftentimes people come to me and say, yeah, Terrence, I saw your work about 15 years ago.
09:54And if I had gotten that piece back then, right?
09:58And what they say is at that time, it was a little bit out of my budget.
10:02Well, when they see me now, they say it's still a little bit out of my budget.
10:07But it's an investment.
10:09You get it.
10:10It's always going to be a little bit out of your budget, especially if you like the artist and the
10:14artist is successful.
10:16So the biggest mistake is not getting it at the time.
10:20So Jay, I know your work, it features bandages as symbols of healing, brother.
10:25Can you talk about how Hurricane Katrina influenced your artistic voice, man?
10:29Well, Hurricane Katrina was a pivotal point as far as my art.
10:33It took a little twist to it because of things that happened.
10:39And I started implementing bandages and band-aids in it just to show the pain and the healing process of
10:47that time I was in.
10:48And when I add elements of symbolism in my art, it sticks, right?
10:53It never leaves.
10:54And I just keep it going.
10:55And everyone is healing from something, so I kind of like kept it going and used that as one of
11:01my symbols.
11:01But when I use those symbols, I always like to incorporate vibrant, nice colors to kind of balance out everything
11:08when I paint to give the positivity side of it.
11:11So that's what it kind of altered to me, what I'm still practicing now as I paint.
11:16One thing that's cool about you too, man, is you have a unique style.
11:19When I see it, I know that you did it.
11:21I wanted to ask you, like, when did you realize that you found your style?
11:25Because I know sometimes it takes all this a lifetime to do that.
11:28You know, when did you find your style, brother?
11:32I found my style kind of later on.
11:37Like you said, you practice and you dibble and dabble on different things that you feel that you like.
11:43But I went off of what the people thought and what the people said.
11:46A little bit more of what I've done too, but I kind of saw what more people grasp to when
11:50it come to me.
11:51And that's when I found it and I stuck with it and that's what I try to continue on going.
11:55But it came a little later than early for me.
12:01Terrence, you also own a gallery in New Orleans too, brother.
12:04I wanted to ask you, you know, brick and mortar businesses are getting more and more challenging nowadays, man.
12:10What are some of the challenges that you face owning the gallery and what fulfills you the most about owning
12:14the gallery, man?
12:16So I think the biggest thing is maintaining the gallery.
12:21It's, you know, you have to be willing to stay there during the dry seasons.
12:27The summer, for artists, summer is always slower, right?
12:30Now, fortunately, the art gallery is on Magazine Street and, you know, we're leasing over there.
12:38But my wife and I, who's sitting in the crowd here, and then my daughter is sitting right next to
12:42her.
12:44We, my wife is a corporate mindfulness coach and she does meditation.
12:51We purchased a building and it's about six times bigger than the one that we have now.
12:57And we're merging our businesses.
12:59She's always been my business partner.
13:00So now the gallery is going to be an art gallery and meditative space.
13:06So it'll be a destination spot.
13:09And, and so I think that the, the idea of maintaining a gallery is something that every artist should do.
13:17Now there, there are things that people are doing now where they don't have to have a gallery.
13:22I like the idea of walking into a space and seeing my, my artwork in a contemporary, modern or, or
13:31upscale place.
13:33Cause you know, I oftentimes will visit art galleries or even museums.
13:38And I'm, I'm looking at the artwork on the, on the walls and I'm, I'm like, well, why can't I
13:43have this?
13:44This is, this is, you know, it's like, uh, so always making sure that your artwork is given the credibility
13:54that it deserves.
13:55So you have to put it in a space.
13:57Cause if you don't believe it first and put it in a space that a value, then people aren't going
14:02to believe.
14:03So oftentimes that when I used to be a teacher, I told my students, you know, whatever price you put
14:10on your work is what people are going to believe.
14:13Now you have to do the work.
14:14But if I, if I had, if I put $500 on a painting and somebody walked in there who had
14:19never seen my work, they would believe that it was a $500 painting.
14:23If I put $10,000 on that, that work, they're going to believe that as well.
14:29But I also have to do the work and put it in a prestigious looking place.
14:33So, so, you know, that to me, that is always a goal to step my work up and make sure
14:40that when people walk in, they're like, oh yeah, I can see why it's that.
14:44So you said something really intriguing to me and something that I didn't know.
14:47You said that there's a dry season.
14:49Um, why is, I guess, art seasonal?
14:51Like why is the summertime a slow point for you?
14:53Like what is?
14:54Yeah.
14:55I mean, Jay, maybe, maybe we talk about that too, but I, I do think that, um, during the summertime,
15:01the kids are out of school.
15:03Uh, people who invest into art, they're making other investments at that time.
15:07I think art is usually purchased when people feel excited and, uh, and they also want to make an investment.
15:15For some reason, during the summertime, it's, it's not the time.
15:19You experienced that too?
15:20Yeah, for sure.
15:21Especially being in New Orleans, man.
15:22Like, I mean, a lot of people come in town for art, right?
15:25The slowest time in New Orleans is the summertime a lot.
15:30So it definitely plays a part.
15:31And at the end of the year, a lot of people may have extra money left over.
15:35They really want to, tax season come, they want to spend more money.
15:38So that's when the Decembers, the galas and all that come around.
15:42That's when people tend to do good because they have to get rid of a lot of money just to
15:46show.
15:46So I agree.
15:48I agree exactly with everything he says.
15:49Summer vacations and all of that.
15:50They spend it on that.
15:52Yeah, exactly.
15:52And this is an art, you know, this is a, I would say is a, is a first world that
15:57you got this one.
15:58It's not one of the first things you want to buy when you're going through time.
16:01Exactly.
16:01It's some extra.
16:02So you have to be mindful of that too.
16:04So I have a lot of artist friends, artist acquaintances too.
16:08And their biggest challenge is learning how to market themselves.
16:11They may be good at what they do, but getting their art out there is something that they kind of
16:15find difficult, man.
16:16But you, you've secured a lot of like brand partnerships, brand deals and all that, man.
16:21I want to talk about the NFL one in particular.
16:23How did you come to secure that deal with the NFL?
16:27And what advice would you give to artists that has difficulty marketing their work, man?
16:32Well, well, one, it's when they, when they, when they come out to you for your art, right?
16:38They come in to you as the person.
16:40So personally, they come in, they, before they come to you, they, they doing their research on that type.
16:45They doing their research.
16:46So you have to be a, a good person.
16:48Of course, they'll have the work to pack it.
16:50But how the NFL situation came about, there was around, there was in town maybe like eight months before Super
16:57Bowl,
16:58scouting spots to wherever they was going to use for having different pop-ups, the actual NFL themselves.
17:04So they went to a spot.
17:05They saw some of my art in there.
17:06And one of the executives reached out to the owner where my art was at and was telling him,
17:11I like this guy.
17:11Who is this guy?
17:12Can you share this information?
17:14And then I got the phone, I emailed, I was in an email thread.
17:17And they were like, man, well, he reached out before the email came.
17:20Man, the NFL wants your information.
17:22Can I give it to him?
17:22I'm like, man, what you, you don't even have to ask me that.
17:24You can give him my address.
17:26So they reached out.
17:27We set up everything.
17:28And they asked me, they told me what they was going to do and what they was trying to do.
17:31And it fit, it fit with what I was doing at the time.
17:34So I went with it.
17:36Congratulations again on that too, man.
17:37You got some nice work with that.
17:40Terrence, I wanted to ask you about balancing business and creativity.
17:45Like you being a gallery owner, you have to make money.
17:47You know, but as an artist, I know that you guys live and thrive off inspiration, man.
17:51How do you balance, you know, the creative aspect of creating the work that you want,
17:56but also making sure that your business thrives, man?
17:59So luckily I have a business partner who takes care of that.
18:02So my, I would recommend that.
18:05If you're an artist, you want to, you want to be with someone, have a partner who is business minded.
18:12True.
18:12I actually learned all my business sense from my wife initially.
18:16Black love.
18:17Yeah.
18:18Yeah.
18:18So she's a, she's, she still does it.
18:22Not as heavy as she did.
18:23So I, I moved up and did a, do a little bit, a little bit more, but, but one of
18:30the things I do, I do want to mention,
18:31sort of pick it back off of what you said, Jay, is that people, people are smart.
18:36They know what, what authenticity is.
18:38And so when you, whatever you, whatever artwork you do, you want to make it as true as possible.
18:45So I tend to put my, my wife and my daughter, whenever I'm painting a woman or lady, you know,
18:53take a picture of them and then use them as reference.
18:57So they're always in my work.
18:58My, my sons are in my work as well.
19:01So for me, being authentic about what I'm producing, I'm a, I'm a family man who lives in New Orleans.
19:10That comes out in my work.
19:11It's not just about expressing the culture.
19:14It's about what's true to me.
19:15Cause people, that's, that's all people want anyway.
19:18They want to see what it is that your life is so that they can find themselves in it.
19:23And, and that's the point where we're looking for ourselves.
19:26Kind of want to kind of add to that too.
19:28Um, Jay, like I know art is subjective and it's, you know, the interpretation of each person experience, they may
19:34view a work of art differently.
19:35But in your perfect world, when someone sees your art, what would you like them to think, man, or take
19:41away from your art brother?
19:43Um, it's multiple things.
19:46Uh, I see my, my, my artwork is basically like a visual journal of where I've been and where I'm
19:52going and which most people could agree with.
19:54But, um, I want them to take away like that, that I'm, I'm free at what I'm doing.
19:59And, um, it's, I'm true, I'm being true to myself and I'm, I'm not going to budge for anything.
20:05It's, it's, I want to, I want to tell a story that everybody could, that everybody could feel.
20:09So I'm, I like to do a lot of storytelling with my, like my, uh, portrait scenic pieces.
20:14So, and a lot of people could feel my stories because now it's how the 10 beef come from the
20:18same area and the same type of culture.
20:20So, um, just being true, man, what you see is what you're going to get from me for the most
20:24part.
20:25And I'm not, I probably would never change that.
20:27Well, thank y'all gentlemen for an amazing conversation.
20:30I know it's loud in the background, but I want to, y'all need to scream, yell, clap for Mr.
20:35Terence Osborne and Jeremy Jerk Beasley.
20:40Thank y'all so much.
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