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Hello everyone, welcome to the Dollpreneur Podcast, where I get to chat and share with you the amazing doll creators and creatives from around the world.
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I am your host and creator of the Dollpreneur Podcast, georgette Taylor, and I'm so excited to highlight the inspiring stories from the people who keep the doll community buzzing with creativity and passion.
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So, whether you're a long-time doll lover or just curious, looking for something new and creative to listen to, join us for engaging powerful and insightful conversations that celebrate the heart and soul of the people within the doll community.
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Hey, everybody, we're going to get to the show in one minute.
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I just wanted to share something with you.
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You know, for years my life has been about creating dolls, podcasts, communities and stories that inspire others, but not long ago, I was completely sidelined by bronchitis.
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The inflammation was so severe that I lost my voice and that forced me to put my dollpreneur podcast on hold.
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It also was a wake-up call for me.
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It hit me that, no matter how passionate I am about my work as a dollpreneur or all the other things that I do, without my health none of it really matters.
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Creativity takes energy, business takes focus and living with purpose takes wellness.
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And I was running on empty.
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I realized I couldn't keep creating, building or even inspiring others if I wasn't taking care of my health first, and I decided to make that a priority.
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That's when I partnered with Vital Health Global.
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Why?
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Because I love what they offer.
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They offer clean, powerful supplements designed to restore energy, strengthen immunity, reduce inflammation, and I'm telling you, I needed all of those things and so much more.
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But they also helped me to revitalize my body from the inside out.
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The difference has been really life-changing for me.
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I feel energized, focused and capable of showing up full for my creativity, my business, my podcast, my purpose and my family.
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Again, if you ever felt like your health would stop you from doing what you love to do, then it's really time to take it back.
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So if you'd like to take this journey with me in creating better wellness for yourself, you can visit my shop at dynamicwellnessvip, because your art, your ideas and your business deserve the energy to flow, not the burnout to stop you.
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This message is sponsored by Vital Health Global and Dynamic Wellness.
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So what do you say?
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Let's get this show started.
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Hello everybody, welcome to the Doppphinor Podcast.
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I'm your host, georgette Taylor, and, as always, I am so excited that you're joining me today, and also, before we start the show, I want to say thank you guys so much for being patient for me coming back.
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I feel so much better and I really appreciate all the messages that I receive, so thank you again so much for being with me here on the Dauphinor podcast.
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I am excited to talk to our guest today.
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She has such beautiful work and I can't wait for you to find out about her story and about her work as well.
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So my guest today is Tina Vincent.
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She is an award-winning Zimbabwean artist best known for her captivating women of color paper mache sculptures, and they are just so fabulous.
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I can't wait till you get to see them.
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Each piece is celebrating the powerful beauty and meaningful relationships found within communities of women.
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And not only does she do paper mache sculptures, she's also a mixed media collage artist as well.
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She does portraits and quilts, and so I'm just excited to have her on the show.
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How are you doing?
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today I'm doing well, thank you, and thank you so much for having me on your podcast.
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Oh you're so.
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You're so welcome, you're so welcome.
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I'm excited for people to get to know you and to learn everything that you do about being an artist.
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So I know every artist really has a beautiful origin story and you just take, take us back to the very first moment that you fell in love with creating art, especially your paper mache sculptures.
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I really just want to know was there a special turning point for you, did you?
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have a mentor.
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Did you think about it being an artist when you were young?
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How did that happen for you?
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So I actually.
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So there's actually two stories.
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So the first one I started doing art when I was in high school.
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Coming from an African family, they're very strict about academics in school, so my parents would always be getting on me about, like, why aren't you reading?
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Take out a book, go and read.
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And it's like I like really hated it.
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Like I, as an artist, I work when I'm ready.
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So the more that I'm being told that I need to go and do it, the less likely I was going to do it.
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So I would sit in the dining room with my textbooks open.
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And then I started getting computer paper and I started like to draw.
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I mean, I never imagined I could actually become an artist.
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And then I took art.
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They have what you call O-levels and A-levels, which are like high school, like finishing off my high school.
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So I took art all the way through.
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The weird thing is I signed up for art because I just thought it'd be cool to just sit and talk to my friends while I drew.
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It wasn't like I thought it was going to be my career and I actually wanted to be a chef when I was younger.
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I really wanted to be a chef and I did really well with food science and I'd gotten the trophy at school.
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But then we had an exam and the exam I had studied so hard but then I got a C and I was so devastated so I didn't cook for like a year.
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I just kind of avoided it.
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But it makes me think of how sometimes God has to do kind of a big thing, because if, if I just said, oh, I'm just going to keep, I'm just going to keep cooking because this is what I.
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But I'm saying there are other things, just like with my son.
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Sometimes I'll be like, hey, try this new thing.
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It's like, no, I don't like it.
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It's like you're six, there are other things, but anyway.
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So then I, um, I went to college.
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I went to Landry university in Greenwood, south Carolina.
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I got a bachelor's degree in visual arts and a master's degree in art education.
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So I became an art teacher.
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I avoided 3D work for a long time.
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So I was working in Spartanburg, south Carolina, for seven years.
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Then, when I met, my husband got married and I got a job at Rock Hill High School, where I was supposed to teach sculpture, and I was so nervous about the idea of sculpture because I was like I'm so bad at sculpture, I'm not good at it.
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But one of the things that I learned is sometimes I'm so bad at sculpture I don't, I'm not good at it.
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But one of the things that I learned is sometimes we say we're bad at a thing, but then you think about like I had never really put in time into even learning how to do it.
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So if you, if you're someone I tell my students this all the time because I'm also an art teacher you, if you spend all day and all night drawing in pencil, you're going to be very good at drawing in pencil.
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But if I show up with like some paint and I say, hey, why don't you paint?
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You're going to say, oh, I'm not really good at paint.
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No, you just need to practice, you just need to put in the time.
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So I wanted to make paper mache people for this class, and I have this thing whenever I teach a new course.
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I want to do, I want to like um practice all the projects so that when the students get the project, I've already figured out all the kinks and I'm able to like, help them to successfully complete it.
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So I started, and I started this little village of really, really old ladies, because they were really old, because it's easier, because when things are not like, portioned or something it's just like it's in there somewhere.
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So as I got better and better at making them, they became younger and they became like more attitude and it took a lot and then so recently, I started actually.
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So this is basically about the size of most of them.
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Okay, and what height is that?
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What height are they?
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This might be like maybe like 24 inches tall.
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And then this is that.
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What height are they?
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This might be like, maybe like 24 inches tall.
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And then this is another one.
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And I also started ones in bathing suits and stuff.
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So this was the initial size.
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It's easier to actually work big than it is to work small.
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Because I know a lot of people are like oh, could you make a small one.
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So for a while I just was like, eh, this is kind of big, just kind of come out the size they come out.
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So as I continued practicing, so recently I launched the minis, so actually they're harder to make.
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But I'm realizing, like this one actually just sold and I'm realizing the lady had showed me where she was going to display it and I was like, oh yeah, everyone doesn't need a big one, cause if you've got like a coffee table, or something it does not need to be like a giant centerpiece.
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So I'm really excited about the miniature, the mini collection Nice.
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They're just all different sizes.
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They're so cool.
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I love them, thank you.
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I fell in love with them.
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When I saw them, I was like this is beautiful work and you know, just remind me of my blind plus size dolls.
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You know, with their attitude and the, you know the beauty that they have, and so I'm excited about that.
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So let me ask you a question how do you decide on, like the outfits and the poses and you know, the things that bring their individuality to life?
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How do you decide on that?
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How do you decide on that?
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I feel like sometimes I'm inspired by just women that I see out and about.
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For example, I remember one time I saw I don't know, I can't remember where I was I saw someone and they were like they had freckles, kind of like red hair, and they were like black person with freckles and red hair and I was like I've never done a lady with freckles and red hair.
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And then I also have the ones that are albino.
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Then I have the ones that are jet black.
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So I feel like it's just trying to like represent all the skin tones For me.
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I feel like my favorite ones are actually the jet black one, as well as the like.
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I like the albino one as well, and then I also like all the skin.
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Like, oh like, I just think there's just something beautiful because, as I think, as um black people are, we just our skin tones are just so diverse.
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Like there's not just like one right, right, one shade or like yeah, exactly like changes.
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I mean this is like an entire spectrum it's so true.
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And then, and each one of those shades has these different undertones, you could be somebody, your same complexion, but it looks different because your undertone is like more red or more yellow or things like that.
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So yeah, I definitely and I also feel like working with young people.
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I sometimes like my favorite thing, even when I do paintings and portraits.
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I love to just paint people just naturally, because sometimes, like nowadays, you see a lot of girls are having like weaves and the lashes and it's like you're covering your beauty.
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They're so beautiful.
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Underneath all that, I mean, I feel I'm not opposed to like getting.
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Right, yes, I get that Underneath all that.
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I mean I feel I'm not opposed to like getting Right.
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Yes, I get that.
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I'm saying like when you put so much to the point that we can't see you anymore, these girls are like beautiful.
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So it's like I just love in my work to show that like that's what the work is all about, even though the sculptures don't have faces I've done ones with faces before, but I feel like the ones without faces tend to be much more popular because people can kind of like identify with them and they're just kind of fit into the decor a lot better.
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Right, okay, so funny.
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I was going to ask you about the faces.
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Why didn't you paint faces on there?
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Yeah, and also I don't know.
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So, when I was little I also lived in the Dominican Republic, so I lived in Santo Domingo and they also, like in the Caribbean sometimes they'll have like a lot of like faceless dolls and like part of that is also like representing just the mixture of all the like historically where the backgrounds of the people, so basically just representing everybody.
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Ok, but yeah, I don't know.
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Like I said, there have been times when I've made a sculpture, I've added a, added a face, and then I'm like, oh, I should have just not had a face on, I shouldn't have had a face.
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I feel like it's all in their gestures, like, and then this is another one.
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So I only have, like so far, two guys.
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This is the other one that's sold.
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okay, I mean, I don't usually do guys, guys, right, some of the guys have been complaining, because I started a line of sweatshirts and they were like do you have anything with guys on them?
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I began to kind of make a few here we can have a couple of guys.
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So how is creating like your sculptures influenced your own personal, I don't know journey to how you feel about yourself as a woman and as an artist?
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I feel like I, I just feel like I've come into like just being who I, who I want to be.
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I feel like there was a time when I like people, like a certain version of you, like when you're still like not sure of yourself and they try to direct hey, you need to be doing this, this is a little bit too much, you don't need to be doing that, and I felt a lot of that growing up, like in Zimbabwean culture.
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Sometimes I feel like with girls, there's a tendency of like, trying to like, not like.
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You're not supposed to just be so out there and just being and like calm down and fall back and I just feel like I got to a point where I just wanted to be my authentic self.
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I wanted to create work.
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Like I love the fact that people want to spend money on something that I just came up with out of my head, and that's like very empowering, especially after for so long, you're made to feel like be quiet, Nobody cares about what you've got to say, but these are the things that I have to say, or these are the ideas that I'm coming up with.
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I totally understand that, especially, I think, in a space where you, where you are an artist, not only do you have to show your voice through your creativity, but you also have to start to have a voice, because if you want to do a show, you have to be able to speak for yourself.
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If you want to, you know, be able to talk about your art, you have to have a voice to be able to do those things.
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And also, being an entrepreneur we're going to talk about that because I think a lot of times artists think of themselves as an artist like any creative right.
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Was that a hard shift for you to become like to do the art but then also realize well, now I'm a real entrepreneur because I'm selling these things and I have to think about how do I market, how do I do these things for myself and be that you know that all around person in your business.
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So it's actually so.
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There was something big that happened in my life that kind of created that shift.
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So back in 2022, I applied to a program they have here in Charlotte I think they used to have it in Atlanta at one point called Art Pop Street Gallery.
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Have here in Charlotte I think they used to have it in Atlanta at one point called Art Pop Street Gallery, where they choose 20 artists one high school senior in there where they put your artwork on billboards and digital displays all throughout the city and it just gave me so much exposure.
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They had our work up in Times Square and it just was like it made me realize that, hey, if people see the power of just being seen because I was always like oh.
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I don't care about being seen, I'm just going to say to myself.
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But I feel like it's a different kind of seeing the work, hearing what I have to say.
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And then I also took a business class, because they offered us business classes in there as well.
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And I remember taking a business class where this guy came and we had this whole day workshop and he taught.
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He said, you know, number one, nobody is coming, so you need to get out there and go and do what you need to do to get this work out there.
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And then the other thing I took from it was people cannot want a thing that they don't know about.
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So I struggled, like, especially when I first started, like my Instagram, especially growing up, like sometimes I just remember always being told like, oh, you're posting too much, take it down, even though I really wasn't, and do you know what I'm saying?
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So then it was very hard for me to say, okay, I just made a thing, I'm going to post it and share it because it is kind of scary.
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It is scary, yes, I know, but I'm saying I had to get over it.
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So then I had to start coaching myself and say Walmart, doesn't feel shy that they had an ad before the news, in the middle of the news and at the end of the news.
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So this is a business, this is not just me going.
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Oh, I'm just, you know like a selfie or something.
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It's really, it's really my business and I also found that not to put too much into like if somebody is liking things or not, because I feel like I've noticed that sometimes people have like a little bit of a laziness where I'll notice if I post like one sculpture, it's just like, oh, but then when I have five, they're like, oh, my gosh, this is amazing.
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But yeah, you can't have five without having one.
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You have to do them individually.
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You understand?
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You know what I'm saying.
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Like it's so true, not to really not to, in other words, like just not to put too much into.
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You know how the responses are, or there've been times.
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I've done something and it doesn't really get a whole lot of feedback, but then I send it off to a competition and it wins.
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Just feel like.
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It's just like realizing that I just just have to keep going and just believing in what I'm working on Well, I mean, I think that that is important as an artist in general, you know, not just entrepreneur.
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You have to believe in what you're working on.
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Not be worried about oh my gosh, nobody liked what I did.
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Nobody's going to like it.
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I've seen artists like that, where you can tell they're like oh, nobody liked anything that I did.
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And then I'm like so you're not doing work anymore, because the weird thing about people is like you can share a thing and they're not interested one bit.
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And then you could say, oh, I did a competition and I won a thousand dollars, and now the same piece of work.
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Everybody's like wow, that's awesome, congratulations.
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They weren't there when you did the first doll, you know, yeah, yeah.
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So I'm just saying I think that's really important to understand.
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Even a lot of the time and I always say this to my husband whenever you see someone stepping out to do something bold, at first you notice everyone's like I don't know, what is she trying to do?
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All that she needs to stop.
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But then when they become successful, they're like wow.
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I think that happens a lot with art.
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Someone says I want to be an artist, I want to be a singer, I want to act.
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I mean at first everyone's like you mean like a hobby, like a hobby but how are you going to, how are you going to make money with that Like you really exactly?
00:17:42.476 --> 00:17:48.238
You know like and that is it is a real job because you're spending your time and your craft building.
00:17:48.238 --> 00:17:51.378
So I totally understand that.
00:17:51.378 --> 00:17:51.818
It's funny.
00:17:51.818 --> 00:17:56.060
It makes me think about when we did the dolls, like everybody said the same thing Like, who wants like?
00:17:56.060 --> 00:17:58.821
Literally the word that they used obviously was fat.
00:17:58.821 --> 00:18:00.001
They used a fat doll.
00:18:00.001 --> 00:18:02.042
That's what they said back in 2000.
00:18:02.042 --> 00:18:03.443
Who wants a fat doll?
00:18:03.443 --> 00:18:08.005
That's what they said to us and I think for me it just I don't know.
00:18:08.105 --> 00:18:17.628
It kind of struck something in me because I think I want to bring back to your point where you were talking earlier about just seeing yourself as you and not putting all this other stuff on.
00:18:17.628 --> 00:18:23.750
You know what I mean, because I think sometimes you even lose sight of who you are when you do that and you start not to like who you are.
00:18:23.750 --> 00:18:31.474
And we had so many people and we thought we had a lot of plus size women who would be happy to see a plus size doll, but that was not the case.
00:18:31.474 --> 00:18:36.280
They said they were happy but they really didn't want to see it in real life, to see who they were.
00:18:36.280 --> 00:18:52.623
You know, and that was one of the things we really tried to have those conversations with people at the end of the day, about them loving who you are where you're at, loving what it is that you do, loving the things that you have passion for, because you know it's part of you, it's part of being authentic to yourself.
00:18:52.623 --> 00:18:56.642
And I think that a lot of people just don't I don't know, sometimes they don't.
00:18:56.682 --> 00:19:03.423
They're like more impressed with the superficial things than actually like the natural.
00:19:03.904 --> 00:19:05.208
Like to me, I don't like.
00:19:05.208 --> 00:19:16.858
I feel like, at least like one thing I love is like seeing like women age gracefully there's nothing wrong with aging and I feel like there's so much that's pressure put on women and so it's just like.
00:19:16.858 --> 00:19:19.801
So we're not allowed to get old, Like sometimes.
00:19:19.801 --> 00:19:26.326
And I feel like sometimes our bodies are telling stories, Like when I had my son, the body changed, it's not going to be the same.
00:19:26.326 --> 00:19:31.632
There's no way we can just do everything, and I just feel like there's so much pressure that's put on women.
00:19:31.632 --> 00:19:38.905
But I also think that probably since about two, since 2000 is what you were saying I think there've been a lot more developments because now?
00:19:39.275 --> 00:19:42.483
Definitely, yes, it definitely has been a lot more, a lot more development.
00:19:42.483 --> 00:19:53.102
You know, and and I and I think that's one of the things that really struck me about your dolls is because, the size that they are, they are joyous in their presentation of who they are.
00:19:53.623 --> 00:19:58.849
Yeah, not apologizing, not trying to be, not trying to shy away, not trying to hide their body.
00:20:02.015 --> 00:20:02.375
Yeah, yeah, exactly.
00:20:02.395 --> 00:20:03.219
Exactly, and that's what really struck me.
00:20:03.219 --> 00:20:05.645
I feel like the interesting thing is, I feel like my sculptures.
00:20:05.645 --> 00:20:15.345
A lot of the time, people like the bigger ones, like they actually that's what stands out, and like, oh man, that's so, that's so cool because they just have like a presence.
00:20:15.345 --> 00:20:23.303
And I also feel like I wanted them to like inspire women, like sometimes I have one that's doing the splits.
00:20:23.845 --> 00:20:24.747
Yes, I saw that one.
00:20:24.747 --> 00:20:26.239
I love that one.
00:20:26.239 --> 00:20:27.502
It's so beautiful.
00:20:27.502 --> 00:20:28.306
I love it, thank you.
00:20:28.414 --> 00:20:29.940
That was actually one that got juried into.
00:20:29.940 --> 00:20:31.503
Have you seen the Fiber Now publication?
00:20:31.503 --> 00:20:32.086
Did see that one, yes.
00:20:32.086 --> 00:20:33.611
Yes, the Fiber Now publication.
00:20:33.611 --> 00:20:34.994
Did see that one, yes.
00:20:35.335 --> 00:20:35.576
Yes.
