ARTMATTERS: The Podcast for Artists
Jun 4, 2026 · 1 hr 35 min · 14 segments
Welcome back to ARTMATTERS: The Podcast for Artists Today's guest is Catherine Haggarty, a Brooklyn-based painter, educator and founder whose work has been featured in Artforum, the New York Times…
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Catherine HaggartyGuestIsaac MannHost[upbeat theme music] So I wanna start with, uh, in an odd place, but because it came up naturally before we got on mic here.
Um, I told you that I just did a, uh, 10-hour drive from Detroit to, uh, my new studio in Brooklyn-
And w- what that was for is to transport all of my old unsold paintings over the last-
... um, the majority is from the last five years or so, but of course, there are older works too.
And as I'm sure you know, although hopefully you don't move studios as much as I do, there's, outside of the athletic component to moving, I, I was working on panels too, so it's like-
... heavy, you know? Uh, outside of that, there is a weird set of emotions that goes along with sort of seeing what you have created over the years and what has not left the studio.
You know, that beautiful thing about how a painting comes to be in your space through your hands, and then it goes out into the world.
You are currently in a space, working in a space that you share with your husband, and on the other side of this wall, there's a fair amount of, you know, older work.
And at the last, uh, you said your Bushwick studio was even larger and even more work.
What are your feelings about it as an artist, about keeping that stuff around? Does it, does it feel like it weighs you down? Does it feel kind of, is there a nostalgic quality to it? There's probably all of those emotions, but I wonder if, uh, there's one that overshadows the other when it comes to how many pounds of painting [laughs] you have taken up space in your studio.
[upbeat theme music] So I wanna start with, uh, in an odd place, but because it came up naturally before we got on mic here.
Um, I told you that I just did a, uh, 10-hour drive from Detroit to, uh, my new studio in Brooklyn-
And w- what that was for is to transport all of my old unsold paintings over the last-
... um, the majority is from the last five years or so, but of course, there are older works too.
And as I'm sure you know, although hopefully you don't move studios as much as I do, there's, outside of the athletic component to moving, I, I was working on panels too, so it's like-
... heavy, you know? Uh, outside of that, there is a weird set of emotions that goes along with sort of seeing what you have created over the years and what has not left the studio.
You know, that beautiful thing about how a painting comes to be in your space through your hands, and then it goes out into the world.
You are currently in a space, working in a space that you share with your husband, and on the other side of this wall, there's a fair amount of, you know, older work.
And at the last, uh, you said your Bushwick studio was even larger and even more work.
What are your feelings about it as an artist, about keeping that stuff around? Does it, does it feel like it weighs you down? Does it feel kind of, is there a nostalgic quality to it? There's probably all of those emotions, but I wonder if, uh, there's one that overshadows the other when it comes to how many pounds of painting [laughs] you have taken up space in your studio.
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