Humans love putting things in boxes. We love to organise and categorise and make sure everything and everyone has their place. This truth holds power over us in the art world too as algorithms try to dictate how an artist should be, what they should post and what content is and isn’t acceptable within its stifling rules. An artist must have a brand, a niche, a singular story to tell and any deviation from this path is unacceptable. Art, and its creator the artist, however can never be contained within these conditions. No box can contain the endless flow of creativity especially for fine artist Emmylou Smith.
Emmylou Smith is a US-based fine artist and illustrator who has spent the best part of a year carving out new creative truths for herself. Her previous work as a digital artist was uprooted in 2024 to make space for a new creative vision through the wistful washes of watercolour. Since trading in her digital tablet for a watercolour palette and brush, Emmylou been slowly building herself a new portfolio back up from zero.
Each step on this new path has led her to a new, vibrant body of watercolour paintings that bring ancient tales, historical figures and timeless myths back into the spotlight with a fresh perspective. Her work seeks new and interesting ways to preserve the many beauties of the past whilst making it accessible and relevant to our world today.
Make art for yourself – truly. We’re only here for a brief moment, and that time is so precious.
Interview with EmmyLou Smith
To kick off this interview, can you tell our readers a bit about yourself and your artistic journey so far?
I’ve always been drawn to the power of visual storytelling, but my journey has taken some interesting turns. I spent nearly a decade working in digital art, pushing it to its limits and pouring myself into learning everything I could. But about a year ago, I made a major shift. I decided to return to traditional painting, specifically watercolour, after realising how much I longed for the tactile connection with my work.
I wanted my work to feel as real and raw as the subjects I paint. Watercolour, with all its unpredictability and softness, seemed like the perfect fit for what I wanted to create: art that feels alive, like it’s part of the story. I’ve spent the past year building my portfolio from scratch, focusing on blending history, mythology, and nature in a way that feels fresh and modern. It’s been a new chapter, and I’m excited to see where it takes me.
How would you describe your work in three words?
Reverent. Fluid. Mythic.
Last year you decided to scrap your digital portfolio and start afresh in watercolour. Can you tell us a bit about what led you to this decision and what the journey has been like since making this change?
I made the switch from digital to traditional in part, honestly, because of our increasingly digital world, but mostly because I felt an urge to return to creating something irreplaceable, tangible, and imperfect. Watercolour called to me because of its unpredictability and its rich history. I didn’t just want to create beauty, but I wanted to feel the brush in my hand, and see the surface resisting and embracing the pigment of the paint. With watercolour, it’s not just about control; it’s like a conversation (and sometimes an argument) between me and the paint, and I absolutely love every minute of it.
What have you learnt about yourself and your art since making the change from digital to watercolour?
Since transitioning to watercolour, I’ve learned to surrender more. I’ve learned that beauty often lives in what we can’t control. Like how the pigment blooms unexpectedly or how a mistake ends up becoming a “happy accident”. I’ve also discovered a new level of patience with myself and my process. Digital art offered complete control and unlimited “undo” buttons, but watercolour offers trust. I’ve learned to trust my instincts more and see value in softness and imperfection. It also removed a lot of pressure and allowed me to paint with honesty, like I don’t need to prove anything. I just need to share what I’m passionate about.
What drew you to watercolour over other mediums such as oil or acrylic?
Oil is too heavy for me, and acrylic feels too synthetic. But watercolour feels alive – it changes from moment to moment, kind of like a memory. It feels like the perfect medium to honor the past while making it feel alive again.
What advice would you give to those who are looking to pursue art or make changes in the type of art that they make?
Make art for yourself – truly. We’re only here for a brief moment, and that time is so precious. Don’t waste it trying to fit into someone else’s idea of what your work should be. Create what you’d be proud to leave behind. Whether you’re thinking of switching mediums, subject matter, or starting over entirely, it is definitely worth it if it brings you closer to your truth. You’re not here to please the world. You’re here to leave behind something that is real.
What lasting impact do you hope your art will make in the long run?
If my art could be like a window between the past and the present…that would mean everything. I’d love for someone to look at one of my paintings and feel, even for a moment, the weight of Icarus’s fall, or what Joan of Arc might have looked like. Not as a perfect historical record, but as an emotional one that connects someone to something that is long gone but still feels very real.
Reading, antiquing and watching old Hollywood movies keep you occupied when you’re not painting, do these activities inspire your work or do you keep your hobbies separate from your painting practice?
I wouldn’t say they directly influence my work, but they absolutely feed my soul. Antiquing reminds me to appreciate the artistry of everyday objects. Like the carefully carved ornate designs in a 19th-century dining chair, or the gorgeous pattern designs of American depression glass. I love the life that was once put into these objects.
And while old Hollywood films don’t connect to my paintings, I love them – I mean, who doesn’t enjoy a classic Bogie film? As for reading, I’m always diving into history or fantasy books. Even though none of these hobbies end up in one of my paintings, it’s really part of the bigger picture: my borderline unhealthy obsession with the past, stories, and beauty that lasts. It’s just how I live!
Do you have any good book/movie recommendations?
For movies, you have to start with Waterloo Bridge, It Happened One Night, Modern Times, East of Eden, The Maltese Falcon, The Kid, Laura, Some Like It Hot, The Wild One, and Duck Soup. You can’t go wrong with any of these.
For books, I’ve enjoyed Queen of Scots: The True Life of Mary Stuart by John Guy and Circe by Madeline Miller.
Do you have any exciting projects or exhibitions coming up soon that you can tell our readers a bit about?
Yes, this fall, I’ll be participating in ArtPrize in Grand Rapids, MI, and I’ve also been invited to take part in a group show this fall with a gallery I really admire. That show hasn’t been publicly announced yet, so I can’t share details just yet, but I’m looking forward to it!
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