Latest / BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show / From Trade Shows to Palette Knives: Lyn Hiner’s Journey from PRI to Porsche-Inspired Fine Art

Transcript

From Trade Shows to Palette Knives: Lyn Hiner’s Journey from PRI to Porsche-Inspired Fine Art · BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show

• 0:00
  BreakFix podcast is all about capturing the living history of people from
• 0:04
  all over the autosphere, from wrench turners and racers to artists, authors,
• 0:09
  designers, and everything in between.
• 0:11
  Our goal is to inspire a new generation of petrolheads that wonder.
• 0:16
  How did they get that job or become that person?
• 0:19
  The road to success is paved by all of us because everyone has a story.
• 0:27
  Studying art at the Pratt Institute in New York.
• 0:30
  Our guests ended up working in the business world as a
• 0:33
  trade show manager for PRI.
• 0:35
  You might be familiar with a performance racing industry.
• 0:38
  And for nearly a decade, she enjoyed everything about the racing industry and
• 0:42
  learn the value of good business acumen.
• 0:44
  But those early experiences helped shape the course of Lynn Hiner's life as she
• 0:49
  decided to become a professional artist.
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  And she's here with us on Break Fix to share her story with you.
• 0:55
  And with that, welcome to Break Fix, Lynn.
• 0:57
  Thank you for having me, Eric.
• 0:58
  Well, like all good Break Fix stories, there's a superheroine origin story.
• 1:03
  So tell us about your time at PRI and how that transformed into
• 1:07
  becoming a professional artist.
• 1:09
  Well, I think the professional artist track was probably earlier.
• 1:12
  Established then PRI.
• 1:15
  PRI was my, Oh nuts.
• 1:17
  I need to actually make money.
• 1:19
  To be blunt and honest, one of the things my dad had said when I said I
• 1:26
  wanted to apply to art school was, Hey.
• 1:28
  No problem.
• 1:29
  Just find a way to make money on it.
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  And that's what I wanted to do, but I didn't actually finish school.
• 1:35
  So when I came out of school and I came back to California, I actually started
• 1:40
  a little road trip of my own of what's going to be the fit and the fit happened
• 1:46
  with PRI trade show manager came as I went along and honestly, the journey has
• 1:51
  been littered with a lot of superheroes.
• 1:53
  My dad, my mom, the guy I worked for Steve Lewis, he actually taught me so much.
• 1:58
  About business.
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  And I would have never guessed it would have affected this path that I'm on now.
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  It did.
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  And so I'd have to say the family who has supported and even pushed at times,
• 2:10
  but also been patient on the journey.
• 2:12
  So while you were managing the trade show, which is a big to do, I mean,
• 2:16
  I've spent many a time in a convention center hall for other types of trade
• 2:20
  shows, including PRI there's a lot to do.
• 2:22
  There's a lot of spinning plates.
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  You mentioned that affected your art.
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  And so were you always drawing and painting in the background?
• 2:30
  Were you doing it as a hobby?
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  How did one influence the other?
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  PRI wasn't necessarily an influence on my art specifically.
• 2:37
  What it did was teach me how to run a business and anyone who actually
• 2:42
  wants to make money at art, you actually need to have some business
• 2:46
  acumen and some sense about you.
• 2:48
  I don't know why in art school, they don't teach you that part.
• 2:51
  It's such an important thing to know.
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  Marketing, business, basic math, writing a letter.
• 2:56
  You know, those things are actually super important.
• 2:59
  My boss, he would often say, Lynn, do you not know how to form a proper letter?
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  Which is a little humbling to say that now, but it was true.
• 3:08
  That was one of the things I didn't really understand was
• 3:11
  just the language of business.
• 3:12
  And now I do.
• 3:14
  So does the term starving artists?
• 3:16
  Apply to you or did you find your way to not know?
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  I eat, I eat, I enjoy, I like a good bottle of red.
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  So with all of this that you learned through the business side of the
• 3:31
  autosphere, you were able to put food on the table, which is excellent.
• 3:35
  And a lot of artists struggle with that.
• 3:36
  So what would you say is like the biggest thing?
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  Outside of how to run a business that an artist needs to learn to really put
• 3:42
  themselves out there, maybe to market themselves, because that's the other side,
• 3:45
  maybe the darker side of the business, especially today, when we think about
• 3:49
  it, social media and things like that, the professional side of doing art didn't
• 3:53
  come to me until much later, even after I left PRI, I was mom for many years, and
• 3:59
  that was my role and an important one.
• 4:02
  And I was grateful for it.
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  When the call came for being an artist, I didn't go into it.
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  Like, Ooh, I just want to do art.
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  I hadn't been creating in a very long time, but I knew
• 4:13
  the technical skills of it.
• 4:14
  And when I came back to it, I did a lot of research.
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  I didn't just wait for all that information to come to me.
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  I went and sought it out.
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  Even as far as reading any newsletter, there's an excellent, I would say shoes.
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  Partly a mentor in a way for me, it was Maria Brophy.
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  She reps a lot of artists.
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  Well, specifically she reps her husband, but she trains or whatever.
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  She comes alongside a lot of artists.
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  She, she was writing only newsletters at the time when I came into it.
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  But she later wrote a book called art, money, success, and basically all the
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  newsletters and all the podcasts and things I could hear from her, I devoured.
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  And then any local artists, which at the time weren't very many who
• 4:59
  would spend time talking to me.
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  I would reach out to them and ask them questions and of
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  course, understanding business.
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  I didn't do it while they were working.
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  I would send them an email or ask, you know, Hey, can I pay you for your time?
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  And out of the probably 20 that I reached out to, there was one local guy who is
• 5:17
  in his own right, very successful and has the most generous heart, Rick Delante.
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  And he came over and spent hours with me.
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  I asked him, could you critique the work?
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  Could you kind of take me through the process of how did you pick how
• 5:30
  much to charge and what did you do?
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  And what do you, his generosity was that phrase, all boats rise with the tide.
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  Reminded me that we can only be generous as far as we are willing to be generous.
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  And so from that, I've never, ever like any artist who's ever asked me, I always
• 5:47
  will say, call me when I'm not working.
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  Cause they'll often ask me when they meet me while I'm working, but call me when I'm
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  not working and let's talk, let's chat.
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  And so that's how I've spent more time with Sam and with
• 6:00
  a handful of other artists.
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  I think that is the right thing to do.
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  Now we need to really peel back.
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  Some of the layers here and talk about your petrol head side and we're going
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  to dive more into the artistry itself because there's different types of art,
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  you know, you're not doing portraits and you're not doing impressionism.
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  You specifically are focusing in on automotive art and
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  more importantly, Porsches.
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  Were you a petrol head before you were an artist?
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  How did all this culminate?
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  I grew up with my dad rebuilding and amateur racing Porsches.
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  You can't not have that influence your life.
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  Gosh, I bet I could find it.
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  I found it recently.
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  There was a photo I pulled out from my high school wall and had a big Porsche
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  with a whale tail on the back of it, and then I had a few posters on the other
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  sides of it that I didn't even remember I had, and there it was in this photo,
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  and I was like, yeah, I geeked out, I geeked out on Porsches very specifically
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  because my dad, he was the guy I.
• 6:55
  Loved and admired.
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  And here he was when I was very little, had a Porsche, Hey, honey,
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  put your hand on the shifter.
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  Okay.
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  Ready?
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  Do you hear it?
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  Do you hear it go?
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  And he would have me shift.
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  And so I would listen and I would understand and I would know.
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  And then there were the smells and you know, your tiny little butts swishing
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  around on the bucket seat of that car.
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  It cannot be undone.
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  Those very formidable memories.
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  Man, I loved them.
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  I could tell you at night when they would drive by, I could hear them
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  when I'm in my studio, my home studio, I can hear him go by and I know I
• 7:29
  immediately can see him drive by, I know the engine sound, everything.
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  I don't go in the engine and play around.
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  Let's be fair.
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  That's not what I know.
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  I know the car, I can point anything out.
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  And as much as I love Porsches and I will always, you know, that
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  will be my first love of cars.
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  There are too many beautiful cars out there for me to not say.
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  Uh, yeah, thank you.
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  I will paint that.
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  And yes, I would love to paint that.
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  I just finished two pieces for the upcoming Amelia Island
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  Concours, DV5 and uh, Ferrari 330.
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  They were stunning cars and I was grateful to get to do them.
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  Yeah, it's not just Porsche in my paint world.
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  So you asked me very specifically, how did I get there?
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  Well, it was actually because I do other work.
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  And in that other work, a collector asked me to do his car
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  and it happened to be a Porsche.
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  And in doing that, I was like, okay, that was a lot of fun.
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  Now, would I have put the two together when I came back to it professionally?
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  Nope, not even a little, I never considered that to be a marriage made
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  in heaven, I guess, because what I was doing was leaning into my fine art side.
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  And at the point when I found my voice with knives.
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  Everything I knew about automotive artwork was very realistic.
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  And so I don't even think it was a fleeting thought until I did that car.
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  I had fun.
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  I had a great reaction on social media from people who
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  saw me doing my other work.
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  I was like, okay, is this a thing?
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  Could I make this a thing?
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  I don't know if this is going to be a thing.
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  And all of a sudden I'm like, okay, this is the thing I'm going to do this
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  other one and see if it's a thing.
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  So in the middle of prepping for another show, I put a blank canvas on my easel
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  and I pulled out a photo I had taken a year earlier at our local car show.
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  And I started the same process I had done with that commission work
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  that Portia, as I was putting the lines of this 427 Cobra on, I was
• 9:14
  like, I can see the whole collection.
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  I can see an entire body of work.
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  I wonder if this is a thing.
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  And as I was starting a third painting, a couple of months later, Peter
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  McGillivray from SEMA reached out and said, Hey Lynn, If I found a spot
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  for you, do you want to exhibit this?
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  I like what you're doing.
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  Would you want to have a spot at Art Walk?
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  And I didn't understand the gift he was giving me by that invite.
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  If I had said no, I would have never had that opportunity
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  and I would not be here now.
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  Well, you sort of walked us backwards into one of our most famous pit stop
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  questions on Brake Fix, which is, you know, the most beautiful car of all time.
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  And so from an artist's perspective, that's quite subjective.
• 9:53
  You mentioned a few and I think it's interesting that you did sort of cut
• 9:57
  your teeth on Porsches because especially the early Porsches are unique in the car
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  world because there's not a seam on them.
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  They're very fluid in the design.
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  They're very round.
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  There aren't any hard lines compared to other 50s and 60 cars of the time where
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  you have big fins and angular lights and everything super futuristic looking.
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  Maybe we put the Porsches aside or tell us what the best looking Porsche is, but
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  what's the most beautiful car of all time?
• 10:21
  Good gravy, Eric.
• 10:22
  That's a tough one.
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  Cause there really are, if I'm going to go with my guttural first instinct,
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  my first, like in my head, the car that I long to have would be a speedster
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  without a doubt a speedster, but how do I not confess my absolute adoration
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  for a five 50 spider, both Porsches.
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  But if somebody is going to twist my arm, I am going to
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  take my, I'm going to take it.
• 10:44
  Let's see, a 2 75 or three 30, I wouldn't have a problem in the Ferrari realm.
• 10:50
  I would also add a Jaguar E type.
• 10:53
  No doubt in my mind, there are just too many beautiful cars and there's my
• 10:59
  list, not necessarily in a order of.
• 11:02
  Preference.
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  But yeah, for sure.
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  They would all be in my garage.
• 11:06
  I'm glad you brought up the E type because it is our reigning champion.
• 11:09
  A lot of people default that the E type Jag is one of the most beautiful designs.
• 11:12
  And I think second to that is the 250 Testarossa pontoon fender and a
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  couple other cars of a similar era.
• 11:18
  It brings up a really interesting question.
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  And this is specifically from a design language perspective as an artist,
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  do you feel that modern car design Is on par with some of the classics.
• 11:30
  Like, have we gone too far afield?
• 11:32
  There's a lot of aerodynamicists that'll say there's one design that cheats
• 11:35
  the wind and that's why Ferraris and NSXs and Corvettes all look the same.
• 11:39
  Now, do you think we've lost touch with design?
• 11:42
  I think we've lost touch with the beauty.
• 11:44
  I don't know how else to say it.
• 11:45
  Modern cars are aesthetically interesting.
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  But I don't know if I would categorize them as beautiful.
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  And the problem for me is if it's ever going to be part of my personal
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  collection, the ones that I create at the beginning of the year, I almost
• 11:59
  always, always lean into, I'd say probably 95 percent early sixties cars.
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  There are a few later sixties, but something about that.
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  And I hate to use the word sexy because I think it's relative, but
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  unfortunately I just think that's so true.
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  There is an aesthetic that I can.
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  Appreciate in a modern car, without a doubt, there's some beautiful lines to
• 12:21
  them, but they're very angular usually.
• 12:23
  And in that angular ness, as type A as I am, if I walk into a room and I see
• 12:29
  a painting that's not squared up, dear Lord, I don't even know if I know the
• 12:32
  person I'm squaring it up for them because I'm like, how do you live with that?
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  But on the beauty of a car, give me rounded lines.
• 12:39
  Give me rounded lines.
• 12:40
  There's something that's so lovely about it.
• 12:44
  Maybe that's why Porsche is such a favorite because even as modern as
• 12:48
  it gets, it stays rounded and in that they have stayed true to that beauty.
• 12:54
  Well, there's another side to this coin.
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  The ugliest car of all time.
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  Oh dear.
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  Small economical seventies cars are usually my least
• 13:07
  favorite cars I ever have seen.
• 13:09
  But a close second are the early versions of electric cars.
• 13:14
  Holy moly.
• 13:15
  Those suckers are ugly, ugly, ugly.
• 13:18
  What were the designers thinking?
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  You can't make it.
• 13:20
  So it's pretty to drive.
• 13:21
  No, you got to make it like it stands out.
• 13:23
  And it's, Ooh, yeah.
• 13:24
  Foxy seventies cars.
• 13:26
  Some of us do appreciate square bodies with round headlights.
• 13:29
  I don't mind them.
• 13:31
  I'm not talking about a beefy 70s Mustang here.
• 13:34
  I'm not talking about even a Challenger or Charger even for that matter.
• 13:38
  Oh man, that is not a good era for design for me.
• 13:41
  Because there is a designer out there that is notorious for designing some of
• 13:45
  the most iconic boxy cars of that era.
• 13:48
  God willing, he's not listening.
• 13:49
  Giorgetto Giugiaro is not listening, but he did design cars like the iconic GTI.
• 13:56
  So I'm wondering, does that fall into the same category?
• 14:00
  Not, not necessarily.
• 14:02
  It gets a pass.
• 14:03
  It's not a gremlin.
• 14:04
  I get it.
• 14:04
  Yeah.
• 14:05
  Well, and even a gremlin, you know, maybe because it's like Beat up in this
• 14:09
  series of how awful can an awful car be a Gremlin or a Pinto is usually up there.
• 14:15
  I get it.
• 14:15
  There's something that's sort of grotesquely fascinating, but not
• 14:23
  enough to make me want to have one.
• 14:27
  Well, let's drop this thing into second gear and let's talk
• 14:30
  a little bit more about art.
• 14:31
  So there's a lot of facets to art and painting, and we heard about your
• 14:36
  inspiration and how you got involved in this, but there's a turning
• 14:39
  point, and you call it the accident.
• 14:42
  It has to do with your petals collection, initially titled Beauty from Ashes.
• 14:46
  So I want to unpack that story a little bit for the audience that may or may
• 14:50
  not know what that story is all about.
• 14:52
  So in 2012, I was down at the beach with my daughters and some friends,
• 14:58
  and we were doing some rock hunting.
• 15:00
  And, It's common if you live at the beach and we live in Southern California.
• 15:03
  And even if we were in the desert, we'd find interesting rocks and we'd collect
• 15:07
  small ones and put them in our pockets.
• 15:09
  And I was the only one wearing shorts.
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  My daughters were both in their suits.
• 15:13
  We were hours into this journey and at the point when we finally
• 15:17
  got home, I was getting ready to go on a date with my husband.
• 15:19
  We were celebrating his birthday, the rocks that were in my pocket and, uh,
• 15:24
  all the stuff And I felt an acute pain in my leg and I had no idea what it was,
• 15:30
  but the only thing that made sense in that split second was, Oh my goodness,
• 15:34
  something's biting me, but it was hot.
• 15:36
  So I was thinking it's something big.
• 15:38
  So I kind of haul off to hit it.
• 15:40
  And when I looked down, I had a rather large flame coming out of my shorts.
• 15:45
  It had already burned a hole through the cargo side of my shorts.
• 15:49
  Cause my husband and I were talking at the counter.
• 15:51
  I started to back up and I said, my shorts are on fire.
• 15:54
  I wasn't that calm by the way, but my shorts are on fire, get it off.
• 15:59
  And I'm still trying to hit it out.
• 16:01
  You know, like when you try and smoke out a fire, I'm trying to hit it out.
• 16:05
  What exactly caught fire in your pocket?
• 16:08
  It ended up being a piece of white phosphorus.
• 16:10
  I thought I was picking up a teeny weeny little bit of amber.
• 16:13
  You know, I had sea glass and I had a couple of pretty rocks.
• 16:16
  And then there's, Ooh, I found a little piece of amber on the beach.
• 16:19
  How cool is that?
• 16:20
  No, it wasn't.
• 16:23
  It literally ignited like two hours later.
• 16:26
  So white phosphorus, if it is exposed to oxygen, it will ignite immediately.
• 16:31
  Well, the theory from all the investigators was.
• 16:35
  And there were a lot of them, man, it had been out there since they probably
• 16:38
  started doing maneuvers from Pendleton eons ago, decades ago, but it had probably
• 16:44
  rolled into crust of salt and sand and all that stuff that was protecting it so
• 16:50
  that when I came chomping up my stairs.
• 16:53
  With the other rocks, it probably broke the crack and that's when it got oxygen.
• 16:58
  It became a spurious acid, had a 1200 degree flame.
• 17:02
  Plus this liquid fire that then coated all the other rocks, which then caused
• 17:07
  my floor to catch on fire because we had wool floors and it was a messy deal.
• 17:11
  We were out of our home for two and a half months while they were
• 17:14
  trying to rebuild our kitchen.
• 17:16
  And it wasn't like it did like catastrophic damage,
• 17:19
  but it was toxic damage.
• 17:20
  And so they had to take all that stuff out.
• 17:24
  Fast forward, it ended up being 10 days in the hospital and two grafting
• 17:30
  surgeries and a year of follow up, smaller surgeries because of scar tissue
• 17:37
  repair between my hand and my leg.
• 17:39
  I had second and third degree burns that was.
• 17:43
  It's a pretty trying season and you start walking around, no matter that you're
• 17:48
  wearing compression garments and going in for another surgery in another week or
• 17:51
  two, people thought everything was fine.
• 17:53
  And hunky Dory, I had some bandages on my hand and my leg, you know, I always
• 17:57
  had to wear something comfortable with the compression, but people
• 18:01
  just assumed everything was fine.
• 18:03
  And so there's this really weird space of challenge.
• 18:07
  Difficulty, you look fine from here down.
• 18:10
  I can't believe it.
• 18:11
  I mean, even now, like people see my hands and you can't tell unless you
• 18:15
  start really looking, but that hand, I was ready to have my finger cut off.
• 18:19
  The scar tissue had bent my finger in such a way.
• 18:22
  I could not sleep at night.
• 18:24
  I was, I was constantly wrestling with it.
• 18:26
  And I went back to my surgeon who did all the work on me.
• 18:30
  And I was like.
• 18:31
  You know what, could you just cut it off?
• 18:32
  I'm left handed.
• 18:33
  This is a right finger.
• 18:34
  I don't care.
• 18:35
  It's impractical.
• 18:36
  It's actually driving me a little nuts.
• 18:39
  Could you just take it from me?
• 18:40
  And she's like, well, no, I can't just cut your finger off for that.
• 18:43
  Yeah.
• 18:43
  We would just start from scratch.
• 18:45
  She's talking about taking everything off and starting from scratch with the grass.
• 18:50
  Oh, all that to say.
• 18:51
  That year was one of the hardest in my life.
• 18:54
  It was actually more than a year.
• 18:56
  The last surgery was almost a year later, but the therapy and everything
• 19:00
  went for a few years longer.
• 19:02
  And at the end of it, when I really was finished with all of it and my
• 19:06
  husband and I were kind of talking about what's next, and I had been teaching
• 19:09
  art for a while before the accident, he was talking about in the scheme of
• 19:14
  things, what do you want to do next?
• 19:15
  And I said, I, I don't know.
• 19:17
  Let me think on it.
• 19:18
  After a week of praying about it and really considering
• 19:21
  what that would look like.
• 19:22
  I didn't want to work in retail.
• 19:23
  I certainly didn't want to go back to trade show.
• 19:25
  That was very demanding.
• 19:27
  I had done some consulting.
• 19:28
  I liked teaching, but I actually felt called back to art at that point.
• 19:32
  And when I came back to it professionally, I hadn't created
• 19:35
  anything in literally decades.
• 19:37
  So what was I going to do with that?
• 19:39
  I spent a year just getting accustomed to brushes and canvas
• 19:44
  and paint flowing on canvas.
• 19:47
  I was doing hyper realism because technically trained, that's what you do.
• 19:50
  You go back to what you know, and that was what I knew.
• 19:53
  I didn't have a lot of joy in that.
• 19:55
  So it was sort of an interesting problem, but I was having people buy
• 19:58
  some stuff, little bits here and there.
• 20:01
  About a year later, I had gone to, I don't know, I was trying to jumpstart
• 20:05
  something and a friend of mine had said she was going to go take this
• 20:07
  class of all things on abstract and at school, it was probably the thing that
• 20:12
  bothered me the most was abstraction.
• 20:14
  I didn't understand it.
• 20:16
  It was weird.
• 20:16
  It usually looked like somebody had lost their mind on canvas.
• 20:21
  Those are immature thoughts, but that's where I was at when I was going to school.
• 20:26
  At the end of it, through this class, I had to explore things and expand
• 20:31
  my consideration on a lot of things.
• 20:33
  Not the least of which is it isn't nuts.
• 20:35
  It's somebody's interpretation of something.
• 20:37
  Yes, some people are intuitive.
• 20:40
  Well, when I do intuitive abstraction, it often, at least in the early
• 20:43
  days, I'd say it was purple vomit.
• 20:46
  That was the only thing I could equate it to.
• 20:47
  It looked like junk.
• 20:48
  I didn't like it.
• 20:49
  But as I took those paintings and I started to build on top of it, I couldn't,
• 20:54
  practically speaking, I don't cut off canvases when I don't like something.
• 20:57
  I gesso over it or I paint over it.
• 20:59
  You don't waste things, right?
• 21:01
  You just don't waste.
• 21:01
  After I'd created Purple Vomit on canvas, which is the first piece, that's why
• 21:06
  I call it all Purple Vomit at first.
• 21:08
  I sat with it, really had to explore why didn't I like it?
• 21:11
  What was I going to do with it?
• 21:13
  Well, I created another painting on top of it.
• 21:15
  And instead of using brushes, if I'm exploring everything that's
• 21:18
  uncomfortable to me, let's see what it looks like with knives.
• 21:21
  And so I did, I took my college knife and I took that old beat up knife that
• 21:27
  I used to use just for mixing paint.
• 21:28
  And I said, let's see what it looks like.
• 21:30
  And I started to play with it.
• 21:31
  And I realized, Oh my word, you use an obscene amount of paint.
• 21:35
  I kind of got a little upset about it, but I was like, no, no.
• 21:37
  We're leaning in, we're leaning into what we don't know.
• 21:40
  How are we going to do this?
• 21:41
  And so the first couple of paintings I did with knives were these
• 21:44
  funky reflective water pieces.
• 21:47
  And I was like, okay, I get it.
• 21:49
  As I moved past that and I was seeing the layers coming through from that
• 21:53
  first purple vomiting painting to this water reflective painting, that was not
• 21:57
  much of anything, but it was important.
• 21:59
  I started thinking about the process of making something beautiful.
• 22:03
  And flowers came to mind and that's where this whole idea of, okay, I see
• 22:07
  this layer, this layer that I didn't like, but it's part of the process.
• 22:11
  And I see this beautiful part.
• 22:12
  And then I started to think about the florals and this whole concept of painting
• 22:17
  like this, what would that look like?
• 22:19
  Simultaneously, a dear friend asked me to paint her a large
• 22:23
  scale floral of all things.
• 22:25
  I wasn't doing florals at the time.
• 22:27
  But as I was building on this layering process and doing things like that, I did
• 22:33
  this idea in my head, this abstraction.
• 22:35
  And then I did this background and the background was kind of little
• 22:39
  dark, but moody and important.
• 22:41
  And then I built these really bright red poppies on top of it.
• 22:44
  And all of a sudden I was like, Oh my word.
• 22:47
  This feels important.
• 22:49
  This whole process was super important.
• 22:50
  I had allowed the drips in this purple vomit painting.
• 22:54
  If this is important, let me, let me re explore this drippy thing
• 22:57
  I'm doing here and the imperfection of it going from these tight.
• 23:01
  Perfect paintings to using knives and everything's loose and allowing
• 23:06
  these drips, which really had a deep effect on me because as
• 23:10
  perfectionist as I was, I was allowing these things that were imperfect.
• 23:17
  It's a very painful process, but it was also, I, I immediately understood
• 23:21
  there was something important here.
• 23:22
  And as I finished that, I started working on a second one before I was even finished
• 23:26
  with the first, and then I started a third, and then I started a fourth.
• 23:30
  And what I realized was this was a conversation I was having with God
• 23:33
  about how my body, which had no ill issues before, was suddenly now scarred.
• 23:41
  And disfigured in a way, not hugely, it's not like I can't
• 23:45
  walk, but it's scar tissue.
• 23:47
  And it's a big patch of scar tissue.
• 23:49
  And my finger wasn't working for a long time.
• 23:51
  All of a sudden I realized, even though I had to go through this
• 23:54
  very dark season in my life, the outcome was I was ready to have this
• 23:59
  conversation with God about something.
• 24:02
  That was painful, actually still is very beautiful and allowing for that beauty and
• 24:06
  that joy to have a place in the dynamic of who I was, not to shove it aside,
• 24:11
  but to actually really lean into it.
• 24:14
  Here we are nearly a decade after this series started, which was in 2014.
• 24:19
  to that process of then building a collection, starting to show at shows,
• 24:24
  having a collector several years later who asked me to do a Porsche for him
• 24:29
  and that becoming part of that series.
• 24:31
  And then they ran in tandem.
• 24:32
  Both series had a place.
• 24:34
  And so I was doing festival of arts in Laguna and I was doing big shows down
• 24:37
  in San Diego and other events that were still harnessing this conversation because
• 24:43
  people were so emotional about this.
• 24:45
  It touched people in a way I had no idea would.
• 24:49
  Touch, but then to take that same process and apply to the cars, which I actually
• 24:54
  had, um, it wasn't a moral issue with it.
• 24:57
  It was, it felt so different.
• 25:00
  It was such a weird dichotomy of taking something that was constantly fun in
• 25:04
  my youth and taking it with something that was super emotional in my adult
• 25:08
  life and putting them together.
• 25:10
  And then what I found was some of the people were having the
• 25:13
  same reaction about the cars.
• 25:15
  I had a guy in one of my displays having a literal emotional reaction
• 25:20
  to that's my grandfather's truck.
• 25:22
  And my grandma's name was the name of the truck.
• 25:25
  I named this painting and we're having a whole conversation about the memory of it.
• 25:29
  And I'll have people who come into my booth at Amelia and they
• 25:32
  will have 45 minute conversations about the car that let get away.
• 25:35
  And that's it.
• 25:36
  There it is up on your wall.
• 25:39
  That's my car, but it's not so tight that it's the car.
• 25:43
  It's the memory of the car.
• 25:44
  And when I realized that is what was affecting people was the emotion of it.
• 25:49
  It became so clear.
• 25:51
  It wasn't just this frivolous thing I was painting.
• 25:54
  It was still this memory and something that was deeply important to people that.
• 25:58
  It's kind of a cool deal and I get to be a part of it.
• 26:01
  But it defines your signature style.
• 26:04
  And as Kelly Telfer said, who is a guest on the show and a friend of
• 26:07
  yours as well, he said, if you want awesome palette knife work, you go
• 26:10
  to Lynn Hiner for that sort of thing.
• 26:12
  But I think you hit the nail right on the head and it's.
• 26:14
  Something I didn't realize until you mentioned it, even seeing your art,
• 26:17
  when we got together during car week at Monterey, that palette knife work,
• 26:21
  when you look at even the images of the cars, it does have that hazy
• 26:25
  dream state to it, where it's almost like you are recalling a memory.
• 26:29
  And that's something that other art styles don't provide for you.
• 26:33
  And it makes it very unique.
• 26:34
  It's very you.
• 26:35
  And that's what is super cool about the artwork that you're putting together,
• 26:38
  whether it's the cars or whether it's other things that you're painting.
• 26:42
  Yeah, that is the whole point of not trying to just paint your car for you.
• 26:46
  I'm trying to evoke a response.
• 26:48
  Yeah.
• 26:49
  I'm trying to give you an emotion.
• 26:51
  I guess that's the best way to say it.
• 26:52
  I want you to have the emotion.
• 26:53
  If we're going to paint something, let's have it be something
• 26:57
  that elicits a reaction.
• 26:58
  I want it to be a beautiful reaction.
• 27:00
  I don't want it to be the one that is reactive in a.
• 27:04
  What the hell is that?
• 27:07
  Which actually I've gotten to, we've had a couple other of your friends
• 27:13
  on the show, Samantha Zimmerman and Chris Dunlop to name a few, Samantha
• 27:17
  had high praise to say about you.
• 27:19
  And she also mentioned that you've mentored her and you've
• 27:22
  been an inspiration to her work.
• 27:23
  She has a totally different style.
• 27:24
  She takes from some of the classic artists and masters that are out there.
• 27:28
  So have you collaborated with her on any projects or are there any
• 27:32
  other artists that we should be.
• 27:33
  Thinking about in the autosphere that had done some work with Lynn Heiner.
• 27:36
  I haven't had a collaboration like that before, although all the artists that
• 27:40
  I've worked, not side by side with, but have shown side by side with at SEMA,
• 27:44
  we had a big idea one year and then of course COVID hit and it obliterated the
• 27:48
  idea, but the concept was really cool.
• 27:51
  And I hope we do it at some point, which is let's take one car and let's
• 27:55
  all do our interpretation of it.
• 27:58
  I just think that would be beyond cool for the audience to see,
• 28:02
  because we all have our preferences.
• 28:04
  I tend towards the Euro and most of the other artists who are there are
• 28:08
  clearly more in the Americana side of things and all of it has a place,
• 28:12
  but how cool would it be to see how each person interprets that car?
• 28:16
  But other than that, no, I travel so much and my work schedule is such that it's
• 28:22
  really hard for me to do some of those funner projects, but I've sort of settled.
• 28:26
  We finally got ourselves a proper studio here in San Clemente and we're building
• 28:31
  out my wall, but on my wall, I'm going to have the special projects corner.
• 28:35
  And that is going to be the spot where new works and new ideas start to formulate.
• 28:39
  And I'm excited about that.
• 28:40
  You mentioned that during your art school training, you.
• 28:44
  Focused on hyper realism.
• 28:46
  These days, a lot of people recognize it as photo realistic art, and you see a
• 28:50
  lot of that cropping up on social media.
• 28:53
  One of the folks that comes to mind, especially in this space, who does
• 28:56
  a lot of Porsches is Manu Kampart.
• 28:59
  Beautiful work.
• 28:59
  Absolutely.
• 29:00
  And I want to get your thoughts on.
• 29:02
  This sort of Renaissance in this photo realistic art.
• 29:06
  And the question I get from a lot of folks is why would I buy that
• 29:09
  painting when I could get a blow up or a poster or a photograph, because
• 29:14
  that's what they're basing it on.
• 29:15
  So what are your thoughts on hyper realistic art,
• 29:18
  especially in today's construct?
• 29:20
  Well, the person that I know, and I deeply admire because he is among those
• 29:25
  photorealistic would be Ed Tilrock or Tom Fritz, both of them have.
• 29:30
  Just an incredible technical skill.
• 29:33
  What that brings to the table is a wealth of knowledge, not just
• 29:39
  from an artistic point of view, but also an engineering point of view.
• 29:43
  And I would probably guess, I know Ed was a, uh, an architect.
• 29:47
  He has engineering in his mind.
• 29:49
  I'm thinking so does Tom.
• 29:51
  I've always had quotes around my home studio, but this one I brought to our
• 29:55
  new studio and it says to copy the object in a still life is nothing one
• 30:00
  must render the emotion they awaken.
• 30:02
  Now, that was a quote by Henry Matisse, like that was.
• 30:07
  An early quote I had slapped on my studio walls probably like around 2010.
• 30:12
  To know that quote was there even after I hadn't been painting and
• 30:16
  then now painting, and to know that that's sort of how I want to live
• 30:20
  it out, that's important to me.
• 30:22
  Like I've had people call my work lesser because I don't do realism
• 30:25
  and it's like, dude, I can do it.
• 30:27
  I just don't.
• 30:28
  I choose not to do it.
• 30:30
  But the idea for somebody to say one is better than the other,
• 30:34
  it's just a different approach.
• 30:36
  There is a place for both, but at the same time, it definitely
• 30:40
  describes how I create.
• 30:42
  It was like the essential of what I am trying to do, the essence of it.
• 30:46
  But it really is, it's delicate territory because there are
• 30:50
  just so many gifted realists out there and I applaud them for it.
• 30:54
  There's just never any joy for me in it.
• 30:56
  For somebody who's creating in the realism realm, when you have that kind of
• 31:00
  skill, first of all, it's very hard to.
• 31:02
  Pull away from that knowledge.
• 31:05
  It took me a full year of pushing out of working in that sphere in that realm.
• 31:10
  I had no joy in it.
• 31:11
  If you have joy in it, it will come through in your paintings.
• 31:14
  So saying that as an observer, as a collector, I think there's an
• 31:20
  understanding what goes into that.
• 31:22
  It's.
• 31:22
  Copious hours and very small brushes oftentimes that are required and
• 31:28
  the patience that it requires.
• 31:30
  And I applaud and celebrate that.
• 31:33
  And I think it should be celebrated in the idea of why would we want everything
• 31:38
  to be so one way versus so another way, I think there is a place for all of it.
• 31:43
  And it's a beautiful gift that they have and they bring.
• 31:46
  I don't personally think it's a problem or good or a bad thing.
• 31:51
  I actually am super excited to see it all in one space.
• 31:54
  When we have automotive artists who are all showing together to
• 31:58
  see each person's style and voice come forward, I think it's awesome.
• 32:04
  This leads us into the most modern of art forms.
• 32:08
  You're seeing this crop up all over the place.
• 32:10
  So I have to ask you about generative.
• 32:13
  Artificial intelligence or AI, there are systems out there like stable
• 32:17
  diffusion, Dolly mid journey and others.
• 32:19
  Where is your opinion on this?
• 32:21
  And what is their place in the future of art?
• 32:24
  I have some very close friends who have very strong opinions about it.
• 32:30
  That being said, some of them who are designers think it's brilliant.
• 32:34
  The technology is incredible.
• 32:36
  How can you deny the technology?
• 32:37
  It is incredible.
• 32:38
  However, AI can't put that space on the wall in that one corner of their studio.
• 32:45
  That's going to create something new.
• 32:47
  It could maybe put in my name or my style and say, Oh, I'm
• 32:51
  going to create like Lynn.
• 32:52
  In this moment, but it is not going to necessarily repeat how
• 32:56
  I'm going to create in the future.
• 32:58
  And knowing that, knowing that that creativity is
• 33:01
  actually pulled from somebody.
• 33:03
  It's not really intelligent in the truest sense of the creative
• 33:08
  intelligence that it requires.
• 33:10
  It is taking somebody else's concepts and putting it into an
• 33:14
  algorithm that feeds an idea.
• 33:17
  But it's not going to take my ideas and make art.
• 33:20
  That's going to be my future art, my art from when I started like
• 33:24
  this piece behind me is one of the very first out of the series, right?
• 33:27
  It is extraordinarily loose.
• 33:29
  It has way more color.
• 33:30
  I am much tighter, which is sort of funny.
• 33:32
  I don't know why that is going the other way.
• 33:35
  But if you were to look at this piece behind me versus
• 33:38
  a piece that I just finished.
• 33:40
  They have changed.
• 33:41
  You still know it's my style.
• 33:42
  You still know it's me, but it's definitely still changing as I go in the
• 33:48
  artificial intelligence sphere of artwork.
• 33:51
  It's just somebody else's idea and filtering it through this.
• 33:56
  computer.
• 33:57
  There's no beauty in that.
• 33:58
  There's no cleverness in that.
• 34:00
  There's no seeing that particular light and the joy that's processed through that.
• 34:05
  I think it's interesting, but I don't think it has a true place in creativity.
• 34:09
  I know that there are people who are playing with it and they're
• 34:11
  probably going to pursue that.
• 34:13
  And that's.
• 34:14
  Fine.
• 34:15
  Just like, how did it go?
• 34:16
  We went from vinyl to tape to CD back to vinyl and music.
• 34:22
  This is going to be the same thing.
• 34:25
  There's always going to be a place.
• 34:27
  If you fight it, I don't know.
• 34:29
  There's something to be said about.
• 34:31
  Allow for the process to continue and see where it goes.
• 34:34
  But I haven't found anyone yet who doesn't appreciate art for art's sake.
• 34:38
  I have had people ask me if this is a photo that I've run
• 34:41
  through my computer before.
• 34:45
  To which I laughed heartily in their face.
• 34:50
  Uh, no, pal.
• 34:52
  No.
• 34:54
  Nope.
• 34:55
  Uh, not going to be that easy.
• 34:57
  No.
• 34:57
  Speaking of future art pieces, how do you choose what you're going to work on next?
• 35:01
  All my pieces for this year's collection, I have two more that I didn't get finished
• 35:05
  before Amelia, so they'll probably come up in an event later, whether it's
• 35:10
  Pebble or something that's coming in.
• 35:12
  We'll see when the time affords me, but right easels and There's a couple
• 35:18
  of pieces that are actually landscape.
• 35:21
  I'm doing one of Lake Tahoe right now, so that's kind of fun.
• 35:24
  I don't get asked to do a lot of that.
• 35:25
  And I have five automotive, one Lake Tahoe, one floral.
• 35:30
  Those are the pieces in process right now that are commissioned works.
• 35:33
  So there's a lot of talk lately about the A in STEM.
• 35:37
  People are like, wait, what?
• 35:38
  So it's referred to as STEAM, science, technology,
• 35:41
  engineering, art, and mathematics.
• 35:43
  What's your opinion on jamming that A in now, now that STEM has kind of found
• 35:47
  its place, and adding art to that?
• 35:50
  I think it's critically important.
• 35:52
  I helped to develop an art program for my kids elementary school.
• 35:56
  Because of that program, it was myself and two other parents, two other moms who
• 36:01
  one was an architect, I was the artist and the other one was a jewelry maker.
• 36:05
  And we wanted to move away from a particular program that our school
• 36:09
  was currently using, which was academically driven and we wanted it.
• 36:13
  Kids to have something that was creatively based.
• 36:16
  And we had kids that first year who would cry, not understanding that
• 36:20
  it was actually meant to be fun.
• 36:22
  Not there's no grade on this.
• 36:24
  Let's fast forward several years.
• 36:26
  That school became a steam school, a steam certified elementary school.
• 36:32
  And it was large in part due to this program, this create
• 36:35
  program that we had established.
• 36:38
  Why do I think this is important if we do everything on one side of the brain, if
• 36:42
  everything is all left brain driven and we don't apply what is happening on the
• 36:47
  right brain and we expect our children to be not just well rounded, but actually
• 36:53
  whole it's half of a whole, you cannot just lean on this academic side and
• 37:00
  not expect creative thought to emerge.
• 37:03
  from nothing.
• 37:04
  You have nothing but numbers and digits and analog without the color
• 37:09
  and vibrancy of art, music, all of it.
• 37:12
  It's half of a whole.
• 37:14
  It's going to be bad in the future.
• 37:15
  In my opinion, talking about something I feel strongly about,
• 37:18
  this is where I feel strongly.
• 37:20
  I watched so many kids who came out of this generation, these last
• 37:23
  Decade and a half with no art.
• 37:26
  That's actually how I got paid for a lot of the time.
• 37:29
  I was just, just being mom.
• 37:31
  I would teach art because every parent who is desperate to have their
• 37:34
  kids learning something other than academic had to go outside the school.
• 37:38
  That was stuff we had in school.
• 37:40
  I, I remember vividly my elementary, middle school and high school, all having
• 37:45
  art as a pivotal part of our education.
• 37:48
  And that's why all these creative people through the 90s and 2000s, who were my
• 37:52
  age, create all these incredible things.
• 37:55
  And the reason I bring it up is because we do have a propensity
• 37:59
  to talk to a lot of engineers, pro drivers, things like that on the show.
• 38:02
  They talk a lot about STEM, and we talk a lot about diversity and inclusion.
• 38:06
  I find that in the artist camp, it's Just natural, there are so many different
• 38:12
  types of artists and so many different flavors and styles and this and that
• 38:17
  that the conversation around diversity maybe isn't as strong as it is in other
• 38:20
  disciplines of education, but the one question that we can pull from this is.
• 38:25
  When we relate it to the autosphere, let's say a young lady walks up to
• 38:29
  you and says, Lynn, why paint cars?
• 38:31
  Why do I paint cars?
• 38:32
  Because I love them.
• 38:33
  I mean, they're beautiful.
• 38:35
  Why wouldn't I?
• 38:35
  I haven't created the car.
• 38:37
  So let's be fair.
• 38:38
  I, my artwork is an homage to the designer, the designer who took
• 38:42
  something that is mechanical and purposeful and made it beautiful.
• 38:47
  Having said that.
• 38:48
  I'm just playing with it.
• 38:50
  I'm hot rodding it right now.
• 38:51
  Essentially a painting is my interpretation through the filter of
• 38:55
  my lens and I'm putting it onto canvas.
• 38:58
  If I can't think through how I want to make that personal to me, that might
• 39:03
  help you have a reaction towards it.
• 39:05
  Then I've lost all sense of.
• 39:07
  What is emotion, feeling, beauty.
• 39:10
  Those are the things I want to evoke from you.
• 39:12
  I don't know if that designer was necessarily doing it, but doggone it,
• 39:16
  when you look at some of the cars and the details on them, and you think somebody
• 39:20
  spent time putting that wood, they picked that wood for that dashboard, or they
• 39:25
  pick that Chrome detail right there.
• 39:29
  Didn't need to be there, but look at how beautiful it was.
• 39:31
  It was so thoughtful.
• 39:32
  That goes beyond just academics.
• 39:36
  That's approaching a feeling, an experience, a guttural,
• 39:40
  like something deep.
• 39:41
  That doesn't come from just the academics.
• 39:43
  So it goes back to, I found something beautiful.
• 39:46
  Florals are beautiful to me.
• 39:48
  Cars are beautiful to me.
• 39:49
  I get to paint them.
• 39:50
  I'm gonna paint them.
• 39:52
  Why not?
• 39:53
  So for someone that's just starting out and trying to find their way,
• 39:56
  what's the best advice you give them?
• 39:58
  What are some gotchas, some lessons learned, things that you look back on
• 40:02
  your many years as an artist and say, if I knew then what I know now, this
• 40:07
  is what I would have done differently.
• 40:08
  What could you pass on to a younger generation?
• 40:11
  Well, when I do have kids or the parents of kids who come to me, the
• 40:15
  first thing I say is let them play.
• 40:17
  Let them have fun with it.
• 40:19
  But I also say it's not usually a straight line.
• 40:21
  It might be in some weird person's life.
• 40:24
  I don't know too many people who have a straight line from this
• 40:26
  is what I studied in school to this is what I do professionally.
• 40:30
  Take all those experiences and honor them.
• 40:33
  They are part of the process.
• 40:34
  If you told me that working at PRI was going to affect the
• 40:38
  way I became an artist and.
• 40:40
  Made money at it.
• 40:41
  I would have laughed.
• 40:43
  I would have said, why would this have anything to do with it?
• 40:45
  But it does, it fully had an impact and I'm grateful for it.
• 40:49
  So if somebody comes to me and asks about those early years, I'm like,
• 40:53
  don't fight that you need to put food on the table, go have food on the table.
• 40:57
  It's important.
• 40:58
  And then.
• 40:59
  As you are doing this job that is putting food on the table, figure
• 41:03
  out how that is going to make you better at what you do later.
• 41:06
  All those life experiences affect who we are and how our art comes to be.
• 41:12
  Once I found that voice, I was prolific.
• 41:14
  I probably did 150 works of art that first year.
• 41:18
  And I'm not talking about Itty bitty things.
• 41:20
  I'm talking about big scale pieces, but I also did little ones too.
• 41:24
  The idea is everything has an impact on how you can, you continue to create.
• 41:31
  I'm now much slower in it because now I'm more thoughtful about it.
• 41:34
  But when I first started, once I allowed my life to just be what my
• 41:38
  life was, and now I was doing it professionally, there was so much
• 41:42
  to say, and there was so much joy.
• 41:45
  How do you not want to just keep doing it?
• 41:47
  It's not like this explosive, Holy cow.
• 41:50
  I created that look at it.
• 41:51
  It's amazing.
• 41:52
  And you're not doing it from a heart of I'm being arrogant, but a heart of
• 41:56
  pure joy that that came out of me, those things are because of a life fully lived.
• 42:01
  So what I will always say to anyone who's young, who's talking to me, or the parent
• 42:06
  of somebody who's young, who's trying to dissuade their kid, or maybe encourage
• 42:09
  it and say, how does my kid make money at this, just keep living your life.
• 42:13
  Do you.
• 42:14
  Do it well, don't do it on the backs or on the heels of somebody else.
• 42:18
  Figure out your voice copying is part of the process.
• 42:21
  That's how we learn, but then find your voice in it.
• 42:24
  If your school or whatever is not going to teach you how to make money on it.
• 42:28
  Well, then go find a real job, a real quote unquote, real job, a
• 42:32
  nine to fiver, I guess is a better way of putting it and find out.
• 42:36
  How to make a living, understand why that guy's marketing his business this way.
• 42:40
  Understand why a budget is important.
• 42:42
  Make sure you apply it because that's how you're going to make money.
• 42:46
  Know who your clients are, know who your people are, and then make
• 42:49
  sure you surround yourself with really good people who are going
• 42:51
  to encourage you and cheer you on.
• 42:53
  I think it's valuable.
• 42:54
  So what's next, Lynn, any upcoming projects, spoilers, anything you can share
• 42:59
  events in 2024 that we should be looking out for you at, I am super excited to
• 43:04
  say that I just signed with some people who want to be Lynn Heiner, Japan, which
• 43:09
  is kind of this crazy idea and makes my hands sweat a little bit, but their hope
• 43:15
  and mine, I guess, is this idea that they are going to not just represent,
• 43:21
  they That they want to be my ambassadors, which is such a weird thing to me.
• 43:26
  Kind of makes me a little weepy, actually wants to take what I
• 43:28
  do and they love it so much.
• 43:30
  They want to take it to their audience there.
• 43:32
  So that's kind of cool.
• 43:33
  That's happening right now.
• 43:34
  I'm not sure if we'll be there, but the ideas will probably be
• 43:37
  there in April as they launch.
• 43:39
  But this is a three years in the making deal.
• 43:42
  Like I met them three years ago and then we started having
• 43:45
  a conversation about this.
• 43:47
  year and a half ago.
• 43:47
  And we spent all of last year working out the details, which is
• 43:51
  not always easy with a language barrier, but we're figuring it out.
• 43:55
  And so that's kind of exciting.
• 43:56
  We're going to go back to the UK this year and actually have a display at Goodwood.
• 44:01
  And that's at least the plan.
• 44:02
  Let's see if that all works itself out.
• 44:04
  Cause last year we thought we had it and then it fell apart.
• 44:08
  Right at the last minute, fell apart, still went and we had a great time.
• 44:12
  And now I understand their market and their requirements.
• 44:15
  They're better.
• 44:16
  We'll keep going from there.
• 44:17
  Honestly, Eric, if somebody would have told me, not only that I'd make money
• 44:21
  at being an artist, I'm certain I would have laughed at them when I was younger.
• 44:25
  But even when I came back to it about a decade ago, I would have.
• 44:29
  Never known it was possible.
• 44:31
  And I sit here today saying that by God's grace, my husband and I get to
• 44:37
  work together and do this together.
• 44:39
  It does take more than one person to make it happen.
• 44:42
  Because if I want to create art, I cannot always be on the business side.
• 44:46
  And I was the only one doing both for a lot of years, but when he retired from
• 44:51
  his job and came working with me, I saw the value in that and that's where we are,
• 44:56
  we're building this thing that I want it to still be very personal and intimate
• 45:00
  with the people that I get to do it with.
• 45:01
  I have some really great clients that believe in me and that continues
• 45:05
  to grow, which I'm overwhelmed by.
• 45:07
  When I talk about these global things, it's sort of like this, what, me?
• 45:13
  But it's kind of this really cool thing that is happening
• 45:16
  and I'm really grateful for it.
• 45:18
  It's just trying to figure out how to make it all happen.
• 45:20
  Well, since we're still talking about futures, say we fast forward
• 45:23
  the clock several decades, you've left a presence on the world.
• 45:26
  You have to nominate a handful of your artwork to be hung, let's
• 45:30
  say, at the Peterson or Revs or one of the other automotive
• 45:33
  institutions that are out there.
• 45:34
  What would you choose?
• 45:35
  What would you nominate from your collection?
• 45:37
  There's still more that's coming and that's going to be.
• 45:40
  Monumental.
• 45:41
  If you're talking about like a retrospective, it
• 45:43
  would have to be the car.
• 45:45
  That is the homage to my dad's car.
• 45:47
  The first piece in the series.
• 45:49
  Those are probably the 2 and I would say at least the Cobra.
• 45:54
  So all of those have names, but the Cobra, that was the piece that I knew was
• 45:58
  going to become part of the collection.
• 46:00
  The reason.
• 46:01
  Is that those are important, but there are going to be other works
• 46:04
  that I'm going to say are the pieces that I'm like, Oh my goodness.
• 46:07
  I'm so incredibly proud.
• 46:09
  I actually did that.
• 46:11
  And there are a few of those in there, but those are the three that I feel are
• 46:14
  the most important in the collection.
• 46:16
  Well, with that Lynn, we've reached that part of the episode
• 46:18
  where I like to invite our guests.
• 46:20
  To share any shout outs, promotions, or anything else
• 46:22
  that we haven't covered thus far.
• 46:24
  First of all, thank you, Eric, so much for having me on here.
• 46:28
  And you mentioned two people who are important, Kelly and
• 46:32
  Samantha, who I adore and are doing great things in their own right.
• 46:36
  And then they're just very talented and Chris is among them as well.
• 46:40
  There are many who are out there, but if I'm going to do a shout out right
• 46:43
  now, just personally, it's going to be to my husband, Rob, who really
• 46:47
  that guy, he is behind the scenes.
• 46:50
  He has just the most supportive heart and works incredibly
• 46:54
  hard to make everything happen.
• 46:56
  So I don't have to think about that.
• 46:58
  I don't need to think about the crates or he worked tirelessly
• 47:01
  to make sure that all happens.
• 47:02
  He does that.
• 47:03
  For everything we do.
• 47:04
  And I am honestly, incredibly grateful for that.
• 47:07
  So that would be my shout out.
• 47:09
  I will say I'm kind of stymied by this idea.
• 47:12
  We have a new studio and a lot of people have come to it and it's become this
• 47:16
  little bit of a gallery and a place for people to come when they come to Southern
• 47:19
  California, that's kind of becoming a cool deal for me and hopefully you'll
• 47:22
  stay in touch because there's more coming.
• 47:25
  To quote artist Rick Delante, Lynn Heiner's paintings express the
• 47:29
  joie de vivre that she so vibrantly embodies in her personality.
• 47:33
  Whether an abstract study of shape and color, or an emotional impression
• 47:37
  of land, sky, or sea, Lynn sees through the essence of what she
• 47:40
  observes, and more importantly, feels.
• 47:43
  She describes the world she sees with color, joy, and sensitivity.
• 47:47
  Her artworks are real life and interpreted through a worshipful lens.
• 47:51
  To learn more about how you can acquire a piece of Lin's work,
• 47:54
  look no further than linhiner.
• 47:56
  com or follow her on social at LinhinerArt and at LinhinerCars
• 48:01
  on Instagram and Facebook, as well as at LinhinerStudios on Facebook.
• 48:07
  And don't forget to check out her YouTube channel or connect with her via LinkedIn.
• 48:11
  And with that, Lynn, I can't thank you enough for coming on break fix
• 48:13
  and sharing your story with us.
• 48:16
  And I have to say as a witness to your art, to Rick's point, I feel
• 48:21
  your passion for the autosphere coming through every piece.
• 48:25
  And what's important about that is for somebody setting
• 48:28
  eyes on one of your paintings.
• 48:30
  That is another way in which we can continue to spread motor sports
• 48:34
  and vehicle enthusiasm, which is really important these days.
• 48:37
  As we talked about earlier, designs are changing.
• 48:39
  The beauty is lost, but they evoke that emotion.
• 48:42
  They keep us connected to a time gone by, but also why we love cars, why we
• 48:48
  love mobility and why we love driving.
• 48:50
  And that comes through your art in every painting.
• 48:52
  So I appreciate that and keep up the good work.
• 48:54
  Thank you so much, Eric.
• 48:55
  Seriously, really appreciate being on here with you and
• 48:59
  much success to you, my friend.
• 49:05
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• 49:09
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• 49:11
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• 49:14
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