A Conversation with Bri Leslie

Interview June 14th, 2025 with Sienna

Bri Leslie is our July Maker of the Month.

Learn more about her Bleach Painting Shirts Workshop here.

Bri is a painter and nature lover, passionate about all things creative. From teaching to farming to cooking and herbalism her creative outlets span far beyond painting. In our conversation we talked about finding inspiration in nature and the challenges of evoking emotion in landscapes, the roadblocks in front of marketing yourself as an artist, and how to get out of creative dry spells, among other things.

I like to start off these interviews by asking for an explanation of your art practice, the prompt being to make me fall in love with what you do.

Painting is definitely my favorite medium—it's where I feel the most free and relaxed. There's something so satisfying about the texture of paint and the way it moves across a canvas. It's a completely different experience than drawing. That said, I also love working with ink—there’s a unique pleasure in the bold contrast of thick black ink on white paper. But painting has always had a special place for me.

I especially love oil painting. I really fell in love with it during college—it’s such a beautiful and rich medium. But these days, I work more with acrylics, mostly because they’re more practical for the classes I teach. Between adult workshops and kids’ art sessions, oils just come with a lot of extra setup—chemicals, materials, and yes, the smells! Still, I hope to return to oils more in my personal practice.

What really helps keep me grounded in my practice is staying immersed in creative environments—places and people that inspire me. It’s like staying in my 'right brain,' if that makes sense. When I shift too far into logistical work—like marketing or anything overly computer-based—I feel myself losing that creative rhythm. It's definitely a balancing act.

Spending time in nature—especially in the summer—is a major source of inspiration for me. 

Another way I stay inspired is by switching up my mediums. If I only paint on canvas for too long, I start to feel stuck, even bored. So I like to explore: drawing with pencil one day, experimenting with bleach on t-shirts, mixing colors just for the fun of it, sewing, printmaking—anything to keep my brain engaged and my creativity fluid. It helps me avoid falling into repetitive patterns and keeps the work exciting. That variety is really important to me.

Do you keep a sketchbook? 

Yes—always. I definitely keep a sketchbook. It’s such an important part of my process. I actually forgot how essential it was until you mentioned it, but it's true—so many artists carry one around just to jot down ideas or capture moments.

I used to have this little watercolor sketchbook kit when I was living in Guatemala for a couple of years. I’d sit outside and paint different landscapes or scenes from wherever I was. Looking back at those pages now is really special—it reminds me that I need to start doing that again. It kept me in that creative mindset.

But it’s so easy to fall out of that practice, especially with how fast-paced life can get. Keeping a sketchbook is really like any other discipline—it takes intention and consistency. You have to make space for it, or it slips away.

And when it does, you feel it. I notice that when I spend too much time on the technical or administrative side of things, and stop sketching altogether, I start to lose that creative flow. It's like a muscle—if you don’t use it, it fades a bit. But getting back to it always helps me reconnect with why I create in the first place.

Have you gotten to that place of becoming too technical or losing the love for what you are doing? And if so, how have you gotten your inspiration back? 

Yes, I’ve definitely gotten to that place. When I stopped traveling and returned to the U.S., I really felt a dip in my creativity. The stress of needing to support myself, pay rent, and just stay afloat financially became overwhelming. It felt like I was pulled back into this structured, high-pressure system—kind of like the 'Matrix,' if you will—and that environment really drained my inspiration and motivation.

When I was living next to a lake by a volcano in Guatemala, I was flooded with creativity every single day. Being surrounded by nature and away from that constant pressure allowed me to create so freely. Coming back and needing to focus so heavily on making ends meet definitely took a toll.

I’m still figuring out how to fully balance it, but I’ve realized that staying consistent in my art practice is essential. The big shift for me has been asking: how can I support myself doing what I love—how can I merge creativity and sustainability? And that’s been a very real and ongoing challenge.

When I first got here I was working at Wild Coffee in Whitefish. I met some other creative folks, like this jewelry artist named Laura. That community really helped reignite some sparks for me. Being around people who are also making things just reminded me of what I love about being an artist.

That’s when I decided to restart my paint and sip classes. I had done a few classes in New York, mostly with kids, but this time I wanted to fully create something of my own. And honestly, they went great right off the bat. People were excited about them, and it was such a good feeling to see that energy.

I also started incorporating meditation into the sessions. Before we began painting, I’d lead a short meditation to help people ground themselves, relax, and tap into their creative flow. That part felt really special—and now that I’m talking about it, I’m realizing I don’t know why I ever stopped doing it. It worked so well and made a real difference. I guess life just got busy, but I’d love to bring that element back.

Now, I’m working with Stumptown, running several kids’ summer camps. They're full week-long camps for kids ages six to ten, and I’ll be doing them a few weeks out of the summer. It’s a lot, but it’s also really rewarding to find ways to keep creating, stay inspired, and share that joy with others—especially kids."

Oh wow. How many kids? 

Each class has around 10 or 11 kids, and it’s going to be wild—in the best way. I got a little taste of it back in April when I had a group of 13 or 14, and yeah, it was a lot! But that age group—six to ten—is just hilarious.

Teaching kids really reminded me how different it is from teaching adults. With adults, you're focused on technique and getting things 'right.' But with kids, it’s more about keeping their attention and letting them explore. The teaching style is completely different, and the goals shift too. It’s less about the final painting and more about the experience.

What I love most is how genuinely excited the kids are to be there. Their energy is contagious. They want to learn, they want to create—and it’s honestly so inspiring. Being around that kind of curiosity and enthusiasm brings me back to that pure love of making art. It reminds me that I should be curious too.

One of the biggest things I’ve learned from them is how unafraid they are to just start. They don’t hesitate or overthink—they just go for it. And that has completely influenced how I teach my adult classes now. Adults tend to get stuck in their heads. They freeze, unsure of where to begin or what to do. But I always tell them now: just go, like the kids do. That kind of freedom helps break through the mental blocks.

I really try to learn something different from each group I work with. It’s all part of getting my brain back into that creative rhythm and doing what I love.

Also—muraling! I did a mural in my friend’s garage recently, and it was so much fun. I really want to do more of that. I love teaching, but if I had to choose, I think muraling might be my favorite thing.

We need more murals. I wish the whole side of this building could be a mural.

I would love to use your walls as my craft space—seriously, I’d be over the moon if you let me do a mural, whether it’s inside or outside.

This ties back to what I mentioned earlier—one of my biggest challenges is that I’m not really putting myself out there. I’m not actively promoting my mural work, so most people don’t even know I’m open to doing it. That’s where I get frustrated with myself. It’s not that the opportunities aren’t out there—it’s that I haven’t been reaching for them.

I haven’t approached any businesses yet, partly because I don’t have a portfolio ready to show. It’s all these little internal roadblocks. But I know once I push past them, I’ll be closer to where I want to be.

And I’m not blaming the world—I’m fully aware it’s on me. Sometimes I have to step back and be like, 'Okay girl, what are you doing?' Because right now, I know I’m not doing enough to make it happen.

Can you talk more about where you want to be with marketing and why it's hard? 

Where I really want to be with my work is at a place where I feel confident having a website and a strong portfolio. That’s been a bit of a block for me—partly because I’ve been indecisive about which platform to use. Squarespace, this one, that one—it becomes overwhelming. And to be honest, I don’t have a lot of extra funds to spend on monthly site costs right now, so that adds to the hesitation.

It sounds silly when I say it out loud, like—just pick one! But decision fatigue is real. I get so caught up in weighing all the options that I end up putting it off entirely. But I’m realizing now how important it is to prioritize that—maybe even more than making new pieces—because without something to show, people don’t really know what I’m doing.

It’s also been tricky to figure out how to market myself. There’s this inner resistance that comes up when it’s time to promote my work. I’ve noticed it’s so much easier to promote someone else’s project or cause than it is to put myself out there. There’s something vulnerable about it, and I think that’s what creates this little block—this hesitation.

When it comes to promoting my classes, murals, or creative offerings, I think part of the struggle is simply not knowing exactly how to start. But even just talking about it like this is helping me see it more clearly. I’ve had to ask myself: Why am I holding back? And the truth is, it’s on me. I’m the one not taking those steps.

I’d love to be at a point where I have a polished site, a complete portfolio, and the confidence to walk into a business and say, ‘Hey, do you want a mural? I’ve got you. Here’s my work, here’s my card.’ That’s the vision. And recognizing that the main thing holding me back has been me—that’s actually empowering. It feels like a door is opening just talking about it.

To pivot the conversation a little bit, it sounds like you have done some traveling. I would love to just hear about that a little bit. Maybe how it inspires you, but maybe just about the travel itself.

I started traveling right before COVID, actually. I left the States and went to Guatemala for a women’s retreat—and long story short, I ended up staying there with my best friend, who I met at the retreat. We just didn’t want to come back.

At that time, COVID felt almost nonexistent in Guatemala—at least where we were. Life there was so much more relaxed compared to the chaos happening in the U.S. It was surreal. People didn’t even really know what COVID was yet in that little town. It wasn’t technically an island, but it kind of felt like one—just isolated, peaceful, and totally removed from what the rest of the world was going through.

It was a stressful time, and we were scared about what was going on back home, so we stayed. From there, we started traveling more—Guatemala, Colombia, and other areas.

Those travels gave me so much inspiration. Being in countries with so much sunlight, color, and tropical nature really fed my creativity. I mean, the leaves were massive—literally the size of your torso. Seeing that kind of natural beauty every day was incredibly nourishing.

Nature has always been a huge source of inspiration for me, and being in places with such vibrant, diverse plant life really brought me back to that sense of wonder. It grounded me and sparked something creatively that I still carry with me.

Where were you before going to Guatemala? 

I was still living in New York at the time. I went to SUNY Oneonta, an upstate New York school, where I graduated with a double major in Mass Communications and Studio Art.

The double major kind of happened by accident—I was already taking so many art classes that my advisor pointed out, 'If you take just a few more, you could double major.' I was like, 'Oh, snap—let’s do it!' It worked out perfectly because I genuinely loved the art classes. That part of school was so much fun for me.

Do you feel like your communications degree affects how you go about your art practice? Or maybe the business side of your art practice? 

Yeah, it’s funny—I’ve been asked that before. People are like, ‘Isn’t that the perfect combo? You can promote your art since you majored in communications!’

I think back on my Mass Communications degree a lot. It was genuinely helpful. Classes like public speaking and interpersonal communication really gave me tools I still use today—especially when I’m teaching. Whether it’s kids or adults, teaching is basically public speaking. All eyes are on you, and it can be a lot of pressure. I’m honestly really glad I had that foundation because it gave me confidence in front of a group.

We also studied things like filmmaking, directing, and media production, which was a whole other creative world. It felt like a different kind of art form—learning about spatial awareness, storytelling through visuals, and how to bring a production together. It definitely kept my creative brain engaged in a different way, and I loved that aspect of it too

Did you ever work in the communications field? 

I got into it a bit after college, but I never fully ended up working in that field. I did some behind-the-scenes work for a podcast—handling marketing, writing emails, coordinating with guests—so I guess that counts as communications-related. But I didn’t really dive into the production side like I did in school.

In college, we were super hands-on with everything—lighting, filming, editing—it was a big part of our classes, and I really enjoyed that. I haven’t done much of it since graduating, but I’d love to get back into it. That kind of work was always a lot of fun. 

How did you get into art or communications? Is that something you were interested in growing up, or around growing up? 

I’ve always been into art—my whole life, really. Throughout middle school and high school, art classes were always my favorite. It’s funny because no one around me was super artistic. My parents, for example, were more into horses and the outdoors. So, my early inspiration wasn’t really from family, but I was naturally drawn to art.

I remember my mom bought me these little window paints—you know, the gel tubes you use to create art you can stick to windows. I was obsessed with them and covered our whole house in them. My mom was so supportive, even letting me cover the entire shower door! Looking back, I’m like, ‘Why did she let me do that?’ but she loved it.

So yeah, I started really young and kept art as a part of my life ever since. I didn’t know back then that I’d want to do it professionally, but I always knew I wanted art to stay in my life.

How are your parents feeling about what you're doing now? Are they still super supportive? 

Yeah, it’s funny because my mom still lives in New York, and when she talks to her sisters about me, she calls me a ‘starving artist’ out here in Montana. I’m like, ‘Okay, thanks, Mom!’ — a little dramatic, but she’s super cute and really supportive.

She always encourages me to find some kind of remote job while I’m doing art, just so I can support myself better. And honestly, I feel the same way. It’d be amazing to have something steady to pay the bills so my brain can relax and I can really flow creatively with my art.

I don’t want art to be the pressure that pays the bills, though. There’s something about mixing money and art that feels off to me sometimes. I don’t want to feel like I’m taking advantage of people or making money in a way that doesn’t feel right. That’s been a big block for me.

I know that might sound flawed because a lot of people say if you have something special to share, you should put it out there and get paid for it. Like, if someone’s making quilts, they deserve to be paid for their work, and I totally get that. It’s a mindset I’m working on.

But honestly, I’d love to make money in a different way and keep my art more free and joyful. So yeah, my mom’s not wrong, but she’s also very understanding and supportive.

My dad, who passed away a little while ago, was always so supportive too. He loved making things — he built me stilts, a balance beam — he was always creating stuff with wood. 

That's cool. So, he was kind of creative.

Yeah, you’re right—art is really broad. So broad. Crafting, too. And yeah, my dad built our shed—he was out back building and painting it. He was definitely a builder and creative in his own way.

Well, let's see. What questions have I not covered? Oh, what brought you out here? 

After Guatemala, I was traveling a bit and ended up road-tripping from New York to California. That road trip was part of my journey—getting out of that consumerism mindset really freed me mentally. I loved it. Honestly, I highly recommend road trips across America for anyone who wants to escape their own head for a bit.

Once I got to California, I stayed with my cousin and a friend while looking for a farm job. Working on farms and in greenhouses has been something I’ve done my whole life—I love it and enjoy learning about it. I even took a course in herbalism.

While I was in California, I met this guy who ran a regenerative farm. He wanted to build tiny homes and teach people about farming, which was totally my vibe. He had a farm in Irvine, California, and another one here in Montana. He invited me to work on the Montana farm, and I jumped at the chance.

The farm was huge—20 sheep, 30 chickens, 3 turkeys, 20 ducks, 3 greenhouses, and a big garden. I was basically the farm manager. The owner was gone about two weeks each month, so I was in charge for half the time, often alone except for two Great Pyrenees puppies. That was wild!

I loved it though. I’d wake up at 6 a.m. to feed the animals and wouldn’t go to bed until midnight because the animals wouldn’t go inside until it was dark. Considering I’m a big sleeper, that lack of sleep was intense, but I loved every minute of it.

Unfortunately, things didn’t last, and the job fell through. But that experience is what made me fall in love with the nature and land here. It made me want to stay, and that’s actually what led me to the cafe job.

So, funny enough, I didn’t even come here for art—I came here for farming!

Did you know anything about the area before you came? Or it's just, like, this job opportunity popped up. 

I remember seeing the name Kalispell and thinking, “Interesting, I’ve never heard of that place, Kalispell, Montana.” I was living between Columbia Falls and Kalispell, kind of near the airport area. I didn’t know much about Whitefish or Columbia Falls, and I didn’t really have a car to get around much—my car was still at my cousin’s house in California. I came out here with him for the whole farm setup. So, honestly, I felt stuck on this little farm, not knowing much about the area.

But now I’m feeling more settled. I run into people around town, which is really nice. It’s comforting to recognize faces. Sometimes I get this urge to leave, at least for the winters. I still can if I want to, but then I think about how much I’ve put down roots here over the past few years. I don’t want to just pick up and leave permanently—it feels good to have a community where you know people.

Do you have artists that you look to for inspiration? 

Nature and fellow artists are my biggest inspirations. Beyond that, other artists inspire me a lot too. Hearing about their practices, seeing their studios and creative spaces—it motivates me so much. 

Miles Johnston, 2022, https://www.milesjohnstonart.com/2021-1

One artist I follow on Instagram, Miles Johnston, has been really hitting me lately. His work is so emotional, impactful, and thought-provoking. I also love how he shares his process—from a raw idea all the way to the finished piece. Showing that progression from nothing is really inspiring.

I’m also inspired by how he evokes such strong emotions in his art. I want to do more of that myself because lately, I’ve felt a bit bored with some of my paintings. I want my work to connect emotionally with the audience, and that’s definitely something I’ve taken from him.

I also feel inspired by nature, but I have a hard time because my subject matter is never nature. I want it to be, but how do you evoke emotion without a figure? 

This is such a great question. When I studied artists like Monet and others from the Impressionist period in school, I realized you can evoke emotion through nature.

I noticed that I often gravitate toward landscapes and nature paintings. But as you said, there’s only so far you can copy an image—the real challenge is creating an emotion and feeling through it. I learned that happens a lot through contrasting colors, like bright highlights against dark areas, or showing movement with brushstrokes.

Claude Monet, 1916, Waterlilies, https://www.claude-monet.com/waterlilies.jsp

Monet was incredible at this. Van Gogh, too—think about Starry Night. It’s a nature scene, but it feels so emotional. The dark, eerie colors and the swirling movement of the trees give you this vivid sense of a fall night. You can almost feel the breeze.

It’s definitely harder to evoke that feeling without a person or something more literal, like a crying girl’s eyes. But that’s what makes studying artists who do this well so exciting. The Impressionists, in particular, are my favorite to learn from because they captured emotion and atmosphere so brilliantly.

Well to wrap up our conversation, I’d love to know- where do you dream of being in the future? 

It’s funny because my passions are all over the place. I originally came here for farming, and now I’m into painting. But I still dream of having a farm with herbs where I make my own tinctures, sell them, and paint the walls of my little barn—a place where I can create every day. Combining all my passions into one space would be ideal because it keeps me feeling fulfilled and nourished.

I’ve noticed that when I tunnel vision on just one passion, something feels a little missing. So my dream is to have all my favorite things—my art, farming, crafting—in one space.

I want to share creativity with others. Inspire people and maybe even hold workshops—like making tinctures in the garden or crafting notebooks with leather and recycled paper. Teaching people how to pick berries and make pies, since I also love cooking.

Basically, my passions are everywhere, and having a space to bring it all together—that would be a dream.

Bri Leslie is our July Maker of the Month.

Learn more about her Bleach Painting Shirts Workshop here.