Western Artist, Megan Wimberley set out to bring Western Women Artists together in Community Through Cowgirl Artists of America.
She was in love from the moment Megan Wimberley could cling to a saddle horn, legs barely long enough to sit a horse. Her fascination with the wild and domestic animals of the American West has dominated much of her life- a preoccupation with drawing and learning about these animals following her wherever she went. Through her work, Wimberley contemplates our connection to, and partnerships with, the animals around us. She draws on her experiences growing up working with horses, dogs, and cattle.
Wimberley also brings her experience in the western/ranch lifestyle to her art, exhibiting the hard work of ranchers and bringing awareness to the work women do in these spaces. She founded Cowgirl Artists of America, which strives to increase opportunities and recognition for female artists and makers working in the Western genre through community, education, promotion, and collaboration. Wimberley’s work has been exhibited in the Mountain Oyster Show, Cowgirl Up! at Desert Caballeros Western Museum, The Cowgirl Gathering, and Women’s Work at the A.R. Mitchell Museum of Western Art, among others.
Wimberley received a BA in Fine arts from Wayland Baptist University and an MA in Art Education from Boston University. After starting her career in 2016, Wimberley took some time away from her art practice when she became increasingly ill. After being diagnosed with Rheumatoid Arthritis and finally receiving treatment, she spent time focusing on renewed health and life improvements. She’s back to work thanks to a caring rheumatologist and a holistic approach to her health. She currently resides in Tulsa, Oklahoma.
Q: Growing up, did you always want to be an artist? Then expanding on that, what did the beginning of your art career look like?
A: My mom is a western and equine artist, and I grew up fascinated by watching her work and learned a lot from her. Art was always something that I did- just not something I thought I would do for a career. I started out with fine art as a minor for my undergraduate degree. However, after learning that I could apply for more scholarship money as an art major, I decided to have a double major. In college, I began painting (seriously) for the first time. I felt that I was terribly slow at it, and about a year and a half before graduating, I got really into photography. The quickness of the actual taking of the photo was something that appealed to me. I could see the result of that exposure immediately, and that was a nice change from what had begun to feel laborious with the way I was painting.
After college, I started a photography business on the side and I learned so much about running a business. It really was a formative moment, with lessons that have helped me in everything I’ve done since then. I also began to realize that a big chunk of my time as a photographer was going to be spent at the computer editing photos, which really did not bring me joy. I switched back to my first love, drawing, and then eventually back to painting. It’s kind of interesting, thinking about this now, because my paintings still take quite a bit of time, but over the years I’ve developed a style that I love and even though I may spend weeks or months working on something, there really is joy in it. Sure, sometimes it can get a little boring, but that’s true of so many things we put a lot of time into. More than that though there are so many moments of delight while working on a painting. The subdued beauty of an underpainting, the spark of exhilaration when the colors start to sing, and those moments of tension when you are putting the finishing touches on and deciding when to say it’s done.
Q: What do you do or where do you go to find inspiration for your pieces?
A: I have always been drawn to animals. I am mesmerized by their anatomy and the way they move, their intelligence, the various (and amazing ways) in which they are adapted for their environment. Whether a mountain lion with its power and stealth, or a tiny bug able to outmaneuver a bat in flight- animals are incredible. Growing up in the Western/Cowboy lifestyle has given me so many opportunities to build deep bonds and partnerships with horses and dogs, and to see those partnerships be built with others. I was put on the back of a horse before I could walk, but it will never cease to amaze me that the 1,000 lb + animals will not just work for us, but with us.
I often use my photography skills to gather reference photos. My cousin is a great horse trainer, her specialty is getting horses started, and I really enjoy going out and photographing her at work. Watching people who are good with horses work with horses is like watching a ballet– there is so much grace, refinement, and subtle communication happening. It makes for great reference photo material.
Q: Are there other Western artists who have inspired you in your own work? Or who do you look up to in the Western art industry?
A: I get asked this question a lot and I think it means something different than the way I think about it. I think people often want to know if someone’s artwork inspires me, and for that, I think every piece of art I’ve ever viewed has been inspiring and has been a learning opportunity in one way or another. In my mind, the real inspiration comes from the people who keep you going and help make you better.
Being an artist, for most of us at least, is a very solitary job. We spend a lot of time alone in our studios, and a lot of time alone working on our computers for the business. Not only can it feel lonely, and isolating, but you can get in your head sometimes, or just feel… I don’t even know how to describe it… “gray” maybe. The work can be a delight, but it is work and it is solitary, and we are made for community.
Having a community is so important, and every time I connect with my art community, I feel invigorated for my work. I almost hate to name anyone because if I listed everyone who deserves to be on the list it would be a long one but Peggy Judy, Coila Evans, Morgan Buckert, Raven Skye, Paige Weber, and Lauren Florence are all artists who have all been a powerful influence in my personal art life and career. As far as artists whose work I love- Teresa Elliott, Peggy Judy, Beverly (Bear King) Moran, Carrie Ballantyne, Kathy Ellem, Thomas Blackshear, Phil Epp, and Eric Bowman are some of my favorites.
Q: What does your creative process look like for one of your pieces?
A: Ideally I’ll capture my own photo, and spend some time observing the animal. I’ve also worked with photographers and used licensed images when that is not possible. Once I have the image or images I want to use as a reference, I decide what canvas size I want to use to make the most interesting composition. Most usually I plot out the composition in pencil, but sometimes I sketch it out in paint. Next, I lay down my underpainting, focusing on shadows and highlights. My underpaintings are not the traditional monochromatic type and can be quite colorful. After that, it’s a matter of slowly building up layers of color and (implied) texture.
I use very vibrant colors in my work. Often when artists employ bold, vivid colors like this the work becomes more abstract, but for me, anatomy and texture are also important. Keeping this much detail and also so many colors it can go wrong pretty fast, so I really have to be cognizant of how all the colors are working together. It’s taken years to develop this style and learn how to make all of this work together, but when it works, the colors sing! Even one small area can have so much beauty and life to it!
It’s also pretty cool because when I’m painting a lot, my brain is constantly playing with colors and how they connect with and influence each other. I see so many more colors in the world around me, and when I close my eyes at night I’m often automatically visualizing color combinations. One of the really great side-effects of being an artist is that you develop your ability to “see” in ways that a lot of people never learn. There’s a lot of beauty around us that we miss out on, simply because we aren’t looking or haven’t developed our ability to really see what is around us.
Q: How did the creation and founding of Cowgirl Artists of America come about for you?
A: In 2018 I went to an incredibly beautiful Western art show. Every piece was amazing. As I looked around I also noticed that there were very few female artists. I knew this was not uncommon, but something about it just hit me harder that day. I just kept thinking, “Where are the women?” Even within the artwork, there were very few women, and when they were there they were often young, just a pretty face. “Where are the women?” I grew up with so many strong, talented Western women. They were horse trainers and ran cattle. They were artists and makers. Why didn’t I see any of them in this show– or others? There are so many incredibly talented women and I knew I wanted to do something to help.
In 2021 I decided to take the leap with Cowgirl Artists of America. I started out sharing the work of female Western artists and sharing some basic resources. Pretty quickly people were asking how they could find out more information, so I started a website to give more information, host an educational blog, and create online events. Women kept asking how they could join, so the next step was to have an official membership option. As they say, the rest is history. CGA has been able to offer so many resources- from monthly meetings to exhibitions with industry leaders, and online learning resources. It has been an incredible honor to be able to be a part of this, to see it grow, and to see it make an impact in the lives of Western artists and makers, and the industry. And best of all– this amazing community of women! Wow! They are incredible!
Q: Why is it important for you to bring together other Western women artists in the community through Cowgirl Artists of America?
A: We (CGA) believe in the power of community. It is one of our four foundational beliefs. We don’t live in a vacuum and nothing happens in a vacuum. It might sound cliche, but community is where the magic happens. We lift each other up, we learn from each other, we celebrate with each other, we share, and we grow together. Our community isn’t just in CGA either. Our community is the Western art world and industry at large. We are better together. “A rising tide lifts all ships.”
Megan’s Closing Thoughts
When it comes to my art, people can find my work through my website. I also love commissions. So if you want to see your horse in my style let’s connect. It’s a fun process and people really love to get that piece made especially for them or their loved ones. Commissions do take time though, and there is a wait list so don’t delay.
Learn more about Megan, her work, and her commissions at MeganWimberley.com or find her on social media under “Megan Wimberley Fine Art”.
About Cowgirl Artists of America
Cowgirl Artists of America is open for membership three times per year, April, August, and December. Basic membership is not juried, which is a bit unusual for an art organization like this, but the goal is to be able to help women from the ground up. It’s better to get started out right than to have to go back and fix things. CGA also knows that artists further along in their career need things that help bolster their career, and require more rigor. In April applications are open for “Pro” and “Signature” membership. These tiers are juried. Signature Membership is the highest distinction and is incredibly hard to get. Their biggest yearly show is “Women’s Work” at the A.R. Mitchell Museum of Western Art in Trinidad, Co. and they have a few other exhibition opportunities as well. For more information visit CGA online at CowgirlArtistsofAmerica.org and follow them on social media.
