Why Tovah Cook Believes Daily Micro-Actions Are the Best Path to Activism *and* Creativity

Tovah Cook

The idea of daily actions can feel like a lot. Daily exercises in creativity designed to help you blossom can feel stressful, like another to-do. Taking time every day to take action, support your community, dismantle archaic systems, and help others thrive can feel even more daunting — the work of an activist, a fighter, someone with that elusive resource, time. But as you might have guessed, we've got an inspiring story that will have you taking action every day, in ways you might not expect. Meet Tovah Cook, designer, dancer, ceramicist, and author of Black Binder, a notebook of curated prompts to steer anti-racist questions and topics into actions and solutions. A calming presence with a thoughtful demeanor, Tovah is a creator who pours intention, soul, and heart into everything she creates. Her own exploration of anti-racism and Black history is what inspired her to create Black Binder in the midst of *so* much coming to the surface in the summer of 2020. Tovah found herself navigating topics and questions she still had much to learn about, and realized others were on a similar journey.

Anjelika Temple here, co-founder of Brit + Co. In collaboration with Represent Collaborative, I had the honor of virtually sitting down to chat with Tovah Cook about her creative process, what inspired her book, and what activism looks like for her on a daily basis. The thing that struck me the most about our conversation was how it ended — I asked if there was anything else she wanted to cover. She replied, "I do have one question. How can I support you?" And that is Tovah in a nutshell — supportive, looking for ways to learn and grow, and always community-first. Read the full interview below.

Anj: Ground us in your roots. Where did you grow up? Where has your creative journey taken you?

Tovah: I'm originally from Texas, a little east of Dallas, called Garland, Texas. I grew up there and lived there all my life until 10 years ago. I went to the University of Houston and studied architecture and environmental design. When I finished school, I started thinking about what my next chapter might look like. Is architecture still something I want to do? I was questioning the idea of form equals function. Then I started taking my master's classes at Academy of Art in graphic design, and that was when I transitioned to the Bay Area. I was only going to be here for a semester or two and I'm still here.

Anj: Oh yes, often how it goes here in Northern California. Your creative practice covers dance, design, ceramics, writing, and more. What do you love about making and designing things?

Tovah: I like not the finished product. I feel a lot of people like the finished product, but I like experimenting in the practice of things. With ceramics, I really like experimenting on different glazes and the outcomes. It's literally a science project because you don't know what those glazes might be or how the clay might react. It just all looks a bit different. And I think that's the same with dance and stuff. I just love learning new moves but not necessarily performing.

Anj: So the learning process and experimental process and figuring it out is where it sounds like you feel your spark. Tell me a little bit more about what the state of creative flow feels like for you, when you're in that moment. Is it a frenzy of activity? Is it a sense of calm that washes over you?

Tovah: It's a little bit of both. I would say last year or for 2020, it was a bit different than other years because one, I got laid off and so I had a bit of extra time. I got laid off the same day that I was moving out of my place, a week prior was when a lot of companies started having all the layoffs. I had decided not to sign a lease because I was a bit nervous that I was going to get laid off. And so I booked an Airbnb for a month thinking that the pandemic was only going to be a month. And that was in Oregon in a small middle-of-nowhere town called Yachats. It was a very unique opportunity for me because it's not my normal experience of how I get creative. I was surrounded by nature. I would go on walks. I would do sunset walks each day to the beach. And there's no one else there on this beach. It was just me. You can really just get surrounded by your thoughts and literally think about something for hours and not feel the pressure of needing to do something. And then I started writing. And I don't think I'm necessarily a good writer. I actually was told multiple times by professors that I was a bad writer. But I started writing anyway. I like writing micro things. So looking at a plant and looking at the fuzziness of it and writing those details. Or I would write the details of how the cabin I was in was built, the light shadows that danced on the walls, the way the wood overlapped. That started getting my creative juices going.

Anj: A natural writer, you brought me to the perfect segue into your writing and Black Binder! What inspired you to create it? Tell us about the moment when you realized you needed to bring this thing into existence.

Tovah: For a couple of years now, I've wanted to create a journal. And so during this time, I was like, "Okay, now's my chance to create this journal." But then seeing everything happening last summer, I felt maybe this could be an opportunity for me to create something meaningful and useful. So it's not just blank pages, but people could get some use out of it. Some friends and people reached out during that time period when everything was happening last year with George Floyd and stuff and asking questions. I would say most of the time I wasn't able to answer at that moment because of sheer exhaustion. And then I think just throughout life, I've been on this journey as a Black person finding my own identity and being a Black person and especially growing up in a mostly white community of learning about the history of who I am and my ancestors. I had to Google questions the same way a white person's Googling these questions last year. And so it's me rethinking those questions and putting it all down and just creating more of an exploration of the stuff that I had to do myself, in a way that people can use themselves.

Anj: I'm curious, since it came from exercises and questions you were asking yourself, who do you think is the ideal audience for the book?

Tovah: When I first created it, I think I wanted it to be more of a workplace book where there's a diversity inclusion team, and people could actually come together and have conversations, almost like a book club. But then I think it expanded on all these different scenarios. I think the audience group is most likely someone who has had privilege and doesn't quite know where to start, or has started a little bit but… I think there are always improvements that we can make. And so the ideal reader is just trying to learn better ways of how they can get more engaged within their community.

Anj: I love that. Talk to me a little more about once someone's engaging, what do you hope they get out of it?

Tovah: I feel a lot of people have assumptions and misconceptions of the Black community. When we look at the statistics and within my book, I have all these spaces where you would have to understand why maybe there's more Black children within the foster care system, or why there are more Black men within the prison system. And so I ask people to write these numbers down. So first, it is the learning, learning why these numbers are here. I want people to have more conversations, more than, "Okay, I read this piece of work." Or, "I've read an anti-racist book and now I'm anti-racist." I want them to see the numbers, see why, and put it into action by getting involved in their community. When you get the book, you'll see that there aren't actually any resources. I don't provide lists of books that you could use to reference because I want people to do their own research themselves. And I want it to be based within the community that they live in, because you could read a book about how to be anti-racist, but it might not be applicable to that area which you live in.

Anj: I know one thing that's a focus point is daily prompts and daily actions. As an activist yourself, what do daily actions look like for you?

Tovah: For my daily action items, I think small in that I think a lot of times people assume that it has to be big. Even right now it's like, "Okay, Biden's going to do all this stuff." We expect it from the top down. And I actually think it happens within our own community and individually. And so I think really small. For MLK Day, I was thinking what can I do within my community? I didn't know what I was going to do that day. But then I went to the grocery store, and I saw a homeless person sitting there on the street and I was like, "Okay, maybe it's just me having a conversation with him." And so I went in and got groceries for him and then withdrew some money to give to him. Because just thinking about Martin Luther King's message — how are we trying to help people? I try to think of it small each day, what am I going to do? It might not be something like donating or giving; it could be me just learning something or me just supporting a friend. It doesn't actually have to be focused on social justice but just creating something and trying to improve your community each day.

Anj: Has activism always been core to your purpose, your personal mission?

Tovah: No. Growing up in Texas, you know the dynamic of people who live there is very different from here in the Bay Area. When I was living there, I was young at the time and I didn't want to talk about politics at all. I didn't know much about it. But then when I do look back, I see how my mom set up ways for us to be activists. Not necessarily like at the scale of Angela Davis. But when we look at it, maybe my mom was an activist in that she was trying to instill this justice within me. I remember in high school, I reached out to our principal because at one point, our principal made the decision that Black children had to cut their hair because it was a distraction in class. So me and my sister contacted the principal, and we got other people to do it. And now that I think of it, I guess that was activism work. But at the time, I just felt I didn't want to talk about it. I didn't want to be involved about it because I just felt everyone was just going to bash me or talk down to me. It's just a lot of weight when everyone disagrees with you. Like, "Am I supposed to have a voice for this? Can I just be on my way? Do I have to have an opinion?"

Anj: My gosh, totally. What areas of advocacy are you focused on at the moment?

Tovah: I feel I put my hands in a whole bunch of different pots. I'm still trying to learn where I want to be because I do think that it's like creating a relationship with an organization or a specific mission. I would say at the moment, there's a few organizations that stand out to me. I've been donating to this organization called Creative Growth. It's a nonprofit that supports individuals with disabilities and helps them create artwork. And this one's in Oakland. I love that mission and what they're doing. And I've been thinking about maybe where I want to be involved and help and provide more support is in that area. Right now, I'm reading a book called Disability Visibility, a compilation of a whole bunch of essays by people with disabilities. Each essay is really powerful and has me thinking about how we can amplify people who have disabilities, their voices more. I feel in 2020, everything was released and it's like, "We're just going to release everything and talk about everything." But I do feel we still could do a lot of work on amplifying people's voices who have disabilities.

Anj: When you're not finding small ways to act and create each day, how do you recharge? So what does self-care look for you on a day-to-day basis?

Tovah: Something that I started putting into my routine, I started putting an ice cube on my face. And it's shocking at first, but it's really soothing in a way. It's supposed to be really good for your skin. And you know when you wash your clothes and they come fresh out of the dryer, and they're really warm? That moment of taking your warm blanket out of the dryer and wrapping yourself with it, that's my favorite feeling in the world. And naps. I like naps.

Anj: What advice do you have for creatives who have an idea or who have a story to tell but have no idea how to put it out in the world or get started?

Tovah: I like to create small wins for myself. A lot of times people make really big goals and having that big goal is good, but along the way, just to keep you inspired, it's good to have small wins. When I created the book, my ultimate goal was to get it published by a big publishing company. I had no way of even creating the book. And like I said earlier, I thought of myself as a really poor writer. But you take it one step at a time. Along the way, you have to get a copyright license and filling out that form feels daunting even though it's not. It's only 20 minutes. If you're doing something for the first time ever, everything just feels so daunting. And so I just create small wins. It's not necessarily like, "I have to do these things at this time." It's just when they happen, it's like, "Okay, let's celebrate and use that as a means to move forward."

So I would just say yes, things will feel daunting but to not let that be a reason to just stop and give up. Most of the time you won't know what you're doing, and that's okay. Just keep on going and be okay with not knowing what you're doing.


Anj: Finally, we want to encourage the REP CO readers to take action. What organizations should our readers know about? What stories should we read or learn about?

Tovah: I read this book last year calledThe Book of Rosy, A Mother's Story of Separation at the Border. It's a beautiful story shared from a mother's point of view. Stories that are often silenced and suppressed. And you can support an organization called Immigrant Families Together, which provides more information about people at the border and how you can help or be a part of the organization. I thought that was really good for people who want to learn about undocumented citizens or get involved in that way. There's also an organization called Impact Justice. That's something I want to learn more about myself, thinking about people who are incarcerated and how we can help them out.

I also subscribed to emails from an organization calledUpturn.org. It provides really hefty reading on different policies and government policies that are happening. There's this one report called Mass Extraction: The Widespread Power of U.S. Law Enforcement to Search Mobile Phones. So if you're really into heavy reading, and you want to understand or just get really passionate about why are the police surveilling us, this is a good organization to look into.

Anj: Awesome. Well, thank you so much. This was so nice chatting. Is there anything else that you want to talk about or make sure we mention?

Tovah: I really do appreciate this conversation. I feel grateful. I do have one more question. Just wondering how I can support you.

Anj: My goodness.

Buy your own copy of Black Binderhere, and be sure to follow Tovah Cook @saint_florence for more inspiration, action, and art.

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Right about now, you're probably searching for the perfect beauty gifts, DIY gifts, gifts for the guy in your life, and an office Secret Santa present. There are endless options to choose from, but it's so much more rewarding when you find a gift that gives back — like when brands offer a percentage of proceeds to nonprofit organizations or match your purchase with a direct gift to those in need. So this year as you're doing your holiday shopping, opt for something that'll help make the world a brighter place. Scroll on for the most stylish, thoughtful, and charitable gifts for everyone on your list.

Shiffon Duet Pinky Ring

Wear solo or in a stack, this adjustable pinky ring is set with a large stone beside a tiny diamond and represents one woman supporting another through a "pinky promise." Fifty percent of profits go back to female-founded companies through the Startup Girl Foundation. ($155)

ABLE Rachel Wristlet

Handcrafted in Ethiopia and Mexico, this stylish leather bag makes the perfect everyday purse. ABLE seeks to end generational poverty by creating jobs for women lacking opportunity. ($98)

Obakki Tumblers

These vintage-inspired water/cocktail glasses are surprisingly lightweight and beautiful on your holiday table. Obakki is committed to transparency and traceability throughout the production process and their foundation, The Obakki Foundation, allows them to give back even more to their partner communities around the world. ($108/set of two)

The Landmark Project X Wildlife Federation Sweatshirt

This unisex sweatshirt is a perfect gift for the outdoorsy person in your life. The Landmark Project partners with the National Wildlife Federation on a new collection for wildlife lovers that gives back! With each purchase from this collection, The Landmark Project will donate 10% to the National Wildlife Federation, directly contributing to their vital environmental and conservation initiatives. ($68)

OneHope Gold Glitter Edition Brut Sparkling Wine

Put the cheer in your cheers with this sparkly sparkling that's perf for a NYE toast. Ten percent of your order goes to the nonprofit of your choice. ($49)

The Magic We Made Friendship Bracelets

For the Swiftie in your life, this Taylor Swift-inspired collection of ethically handcrafted friendship bracelets is made by talented women artisans in Guatemala. All proceeds will go to support Nest, which ensures artisans across the world can live their "Wildest Dreams." ($30)

Pink Moon Air Element Collection

This planet-friendly, vegan skincare line is designed to even out skin tone and brighten skin. Check out Water, Earth, and Fire collections too! One percent of Pink Moon's revenue goes to a nonprofit of your choice. ($105)

Warby Parker Tilley Sunglasses

Now you can look good and feel good when you buy these chic shades that contribute to Warby Parker's Buy a Pair, Give a Pair program. This initiative donates monthly to nonprofit partners and trains people in developing countries to give basic eye exams and sell affordable glasses in their communities. ($95)

FEED Book Bag

We love this unique tote that carries a purpose too. With the purchase of this bag, 10 nutritious school meals are provided to global communities in need. ($38)

LUSH Charity Pot Body Lotion

Give the gift of soft skin and activism with every purchase of Charity Pot. One hundred percent of profits from this product are donated to small grassroots organizations working in environmental conservation, animal welfare, and human rights. ($10)

Love Your Melon Pom Beanie

Dedicated to battling cancer and keeping heads stylishly warm, Love Your Melon donates 50 percent of profits to nonprofit partners. ($36)

LSTN Sound Co. Zebra Wood Satellite Bluetooth Speaker

Proceeds from this cute li'l speaker go to the Starkey Hearing Foundation to help give the gift of hearing (via hearing aids) to 1.9 million people and counting! ($129)

Lingua Franca Cashmere Sweater

Lingua Franca cashmere sweaters are 100 percent sustainably sourced, ethically produced cashmere, hand-stitched in NYC. Ten percent of proceeds from this 1973 sweater goes to Whole Woman's Health Alliance, a non-profit dedicated to providing reproductive services for women in states with the least access to this critical care. ($400)

Roma Ankle Rain Boots

Fashion meets durability in these lace-up-style vegan and eco-friendly rainboots. For every pair sold, Roma donates a new pair of shoes to a child living in poverty. ($65)

Purpose Olivewood Cutting Board

Perfect for holiday entertaining and seasonal picnics, this olivewood cutting board is handmade through a Kenyan market artisan partnership with Amani Ya Juu, a fair trade sewing and training program for marginalized women in Kenya and Uganda. ($46)

HOBO Euro Slide Card Case

Store your ID, credit cards, and even your passport in this leather case from an iconic brand. Now through May 31, 2024, HOBO is committed to raising $250,000 for Habitat For Humanity. ($78)


For more holiday gift ideas, follow us on Pinterest!

Brit + Co may at times use affiliate links to promote products sold by others, but always offers genuine editorial recommendations.

No matter what kind of day you're having, Marissa Cooper's having a worse one. Mischa Barton's The O.C. character went through the ringer during the first three seasons of the teen drama (remember how she overdosed in Tijuana...and also saw her parents post-hookup after their divorce?).

And during her time on The O.C., Mischa Barton struggled with drug and alcohol abuse. She was arrested for a DUI in 2007 and eventually received involuntary psychiatric hospitalization in 2009 after allegedly threatening to end her own life. And in a new interview, Peter Gallagher (who played Sandy Cohen on the show) says he's "just so grateful" for "the fact that she’s still alive."

  • Mischa Barton starred alongside Peter Gallagher in The O.C. from 2003-2006.
  • The actress has revealed the "trauma" of being a star at that point in her life.
  • Peter recently opened up about how he's thankful "she’s still alive."


Dimitrios Kambouris/Getty Images for FLC/John Lamparski/Getty Images

The O.C. follows Ryan Atwood, who moves in with the Cohens after getting kicked out of his mom's house, and starts a relationship with Marissa shortly after. While Peter Gallagher played Adam Brody's TV dad instead of Mischa's, Sandy was a definitely father figure for Marissa, and it seems like Peter felt that same responsibility off camera.

"I’ve always felt very protective of her," Peter told The Independent. "First fame is toxic. First fame can kill you. She was 16 years old when she started working with us, so just the fact that she’s still alive, I’m just so grateful."

“You can go to therapy every day for the rest of your life,” Mischa said in a 2023 interview with The Sunday Times. “There’s just a certain amount of trauma [from] all that I went through, particularly in my early twenties, that just doesn’t go away overnight.”

Josh Schwartz and Stephanie Savage revealed that season 1 overdose not only served as a cliffhanger, but gave “network executives an escape hatch on a performer they had been wary about” (via People). But Mischa Barton got her big break, becoming "how people knew the show," and (thankfully) Marissa recovered — only to die after a car crash in season 3.

As hard as that season 3 ending is to watch, Mischa did have the opportunity to watch it with Rachel Bilson and Melinda Clarke for the first time on their rewatch podcast. "It needed to be a thing, after everything she's been through, but if it's here I'll watch it with you," Mischa says.

"I couldn't do it, Mischa, I couldn't do it," Rachel adds. "But I'm going to do it if you're going to do it."

Mischa says even though being written off the show "was a little bit of a bummer," it wasn't necessarily a surprise. "The character was just doing too much," she told Vanity Fairin 2023. "And I think they ran out of places for her to go. It was not the best thing in the world, [but] there wasn’t much you could do at that point. It was whether she could sail off into the sunset, or die. At that point, I guess it’s better to have the more dramatic ending.”
What did you think of The O.C. season 3 finale? Let us know on Facebook!


Lisa Congdon on Creativity, Activism, and Finding Your Flow

If you're a fan of bright colors, folk art, social justice and heartstring-pulling work, you've definitely seen the art of Lisa Congdon. Lisa's ability to capture complicated feelings and emotions in her work is truly magical. She manages to infuse a breath of fresh air into meaningful stories and heavy topics, and puts just as much care and love into the light and airy pieces she's been creating for over 20 years.

Anjelika Temple here, co-founder of Brit + Co. I first became familiar with Lisa Congdon's work over 10 years ago, when I worked at 20x200 and was in touch with her about an upcoming print edition we were in the midst of producing. Since then, I've been a total fangirl and am deeply honored to be able to share a slice of her creative journey with all of you in this edition of Creative Crushin'.

From her first art show via a Flickr connection to her most recent project, a playful children's picture book called "Round", Lisa is as prolific as she is authentic, genuine and so giving of herself and what she's learned to everyone that's game to learn. Read on and take in the creative inspiration.

Anj: Let's kick things off by getting to know you! What's the quick version of your life story?

Lisa: I was born in upstate New York in a little city called Schenectady, which is outside of the capital, Albany, and that was in 1968. My dad is a scientist. He's retired now. Both my parents are in their 80s now, and my mom is an artist, but she was kind of similar to me, very much a hobby artist, and now takes commissions and does things on a more professional level, even still in her 80s.

I take after her in so many ways. She's a risk taker. She does stuff even though she doesn't know what she's doing. She'll try anything. She doesn't have that kind of perfectionist fear gene that so many people have, and I inherited that from her. That's not to say I don't have fear, it's just that part of why I've made this professional career out of my creativity is that I'm willing to try things even though I don't know what I'm doing.

So in my 20s, when I discovered creativity as a hobby, similar to what my mom was doing, it was kind of a surprise to everyone. I think people expected me to maybe do great things in the world, but not necessarily as an artist. In fact, I thought I was a terrible artist. Then, when I was in my early 30s, so 20 years ago, I went through a big breakup with somebody I had been with for almost a decade, and I changed jobs. I went from working as an elementary school teacher to working in an office.

I think what happened was that I really felt this kind of dearth of creativity in my life. Teaching little kids forces you to make things interesting for them, so you have to be really creative. I went to work at an office job and I found myself kind of depressed. I was lonely because I was single for the first time in my adult life, and I just kind of set up this little art station at my kitchen table. I wouldn't have even called it a studio. I just started experimenting, and I started taking classes at community colleges. At the LGTBQ center, I took this drawing class, and I just kind of fell in love with the process of making.

This was in the early 2000s, so this was at the birth of the Internet... not the birth of the Internet at large, but the birth of the Internet as a space for creative people. Flickr was becoming a thing, blogging was becoming a thing, and there were not yet online classes, Brit + Co, or learning platforms, no social media, but there was this DIY movement happening on the Internet. I started a blog and I started sharing pictures of the crappy stuff I was making. Let's be clear, my work did not look the way it looks now. I was very much a beginner, but I loved it, and I just kept working at it. Then, at some point later on, I realized I could make a living at it if I kind of pivoted in all of the right directions, which included both getting better, developing my skills, but also working on the business side of it, too. So, that's the short long version.

Anj: Tell me more about what it was like when you realized "Hey, maybe this can be my career?" Was there a specific spark or turning point when you thought, "All right, let's see?"

Lisa: One of the moments was in 2006 when I had my first show, and that came about because I think I had posted some images of some stuff on Flickr, which some of you are probably too young to remember. It was this photo-sharing site, which I like to call the original social media, because you could follow people and post your work and like and comment and all the things that are now so normal in our lives. I started meeting people on Flickr, and this woman who owned a store in Seattle asked me if I wanted to have a show. My mind was blown. She asked me if I wanted to have a show because she was seeing the stuff I was making, and I remember sitting at my desk the day that she ... and I was like "Oh my God, this is real." Butterflies and everything. "I'm an artist. Wow, this is so cool!" Then, I started getting inquiries from the hair salon where I went to get my hair done in San Francisco, and there was another little shop in San Francisco called the Candy Store where I had a show, and this was all 2006-2007. So, that started happening. I got an inquiry from Poketo, a brand-new (at the time) Los Angeles-based brand, and I released a bunch of products with them really early on.

So, it was kind of like "Okay, let's see." At the time, this whole idea of being an illustrator was something I couldn't really wrap my head around, but I thought, "All right, maybe if I can figure out the illustration part and do these other things, and then kind of cobble together some kind of income ... " At the time, social media was kind of starting. There was no Instagram yet, but there was Facebook. I made a fan page. I got on Twitter. I had this blog and I just started directing traffic to my blog. I started an Etsy shop in 2007, and I started to make a little bit of money, and in 2008, I was so lucky. I signed with an agent, and slowly, things started to happen. Now, what that didn't equal at the time was money. I was still working part-time at my job and, even after I left my job, I was freelancing for my old education non-profit where I worked because it was so hard in the beginning, but I was determined.

In hindsight, I realized it happened really quickly, but it felt like it took forever, especially to get to the point where I was making enough money to pay my mortgage, buy food, get myself out of debt, and that kind of thing.

Anj: Bringing it back to your creative process, talk to me more about what the creative flow feels like for you, and what you love about making things.

Lisa: We were talking earlier about the excitement I felt when somebody wanted to give me their space to take over to hang art. For me, it's this combination of the enjoyment of making something that, to me, looks cool or is beautiful, interesting, or says something, but it's also about how other people react to it. There's my creative process, which is super satisfying to me because it's problem solving, it's kind of seeing your ideas come to life, and that is all super satisfying.

That's why I think being an artist in this time in history is such a blessing for me because I get to share my work with other people, and then that is super exciting to me, too. I'm really interested in seeing other people's reactions to my work, whether it's through my books or through social media, and that, to me, is just as motivating as the feelings I have when I'm creating something. I got my first taste of that back in the day when I had my first show. There's something about interacting with my audience that I love.

I think people imagine that people like me who do a lot of work and are identified as being prolific, that we sit around all day in this state of flow, and that we're drawing and painting, listening to NPR and classical music, drinking tea, and it's all so easy. I mean, there are definitely days that are like that. There are definitely days where I'm just like "God, I'm the luckiest person on the Earth. I get to do this for a living and I love it," everything's flowing out of me perfectly, and I'm so satisfied with everything I'm doing, but that's maybe 20% of the time, which isn't bad. The rest of the time, it's frustration, deadlines, not being in the mood to draw something but I have to for this job that I accepted two weeks ago, or not having any good ideas. Especially in the beginning, I wasn't as skilled as I am now, so just rendering things that I was supposed to make took longer, and so it was exhausting. So, I do definitely have that flow state sometimes, where I'm just really into it, but most of the time, it's hard.

Anj: Your work is so playful, colorful, a clear folk art influence, and has such a recognizable color palette and aesthetic. How did you hone in on it?

Lisa: You know, I've always been influenced by two of the things that you mentioned, which is folk art and also color. It seems weird to say you're influenced by color, but I really am. I'm drawn to other people's art based on color or lack of, you know what I mean? Or the palette. It's a thing that a lot of artists don't get. They're really good at rendering things, but they don't necessarily have a sense of color. Another thing that has always been a huge influence to me is mid-century art and design. Alexander Girard is my absolute all-time favorite artist. Interestingly, he was also influenced by folk art and was a founder of the Folk Art Museum in Santa Fe. So, he's always the example I give of stylistically. He also was a collector of a lot of things and that's a huge part of my story. I draw a lot of my collections or imaginary collections. I love drawing arrangements of things, so order is also very important to me. I'm always drawing on the imaginary grid.

All of that has sort of been part of my story all along, even when my skillset wasn't as developed as it is now, but I would also say that, and I talk about this a lot: I wrote this book called "Find Your Artistic Voice", and one of the things that people ask me the most is how does one find their style? How does one arrive at a place where things are sort of locked and things are recognizable? For me, I always say I could paraphrase the book in one sentence, which is show up and just work at it: draw every day, make ceramics every day, or whatever your thing is, do it every day. You can't do something every day, practice it, refine it, et cetera, without it developing into something that's truly, an extension of your DNA.

A lot of what a person's style is, is already in there from influences or the stuff that we find beautiful. Our brains are constantly filtering visual stimuli, especially in this day and age. You can't walk down the street without seeing a cool billboard or a mural, or walk into Target and see cool things on t-shirts. We're bombarded, not to mention what's on our phones and what we're scrolling through. Your brain, even if you're not conscious of it, is constantly saying yes, no, yes, no, yes, no. You could walk by a million murals, billboards or whatever, walk into a stationery store, and walk by a million cards, but then you stop at one because it speaks to you. You're like "This is the most beautiful card," or "This is the most beautiful mural." There's a reason: because it's something about your taste that resonates.

So, we're always collecting this and that, and "Oh, who made that? Okay, I'm going to look her up when I get home. Oh, wow, she has a website. Oh, look at her influences. Oh, I'm going to go down that rabbit hole and see who she's influenced by." So, that's where we collect influences, and then, hopefully, we're collecting lots of them so that eventually, our work might look very similar to somebody who we're influenced by, but eventually, we kind of develop our own style, and that's just kind of a normal part of the trajectory.

For me, it was like that. It was just collecting influences, immersing myself in the world of art and design. I like this. I want my work to be more like this. I love the look and feel of this. It's sort of a mishmash of all of those things. Also, just getting better at drawing and executing, and my skills improved. I feel like, in the last five or six years, I kind of arrived in this place where yeah, I have this identifiable style, and it's crazy because people are like "It only happened five or six years ago? You've been making art for 20 years," and I'm like "Yeah, it takes a really long time." I finally don't feel like I'm still searching. That doesn't mean that my work still won't evolve. It doesn't mean that, eventually, I won't land on some new inspiration that makes my work pivot in a different way, but that's what finding your voice feels like, or actually finding that flow.

It's like you arrive at this place where you actually like your work as much as other people do. I started getting my work tattooed on my body and it took me forever to get there because I realized I didn't really like my work very much before, and then I finally was like "Okay, I like it enough to tattoo it on my own body. That's a big deal."

Anj: So, just riffing off of that, I think that a lot of people, myself included, when they're embarking on a new body of work or trying to find their voice, feel intimidated by all the artists/humans out there doing similar things. How do you give advice or even deal with this yourself? That self-doubt and that "I don't know that I have something to visually say?"

Lisa: That's a totally normal feeling. I feel like I kind of, in the last few years, got over a hump, and it was around the time that I felt very kind of solid in my own work. It is so natural to compare yourself to other people. I mean, how can we not? Not just the quality of our work or the ideas behind our work, like "That's such a great idea, why didn't I think of that," kind of thing, but also, on social media, it's like "Oh, so many people like her work. I feel like my work is just as good. Why don't as many people like it? We have the same amount of Instagram followers." There's this whole mind game we play with ourselves.

I realized about three or four years ago that I was spending an inordinate amount of energy having those thoughts, and I think a lot of people would've imagined that someone as far along in my career wouldn't have had them anymore. I would admit to people that I also had anxiety around social media, and people were surprised. They're like "Oh, you seem so confident, so many people love what you do, you have so much engagement," and blah, blah, blah. Yet, I was really struggling, not to the point of it being debilitating, but I would post something that I wanted people to be excited about and maybe they weren't as excited as I wanted them to be, and then I would put too much weight on that instead of my own feelings about whatever it is I was posting. It would bum me out, you know what I mean? I think most people can relate to that.

So, one summer, I started working with a coach, and one of the main things I worked with him on was letting go of these expectations around social media and only posting when I felt like I really had something to say, and posting regardless of whether or not I thought the thing was going to be Instagram-friendly or not. Really being authentic and really honoring my own creative process and my own voice versus whether or not other people liked it, it got engagement, or it sold in my shop, if it was something I was selling. I set my mind to it. It was extremely intentional on my part. I did a lot of work with him, talking through what that was like and how I could shift my perspective.

I also had to get over this impostor syndrome situation, which was "I suck, I'm just lucky to be here," and really, that was related to the social media anxiety. I really turned a corner that year. I wrote about it, I meditated on it, and every time I posted, I promised myself that I was going to honor my own experience and not worry about what other people thought. It took a lot of effort, but I can honestly say I've worked through it. There are moments every now and again where I feel disappointed, there are moments when I still have a slight bit of impostor syndrome, there are moments when I still compare myself to other people. I'm human, but do I dwell on it? Does it control my life? No.

Anj: On the note of putting it all out there, talk to me more about how activism comes into play with your work.

[Editor's Note: This interview and conversation took place before the November 2020 election.]

Lisa: I've integrated so much activism into my postings and to my Instagram in particular, and into my work, I had to really let go of what other people thought because the minute you start doing that, you're going to lose followers, people are going to not agree with you, and I constantly had to say "I'm here to be me. I'm not here to make you comfortable, I'm not here to please you. I'm here to be me." That also really helped me. I've always kind of been open about where I'm coming from ... I say kind of because I've definitely done more lately, but even before the 2016 election, I've been openly gay since I was in my early 20s, I've never hidden it from anywhere, at any job, at any platform. In fact, I talk about it like it's no big deal because I think that's kind of better than anything: just people casually seeing me with my wife and things like that. That's always sort of been part of my life.

My best friend is black. The reason I bring that up is it's an important part of how I sort of show up in the world: that I am in constant interaction every single day with somebody whose experience is vastly different than mine. We are so similar in so many ways, we are both artists, but our experience walking through the world is totally different. That has been personally the most important experience of my life: to attempt to see the world through this person that I love so much. The pain that she experiences, the confusion she experiences, and the anger she experiences, and sort of waking myself up to that. That, in addition to my own sort of being part of a marginalized group myself has made it almost impossible for me not to talk about social justice in my work because it's such an important part of my everyday experience, including my need to do work on myself.

After the 2016 election, I was so angry about the rights of people being taken away and the massive shift in policies in the US government, and I started writing about it. I was like "I don't care what anybody says, this is too important." I feel like it seems like everybody does that now, but I was one of very few artists in the beginning who was willing to just really put her neck out there. So, I started talking about stuff. I started writing about it. Then, it just kind of became something I was known for, and I started getting asked to design things for non-profit organizations and for different marches and initiatives. I started raising money through that work and drawing attention to different causes. I started really loving that work, and it became a really important part of my voice and my identity. Then, in the last year, things have been so wack that it's just times 10 now. Now, I can't imagine ever going back.

It's so important to me personally, and it's so important for the world, that I feel like I have a responsibility. People often say ... "We're not interested in your politics, we just want your pretty pictures," basically. I had to write a couple very intense posts about why I was making this work and that a lot of people argue that all art is political... what you choose not to represent is a political statement in and of itself, so that I was making overtly political work was one thing, but really, all art is political, and that was something that I didn't necessarily even realize until the last five years.

I get a lot of satisfaction and joy from it. I mean, the stuff we're dealing with isn't joyful, but making work to shift people's attitudes or give people something to be hopeful about feels important to me.

Anj: Now shifting gears to your new children's book! Authored by Jennifer Ward and illustrated by you, tell us what inspired it and what the experience was like. Talk to us more about "Round."

Lisa: I think it was the most fun illustration project I've ever worked on and one of the reasons it was fun is because I wasn't attached to the words. I loved the text in the book but the great thing about picture books is that the text is usually really simple.

In this book in particular, there's a narrative, but it's pretty loose. It's not like there are characters. I mean, some characters emerge a little bit in the book in the form of some of the animals reappearing, but it was a really easy place to start because I could really be me, and also honor the text in the book.

Round... I like to call it a lyrical poem all about round things that we find out in the world. Some are literally round and some are more ... well, not figuratively round, but less perfectly round. It's all in nature, and that's one of the things I love to draw are animals and plants. They wanted me to be me. In fact, the cover is like this kind of big explosion of round things arranged really close together. It's like something I would draw for fun, and it actually was inspired by some drawings I had made of things kind of drawn really close together and in an arrangement. And I love the cover so much. Covers are usually the thing I hate most about a book, which sucks because it's the thing that people see on the shelf, and it causes them to open it or not, so I'm hoping it has a good shelf life because the cover is so colorful.

Anj: When you're feeling burnt out, or you're starting a project, what are ways that you reset? What are things that work for you, things that you could recommend to others?

Lisa: When I can, the very first thing I do is take a break. That's not always possible, as you know from somebody who runs a business. Sometimes, you just have to show up and do the work, even when you don't feel like it, and there's a certain amount of grit involved. So, sometimes, I just plow through, force myself to do it, and then I feel better when it's done. If I'm not working on any client projects or client projects that have immediate deadlines, I give myself this passcard. "You don't have to post anything on social media, you don't need to make any new work right now. If you don't feel like it, don't do anything, just go read a book, go take a hike, go shopping," which is, of course, harder now except doing it online because of the pandemic, but go do something else and give yourself permission to not be productive and to kind of give yourself a rest.

Then, during that rest time, what I'll often do is kind of dive into inspiration. I go down a Pinterest rabbit hole or I go to Powell's Books in Portland and plant myself in some aisle that has books about something I'm interested in. Not necessarily art books, maybe history books, picture books, or whatever, and that will sometimes help me kind of get excited about a new direction. Sometimes, I just go to my studio and mess around with clay. I have a kiln. It's not something I'm known for, but I do kind of make and sell ceramics a little bit. It's kind of my fun getting my hands dirty experimental low-pressure nothing hardly ever gets put on Instagram, it's just kind of this fun thing that I do.

I also love to sew. Quilting is one of those things that's so straightforward to me. Aspects of the process take some creativity, but once it's pieced, I can just sit there and stitch and watch Netflix. So, I think taking breaks, allowing yourself to go down rabbit holes of new inspiration that's going to wake you up and light you up a little bit. In the old days, before the pandemic, I would go to museums even, or go shopping in my favorite stores.

Then, the combination of a break, collecting inspiration, maybe getting my hands dirty with some work that's a little bit more tactile and a little less cerebral, eventually, I kind of am able to work through blocks, but they happen to everyone, especially when they're burned out. Even when you're not burned out on art, maybe you're burned out on your kids, the business part, your relationship, or some issue you're having with a family member.

Making art in times of stress is like trying to run in humidity. You can do it, but it feels so exhausting and uncomfortable. We've all been, in the last year, in this really weird time of stress, and I think some people are surprised that they're depressed and anxious, and they can't make art. It's completely normal. Creativity requires a certain amount of relaxation and letting go, and that's really hard when there are so many things in the world that are so hard to wrap your head around.

See more of Lisa Congdon's artwork on Instagram @lisacongdon and shop her books, prints and more at lisacongdon.com.

Former Disney Channel star Dylan Sprouse and model Barbara Palvin are certainly living the sweet life after tying the knot in Palvin's native Hungary. The couple, who have been together for nearly five years, have always been pretty low-key — except for the occasional and undeniably adorable Instagram post (and a stunning wedding!). We are simply ~obsessed~ with this celebrity couple, especially after they pulled out all the stops for their couple's Halloween costume. Keep scrolling to see some of their best moments :').

See Dylan Sprouse & Barbara Palvin's Halloween Couple's Costume!

For Halloween Dylan Sprouse and Barbara Palvin stunned as the Phantom and Christine from Phantom of the Opera. Dylan wore a mask and a black cape, while Barbara wore a beautiful white dress. While the costume is obviously a nod to the musical, it also totally reminds us of their day as bride and groom.

"In Sleep He Sang to Me," Barbara said in a post, quoting the musical's titular number. "@dylansprouse my forever Phantom."

Who did Dylan Sprouse marry?

www.instagram.com

On the couple's wedding day (July 15, 2023), Barbara wore a Vivienne Westwood wedding gown to celebrate her Hungarian nuptials, bringing together their nearest and dearest for an intimate(-ish) celebration. Barbara and Dylan tied the knot on her parent's property, which conveniently doubles as an event venue, with plans to host an larger wedding in California in the fall.

"This past weekend was supposed to be an intimate event, but we ended up having 115 guests in the end because there are a lot of people we care about, and we wanted them all to be there," Barbara told Vogue.

When did Dylan Sprouse and Barbara Palvin get engaged?

www.instagram.com

Barbara Palvin on Instagram: "♥️"

After months of speculation surrounding the couple's engagement, Dylan and Barbara confirmed their engagement in conversation with Sprouse's twin brother, actor Cole Sprouse, for V Magazine in June, sharing that they got engaged last September.

"We didn't necessarily feel the need to be fully transparent with the public about that aspect of our engagement," Dylan said. "What we wanted to do with Stephen [Gan, V editor-in-chief] and the V team is make something that was kind of tongue-in-cheek about the nature of private versus public. We're playing with the idea of perception."

Barbara noted that the lovebirds wanted to announce the news "on our time," adding, "When some people leaked the information that we got engaged, our PR team was like, 'Hey, so you guys should do maybe a post about it or talk to this magazine or talk to that magazine…' That really annoyed me because I knew we were building this story up. So, I'm very happy that we ended up doing it our way."

When did Barbara Palvin and Dylan Sprouse start dating?

Sean Zanni / Stringer / Getty Images Entertainment

See Dylan Sprouse & Barbara Palvin's Dreamy Halloween Costume: "My Forever"

According to People, the couple met back in 2017 after a party when the Suite Life On Deck star slid into the model’s DMs (and as they say, the rest is history). The duo made their relationship Instagram official back in 2018 with Barbara’s sweet birthday tribute for Dylan’s 26th birthday.

Let’s be real here for a second though, we all knew they were endgame the minute Dylan went above and beyond to support Barbara at the Victoria Secret Fashion Show that same year (remember this viral video?). Three days after the fashion show, the Hungarian model told Vogue Australia that she hadn’t had a boyfriend in six years, but had now found “the perfect guy” in Dylan (we aren’t crying, you are).

How old are Barbara Palvin and Dylan Sprouse?

Vittorio Zunino Celotto/Getty Images

Barbara Palvin was born on October 8, 1993, making her 31 years old. Dylan Sprouse was born on August 4, 1992, meaning he's 32 years old. So there's only a one-year age gap between them!

Stay up to date with all of Brit + Co's favorite celebrity relationships. Let us know your thoughts on Twitter!

This post has been updated.

2017's The Beguiled gave us one of the best groups of people of all time: Elle Fanning, Nicole Kidman, Sofia Coppola, and Kirsten Dunst just to name a few. And we're finally getting an Elle and Nicole reunion thanks to Apple TV+! "THRILLED to bring @rufithorpe genius hysterical heart-wrenching heartwarming book to your TV screens alongside a dream group of people!" Elle says on Instagram. Rather than having to test the success of its pilot, the series has already been ordered — even though the book it's based on isn't even out yet! Here's everything you need to know about the series.

  • Dakota and Elle Fanning will produce the upcoming Apple TV+ show Margo's Got Money Troubles.
  • The series follows Margo, who signs up for OnlyFans after learning she's pregnant.
  • The cast includes Elle Fanning, Nicole Kidman, Michelle Pfeiffer, and Nick Offerman.

Who's in the Margo's Got Money Troubles cast?

Amy Sussman/Mike Coppola/Getty Images

Margo's Got Money Troubles Cast

We couldn't contain our excitement when we learned Margo's Got Money Troubles will star Nicole Kidman and Elle Fanning, but knowing Michelle Pfeiffer is also joining the cast is too much to bear! This is the first time the actress will collaborate with her husband, TV creator David E. Kelley, so we can't wait to see the magic they'll create (via Deadline).

Nick Offerman from The Last of Us and Parks and Rec will also star.

When is Margo's Got Money Troubles coming out?

Ron Lach/Pexels

Margo's Got Money Troubles Release Date

We don't have an official release date for Elle Fanning and Nicole Kidman's TV show yet. I'm thinking if the TV show is in the early stages of planning, we could see it in 2025! Check out all of this year's best New TV Shows to hold you over until then.

What is Margo's Got Money Troubles about?

Amazon

Margo's Got Money Troubles Plot

Margo Millet is the daughter of a Hooter's waitress named Shyanne (Michelle Pfeiffer) and an ex-wrestler (via Deadline). She's always had to make it on her own, even though she's not sure how. When she enrolls in her local junior college, she's totally unprepared to get swept up into a torrid love affair with her English professor — or to get pregnant.

Now at 20 years old, Margo needs an income and fast. She decides to experiment with OnlyFans and ends up taking some of her estranged father's advice from the world of wrestling to create a character users will fall in love with. You can order the book now!

What is Elle Fanning and Nicole Kidman's new TV show?

Tima Miroshnichenko/Pexels

Margo's Got Money Troubles is coming soon to Apple TV+ thanks to a bunch of different producers. A24 is backing the film, as well as Elle and Dakota Fanning’s production company Lewellen Pictures and Nicole Kidman’s Blossom Films, to name a few.

What else has Elle Fanning and Nicole Kidman starred in?

Focus Features

Elle Fanning and Nicole Kidman starred in 2017's The Beguiled. The movie follows John McBurney, an injured Union soldier, who winds up at a female Southern boarding school after deserting the Civil War. But soon, as the women help him, tensions turn to rivalries and friends turn to enemies.

Are you excited for Elle Fanning and Nicole Kidman's TV reunion? Let us know what other New TV Shows you're watching in the comments.

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This post has been updated.