FEATURED

METROLAND (NOW) : Revival of a Capital Region Institution

October 9, 2024 By Corey Aldrich

Like the glory days of First Friday, METROLAND played such an important part in the creative discovery of what the Capital Region had to offer. Every week I remember picking up a copy (Usually at Tess’s Lark Tavern) and scanning through it to plan my weekend activities. While there are some other sources of arts and cultural listings in the region where you can find out things that are happening and get good interviews and background (Radio Radio X and Nippertown) METROLAND was always a gold standard for finding out where and what was happening from the above to underground scenes. Musician / Comedian Erin Harkes is looking to bring back that energy and has secured the brand for a new rendition as retooled as METROLAND NOW. The question is, what will she do with it?

Erin Harkes : Musician, Comedian and Publisher at METROLAND NOW | Photo: Kiki Vassilakis

Could you state your name, title and background?

Erin Harkes. Multi-hyphenate 😉 Musician, Comedian, and now publisher!

As an entertainer who has spent over two decades in the capital region, navigating every twist and turn the industry has presented, continuously adapting and reinventing myself along the way. The constant throughout this journey has been the significance of marketing. While the methods of marketing may evolve, the essential need for it remains unchanged.

Many people often ask why I haven’t relocated to a larger city. It’s a complex question. Perhaps it stems from a sense of contentment or, by some accounts, complacency. It’s undeniable that bigger cities offer opportunities that may not be available here, yet I have consistently found ways to create my own paths. Instead of commuting to places like Boston or NYC every time I want to showcase my comedy, I decided to take matters into my own hands by producing shows specifically to provide myself with performance opportunities. I’ve approached music in a similar fashion, and now, I’m venturing into publishing as well with METROLAND NOW.

Historic METROLAND Covers | Photo(s): Facebook

To many of us who have been around the region for a while, METROLAND was a gold standard for the arts and cultural sector (and activism). I was so disappointed to see it go. What made you decide that now was the time to revive that and how were you able to pull that off? What geographic area will you be covering? Topically, what will be the content focus of the publication?

I felt there was a void / vacuum in the area. There are definitely other publications but some are just not an option for me as a performer. I had always had the idea of reviving METROLAND in the back or my brain. I honestly never thought beyond that until this year. It all kind of happened organically through countless conversations with other creatives and folks in the community. We will be covering Albany, Troy, Schenectady, Saratoga and the general perimeter around those four. But we won’t hold ourselves back from places beyond that when the call comes! The focus, for now, will mostly be music but we’re expanding into arts and other entertainment, comedy, community events, non-profit organizations, small businesses, a comprehensive calendar and just see where it takes us! As long as the message is positive, we’ll share it!

I know you started with the idea of being an online publication only and now I have heard murmurs that you are considering bringing a version into print also. Can you tell us more about what that will look like and what the timelines are on that front? Will this be a weekly issue?

I started this idea with NO intention of printing but the more I talked to folks the more I heard this exact phrase uttered: “I miss picking one up.” I really listened to that. For whatever reason, folks miss the physical nature of METROLAND. I don’t believe print is dead but I also don’t see the need for a weekly so we’re going to try for a monthly hopefully starting this month! (October 2024)

A robust and representative publication takes a lot of team work. How big is your current team? Is it mostly volunteers or paid folk? As I recollect, that last version of Metroland ended up closing due to financial issues. Do you have a plan to ensure that you don’t end up with similar challenges?

My current team is about seven folks, including myself. Everyone has been volunteering, including myself. There’s one person who I have been paying out of my own pocket because she does this for a living and has a small child and another on the way, whereas the other team members have day jobs. Everything is transparent; everyone knows who’s making what. I’m actively working on way to ensure that everyone, including myself, gets paid. It’s a priority. The last thing I want to do is exploit artists!

I registered as a non-profit because my priority is to try and help other non-profits in the area – be it venues or general NFP’s – get the attention they might not be able to afford otherwise. I plan on doing some fundraising and getting some sponsors/patrons/donors to help give to the cause. There will also be advertising opportunities that can generate income. My plan to make sure we stay financially viable is to use the resources I have built over my 20+ years in the Capital Region and learn from my peers. I have been offered an incredible amount of support from some of the most successful people in the area and am genuinely humbled by the respect I’ve been shown. I have a big ego and know what my vision is but I am not too proud to ask for help with the things that I haven’t learned enough about yet. It will take a village, but I HAVE that village.

If folks want to be involved on the creative content side or are interested in advertising or being a distribution point, what’s the best way for them to get in touch?

We have received SO many submissions so far. We are working on the best way to filter through them all and give the best consideration to each and are still ironing out a process to make this easy for everyone involved. When it’s time it will be very clear how to do that! Right now we suggest checking the website and the social media. We’re chipping away at the messages we’ve already gotten and asking people to be patient with us. I have amazing volunteers and I am not about to overwhelm them. There’s a fine line between ambition/tenacity and harassment, though. The latter will not be rewarded. Even the most talented folks won’t be considered if they aren’t respectful during this process. Also the core group has to vote unanimously on new contributors. I want everyone to be safe and comfortable with their peers. That is paramount. Contacting ME directly isn’t a good idea, either. Haha! Just trying to make our boundaries very clear.

Shameless Plug: What would you like to share with us? Any things coming up on the horizon we should know about?

Thank you but honestly nothing right now! We just ask that everyone share the website and the socials and keep it up with all the positive messages. I can’t wait to watch this grow and work with our vibrant and talented community!

Finally, know that ACE! has your back! 🙂

LIKEWISE! I look very much forward to working with you guys closely!

For more on the final days of METROLAND previous...check out the article in the Times Union from January 2016 by Paul Grondahl.

The Team at METROLAND – The Final Days | Photo: Steve Jacobs / Times Union

‘Freelance Isn’t Free’ Signed Into NY State Law : CHECK!

September 11, 2024 By Duncan Crary

On August 28 the ‘Freelance Isn’t Free Act’ took effect as New York State law (Article 44-A to the General Business Law).

The law entitles Freelancers* to timely and full payment, enforced by the NYS Attorney General’s Office. The law mandates that the hiring party must provide written contracts for freelance engagements valued at $800 or more or lasting longer than 120 days. And it spells out stiff penalties for those who do not supply contracts or who are chronic violators.

Freelancers are entitled to double damages for late payment. (After 30 days if no payment schedule is defined in the contract.)

On average, freelancers are stiffed $6,000 per year.

The Department of Labor has developed a model contract that can be used to meet the contract requirements of the ‘Freelance Isn’t Free Act.’

FREELANCE WORKER AGREEMENT

If you are a freelance worker and you believe your rights under the law have been violated, you can file a complaint with the New York State Attorney General HERE.

Finally, you can find the full text of the law HERE.

I expect more news articles and columns will be published in the upcoming weeks, further elaborating and clarifying these protections and process.

But for now, please pass it on. Let your graphic designer, writer and musician friends, etc. know about this. Make people in the business world aware that ‘Freelance Isn’t Free.’

Duncan Crary is Owner and Founder at Duncan Crary Communications out of Troy, New York. He is a publicity, communications and events consultant with more than 20 years of professional public relations experience. He has been called “Troy’s other Mayor” (Michael DeMasi, Albany Business Review), a “publicity artist” (Jimmy Vielkind, Capital New York/Politico), and “a gregarious public-relations consultant, history buff and Troy tub-thumper” (Joanne Kaufman, Wall Street Journal).

He is the founder of The League of Extraordinary Red Heads, which was profiled in The New Yorker magazine in 2019.

Eli Dvorkin ‘Sparks’ Justification for Investment in Upstate Arts and Culture

September 11, 2024 By Corey Aldrich

I first heard about the Creative Spark report last year when I was asked to provide some feedback on the state of the creative economy as part of an outreach effort to collect feedback from arts and cultural folks across the region to include in the report. Once it was released I was excited to meet Eli Dvorkin from the Center for Urban Futures at a panel discussion sponsored by Creatives Rebuild NY at the Albany Institute of History and Art and subsequently at an industry presentation on specific stats from the Capital Region. I linked up with him for some feedback on those Capital Region numbers and got a hold of that days presentation to share.

Eli Dvorkin : Editorial and Policy Director at Center for an Urban Future | Photo Credit: Provided

Could you please state your name, title, organization and some background about your previous experience. Also, what drives you to do what you do?

My name is Eli Dvorkin and I’m the Editorial and Policy Director at the Center for an Urban Future (CUF), an independent, nonprofit policy research think tank focused on creating a stronger and more equitable economy across New York. I joined the organization as CUF’s first managing editor in 2016 and I’ve been leading CUF’s research and policy work since 2018. I’ve worked in between the arts and policy worlds for many years. I started out as an arts and culture journalist, organized two traveling art exhibitions across North America, worked as an early employee at Kickstarter, and co-founded Silent Barn, one of New York City’s longest-running and most prolific DIY venues. Prior to joining CUF, I was a staff editor at the Council on Foreign Relations, where I was almost certainly the only employee who came home from work, exchanged a suit for a ripped band t-shirt, and then headed out at 10pm to fix the broken toilet at a sold-out punk show. I’d say I’m driven by the goal of expanding access to opportunity for New Yorkers from under-resourced communities and helping to spark policy changes that make our cities more livable, vibrant, and equitable.

The Silent Barn | Event Circa 2014 | Photo Credit: Dylan Johnson (Facebook)

The Silent Barn | Event Circa 2014 | Photo Credit: Unknown (Facebook)

Earlier this year, I saw you at a presentation at the Albany Institute for History and Art where you were partnered up with Creative Rebuild New York for a panel discussion about the work they have been doing. Can you explain a bit about your synergistic connection in that project and about the UPSTATE’S CREATIVE SPARK report? Why do you think this report is so timely?

The Center for an Urban Future has a long track record of publishing deeply researched and highly readable reports that shine a light on the increasingly critical role that the arts and the broader creative sector in New York’s economy, create greater awareness of the steep challenges facing New York’s working artists, arts organizations, and creative entrepreneurs, and put forward concrete and achievable recommendations for policymakers to more effectively support and sustain a thriving arts and creative sector. Last year, with support from Rochester Area Community Foundation, we were able to publish a new report, ‘Upstate’s Creative Spark’, that provided a first-of-its-kind look at the growing role of the arts as a catalyst for more vibrant local economies across all of upstate New York. We then partnered with Creatives Rebuild New York for a policy forum in Albany that built on the key recommendation of the report: that New York State has a major, untapped opportunity to more fully integrate the arts into a statewide economic development strategy, one that invests in culture from the ground up and creates the conditions for local economies to thrive.

I’m really pleased and humbled that this work is having a significant impact: for instance, three new proposals drawn directly from our report were enacted as part of the FY 2025 state budget (creating the state’s first artist residency program in state agencies; expanding state support for public art projects, and directing the state’s tourism marketing agency to ramp up regional marketing support for artists and arts organizations.)

Source: Upstate’s Creative Spark – Arts Allies of the Capital Region | Courtesy Center for an Urban Future

The time is right for these ideas for several reasons. First, even as artists and arts organizations have been the decisive factor in turning around decades of population declines, revitalizing downtowns, and sparking new business formation in cities across the state, it’s striking that less than 5 percent of the state’s major economic development grants typically flow to arts- and culture-related projects. That needs to change. Second, while the state’s arts and culture sector has in many ways led New York’s broader recovery from the pandemic — rekindling tourism, bringing locals back into their downtowns, and fostering communal healing during a very traumatic period — the arts sector itself is still hurting. Presenting organizations are grappling with smaller audiences and higher costs. Traditional funding sources are stretched painfully thin. And as the work of Creatives Rebuild has shown, far too many artists — especially Black artists and other artists of color — are living in a state of financial precarity. The status quo is not sustainable.

The metrics for the Capital Region are so supportive of the value propositions and ROI for public arts investment, individual artist support and investment in the creative economy in general. Why do you think we struggle so much in Upstate to convince public figures and corporations of not only the need but also the outsized benefits that are realized with a more robust support of arts and cultural programming and infrastructure?

Increasingly, I do think more elected officials, economic developers, and business leaders are starting to get it, but a lot more work is needed. It starts with building a convincing case that the arts isn’t some sort of niche amenity, it’s the lifeblood of thriving local economies and the secret ingredient that enables cities of all sizes to flourish. As our report shows, employment in the arts and culture sector across upstate New York surged 35 percent from 2009 to 2019, nearly 10 times the overall rate of employment growth. Likewise, the number of working artists in upstate New York increased by 26.5 percent between 2011 and 2021 — at a time when the overall under-65 population declined. This creative spark is breathing new life into downtowns, leading to the creation of new restaurants, coffee shops, and other small businesses, and giving young people a reason to stay in their communities and put down roots. What local officials need to realize is that a thriving cultural sector creates the conditions necessary for all other economic activity to succeed. And that requires fresh thinking that prioritizes investments in equitable cultural infrastructure as part of an overall economic development strategy in upstate regions — just as officials would invest in any other essential infrastructure in order to spur job growth.

I know that in addition to population and job growth in the creative sectors, friction points were revealed in your research. What would you say are the biggest challenges that we face in continuing to build on the current momentum in the creative economy in the Capital Region? Any suggestions on where we should be focusing to help alleviate or improve those areas?

The most powerful economic advantage is attracting and retaining talented, creative, and entrepreneurial people — and people want to live in culturally vibrant communities. More than any economic development incentive or tax break, the key to strengthening the Capital Region’s economy lies in ensuring that people want to live, work, and play here. And nothing is more effective at achieving that then bolstering the arts and culture sector. The creative economy thrives in places with strong arts infrastructure — that’s where so many creatives get their inspiration. But there are some major challenges, too, especially as revenues and wages rise far more slowly than costs. The city of Albany and the eight counties in the Capital Region need to work together to direct economic development investments toward arts and culture projects. The region’s arts organizations can’t scrape by on state grant dollars and philanthropic support, and far too few small and mid-sized organizations have the capital or resources needed to level up. The Capital Region needs a regional economic development strategy that integrates the arts, culture, and creative entrepreneurship into every decision, tool, and funding opportunity.

To See the Full Upstate’s Creative Spark: How the Arts Is Catalyzing Economic Vitality Across Upstate New York

To See Upstate’s Creative Spark: Art’s Allies of the Capital Region (Capital Region Specific Presentation)

Jill Fishon-Kovachick is Sculpting Success at Saratoga Clay Arts

June 6, 2024 By Corey Aldrich

I discovered Saratoga Clay Arts through my good friend Ping Xu who is a member there (Also a board member at Saratoga Arts). She kept telling me that I had to see the amazing facilities and community that she was a part of. Well, I have to say…she was right on all counts. What Founder and Executive Director Jill Fishon Kovachick has been able to cultivate is not just an oasis of creativity and an incredibly well equipped makers space but a connected and growing community that many have come to call home.

Please state your name, organization and what you do.

My name is Jill Fishon-Kovachick and the name of my center is the Saratoga Clay Arts Center. I am the Executive Director. I started working with Clay at eleven years of age at Bucks Rock Camp in New Milford Connecticut. I was a camper and became a counselor and found Clay as my medium. From there I went to Skidmore College where I received my BS Degree is Art Education. I studied under Regis Brodie. My love for clay has been my passion for most of my life and continues to be important to me and to be able to teach it to our community fills my heart.

Entrance Sign at Saratoga Clay Arts | Image: Corey Aldrich

Can you tell us about what is happening at the Saratoga Clay Arts and what your mission is? The campus is so beautiful, I really love the vibe there!

Our mission is all about community and to inspire people of all ages. We educate people all about clay. From the hand-building process to the potters wheel. We also have many different types of kilns and glazes. There is also a gallery on site called the Schacht Gallery, which I named after my Grandmother who’s maiden name was Schacht. The gallery brings in local and national artists. We want to expose people of all generations to what it means to work with clay. The gallery broadens people’s understanding of what can be done with clay – in all ways.

Schacht Gallery at Saratoga Clay Arts in Saratoga Springs, NY | Image: Corey Aldrich

Outdoor Patio Area at Saratoga Clay Arts in Saratoga Springs, NY | Image: Corey Aldrich

What does a typical day look like for you on location?

My typical day is wearing many different hats at SCAC. From teaching to answering phones to paying bills and then of course finding time to work on my own work.

Hands On Soda Firing and Throwing Workshop with Matt Long at Saratoga Clay Arts | Image: Corey Aldrich

A lot of organizations with an educational program end up going the not for profit route. Why did you decide to structure as a for profit company?

I ended up making SCAC a private business because I had to react fast to create it. I had been working at Skidmore for Special Programs for 17 years. There I taught a night class for the outside community. Skidmore had decided to delete the night classes for ceramics so the people taking classes needed a place to work. This required me to move quickly to bring everyone to the center. There was no time to set up a not-for-profit. We all needed a place to work – immediately. I bought our current building in foreclosure. I know I made the right decisions as the center has been busier then I ever dreamed could happen.

Materials Pantry at Saratoga Clay Arts | Image: Corey Aldrich

Saratoga Clay Arts has 7 Electric Kilns on Campus (4 Seen Here) | Image: Corey Aldrich

Can you talk a little bit about the economics of the business? I know running a pottery shop requires some serious equipment and infrastructure investment.

We opened in 2011. I was fortunate enough to be able to purchase the building and the equipment to get things going. The business did need some financial backing to cover the equipment side though. Since then we have been raising money through our annual fundraiser which is called the Chili Bowl. We give some of our proceeds to a local organization called To Life which is helping people with breast cancer. and to the Wilton Food Pantry. The local restaurants have participated and have been incredibly generous in donating their donations for the event. It’s a chili cook off and competition and is an amazing and fun event. This of course is in addition to our class and program fees.

EDITORS NOTE: In addition to 7 electric kilns of various types, Saratoga Clay Arts has a large high-fire gas kiln, a salt kiln, a soda kiln, a raku kiln and a pit fire smoker.

Jill at the Kiln | Youth Programming at Saratoga Clay Arts | Image: Provided

Mark Tarabula – Studio Manager at Saratoga Clay Arts in Saratoga Springs, NY | Image: Corey Aldrich

Running a business can be so demanding, how do you balance that with your own artistic practice?

Running a business is incredibly demanding and I have had to give up some valuable time in making my own work to do but it, but it was worth it. The center is such a great place. Since opening and being available all the time I have hired some amazing people. I have a Studio Manager Mark Tarabula , an Artistic Director Leigh Taylor Mickelson and a Marketing and Engagement Community Coordinator Lyndee Deal. This allows me to be able to to focus more on my work. We also have up to 4 Artists in Residence at any given time who teach classes and work for the center in exchange for studio use. Additionally, we hire interns who learn from us and find their direction in clay. They help teach classes and learn the dynamics of running a center.

David Kwak – Resident Artist at Saratoga Clay Arts in Saratoga Springs, NY | Image: Corey Aldrich

Under Construction : New Classroom Space at Saratoga Clay Arts in Saratoga Springs, NY | Image: Corey Aldrich

Bonus question: Anything coming up on the horizon you would like to tell us about, programming to promote?

Some exciting news on the horizon… we are almost finished renovating the basement and have created another beautiful classroom and more studio rentals. We plan for that to be open in June which will allow us to have more room to grow and more classes being offered. Additionally, this will allow us to promote more private parties and corporate clay events.

Fresh Out of the Kiln at Saratoga Clay Arts | Image: Provided

Arielle Steele : Finance by Day Film by Night | Building a Creative Career One Gig at a Time

June 6, 2024 By Corey Aldrich

I met Arielle Steele recently at a backyard picnic at John Yost‘s house (Film Maker and Founder at Fifth Column Features). After about 30 minutes of engaging conversation I knew I wanted to highlight her story. So many of our freelance creatives are working day gigs with big aspirations of moving full time into their creative practice. Arielle brings a solid business background to hers and as if she is not busy enough, was recently named Vice President of the Board at the newly rejuvenated 518 Film Network – a group ACE! has produced some very successful networking events with in the past.

Arielle Steele : Financial Analyst at AYCO and Independent Film Maker / Producer | Image: Jayana LaFotos

Please state your name, company and job title.

My name is Arielle Steele and I am a Wealth Management Professional at Ayco-Goldman Sachs by day and a Filmmaker-Producer by night. I obtained my Bachelor’s Degree in English Literature from Williams College, where I discovered film as a second love. Since then I’ve juggled my work in traditional 9-5s in education and finance with my passion for film. On set, I usually occupy the producer or associate producer’s seat. Recently I have expanded my work in film to include the festival circuit. In 2023 I was the Film Festival Coordinator for the inaugural Renaissance Black Film Festival here in Albany.

Can you share what a typical day looks like for you on your day job and one when you are running a creative project?

A typical day for me within finance is a day full of juggling competing priorities servicing our clients. Whether it’s executing trades over the phone with clients, sending out wires, liaising with internal teams to maintain brokerages, training new team members, or mentoring new hires with the developmental program I created with senior employees at the firm, my day is focused on providing great experiences for our clients and ensuring that my team is fully prepared to take on the day. There’s always an overarching project I’m working on in tandem with my daily asset movement and administrative responsibilities.

When I’m working on a creative project my day to day varies depending on the length of the project, the role I’m assuming, and where we are in production (pre, shooting, or post).

Because I have a full time job I typically choose short term projects, such as short films or music videos. On these days I’ll create call sheets for the next day, review shot lists, create sides for the actors and crew, and check in with PAs to make sure we’re ready to shoot for the day. If it’s a small enough shoot I’ll have to wear multiple hats and act as a PA myself, getting talent to the location, ensuring crafty and meals are available and served in a timely fashion. I’ll consistently check in with the AD and director to ensure we have what we need to shoot efficiently.

In many ways it mirrors my main job because I rely heavily on my project management skills both on and off set.

However, pre-production is my favorite part of the process. Everyone is bubbling with excitement and the seemingly near endless possibilities for the project, while I’m thinking of ways to harness this energy to yield the best results. I work with the director and in some cases writer-director to grasp their vision and offer solutions for costuming, locations, and crew that strikes the balance of honoring their vision and the budget. Then we crunch the numbers and conquer! These meetings typically span a few days in the evenings to accommodate my availability.

How do navigate finding time wearing the different hats of these two very different roles? Are there any ways in which your day job helps you in your creative practice?

Honestly speaking navigating these two roles can get challenging when I’m in the throes of a film project. Knowing that my main job has its peaks I’ll plan to work on projects during the financial “off season.” This is only part of the battle. When on set I’ll try to be there during off days and capitalize on my evenings doing prep work for a shoot. So for a week I’ll be firing on all cylinders.

As for transferable skills, there unexpectedly is a lot of overlap. Excel is both my friend and foe on both sides of the aisle. I check in constantly with other teams/heads of departments and produce deliverables for my supervisor/directors. In the pre-production stage I create pitch decks to secure funding for films, and in the office I’ve created pitch decks for developmental programming. Though finance and film seem to be worlds apart, in terms of production they actually work in tandem with one another.

**Renaissance** Black Film Festival Panel Discussion with Arielle Steele | Image: Jayana LaFotos

Any particular projects that you would like to share that you are especially proud of?

One project that I’m especially proud of was the film programming I did for the Renaissance Black Film Festival. We secured 100+ submissions on the first go around, and the shorts we selected were phenomenal. Under Kevin Johnson and Patrick Harris’ leadership I was able to moderate a panel with Jamal Hill, Gail Bean, and Morris Chestnut. It has been a career highlight for me.

Additionally my work with non-profit 518 Film Network has invigorated me. Created by Michelle Polacinski and Micah Khan, the network was founded on the idea of forging an equitable and rich filmmaking community, something I really resonated with. When Michelle and Micah decided to end their terms, it gave me the opportunity to be an active participant with the 518 film community. I’m really excited for the work we’re doing and the programming to come this summer!

**Renaissance** Black Film Festival Photo Op | Image: Jayana LaFotos

As a female and minority Film Producer how would you describe the state of opportunity for you to participate in projects regionally? The challenges? What advice would you give to other women who are looking to participate more in leadership roles in the industry regionally?

The projects I typically work on are for independent filmmakers so that field varies from commercial opportunities. Bearing that in mind, as an emerging producer my opportunities have been generated by my personal network. I am incredibly thankful for those who have seen my passion for production and trusted in the vision.

This is not to say that I haven’t tried mainstream avenues within local television networks. In the past I’ve tried to go that route and it was difficult. Even applying for Production Assistant positions, networks want to see a traditional film history, which as a multi-hyphenate hailing from a liberal arts college, I didn’t have. People don’t want to take a gamble which is understandable, but it makes it that much harder for greener folks, and women of color especially to get in the door.

My advice to those like me, who don’t reflect the majority of the industry, is to find their community and keep showing up. Of course landing your first big job with a network, Netflix production, or Hollywood production is major. But until then hop on projects with your friends, get to know other creators in your area so you can keep working and getting to know the world around you. Network across so you can grow with your siblings in film, as you identify possible mentors in your given field. While your mentor helps you stay true to your ultimate goal, your comrades will inspire you and aid you in strengthening your creative muscles. Show up, give as much as you get and create. Your time will come. It’s taken me since 2016 of on and off work to get to this point and I still have a ways to go.

Anything coming up you would like to shamelessly plug? Long term plans / goals you would like to share?

Shameless plug: I am now the Board VP of 518 Film Network and I’m very proud to announce that 518 Film Network has relaunched and we are now accepting members! We offer filmmakers in the region a chance to connect and showcase their work via screenings. We eventually will be expanding on educational opportunities for members and will be hosting mixers this summer.

FOR MORE INFO: arielle-steele.com