Molly White, a Brooklyn-based artist and restorer, is a master at transforming the ordinary into the extraordinary. With a background in high-end restoration and a passion for abstract art, Molly has brought her unique blend of creativity and craftsmanship to some of the most prestigious private residences in New York.
Some of her paintings have been on display in our showroom in New York. As Molly reflects on her journey, her dedication to her craft shines through every piece she touches. Her collaboration with Wilkhahn is just one example of how she creates art pieces that tell a story. Which story? Well, that’s for the viewer to decide.
In the following interview, Molly shares insights into her creative process, the challenges she encounters in her work, and how recycling can be a true form of inspiration.
Molly, thank you for joining me today. Could you start by telling us a bit about yourself and your work?
Sure! I’m an artist living in Brooklyn, and I work for myself, doing Venetian plaster restoration for high-end interiors. Interestingly, this job, which allows me to live and work in New York, came about quite organically. If you’d told me this would be my path, I wouldn’t have believed it.
When I first moved to New York, my first job was at the Metropolitan Museum of Art in the reproduction studio. I learned how to do chemical patinas, gilding on bronze, and patinas on freshly cast stone replicas of statues that were sold in the gift shop. At the time, in my early twenties, I thought it was the most useless, crazy job - when was I ever going to paint an Egyptian statue? But I loved it. And it laid the foundation for what I do today.
After my job at the museum got outsourced, I had a string of different jobs - waitressing, bartending, catering - none of which I was very good at (laughs)! One day, someone told me about a Venetian plaster company near my loft in Brooklyn. I walked in, and they hired me to mix colors and make samples. That job was the start of my journey in Venetian plaster restoration. I ended up working for them for 14 years.
It sounds like you picked up a lot of skills along the way.
Definitely. On job sites, I had downtime while waiting for plaster to dry, so I started fixing marble, stone, tile, wood - whatever needed repairs. My previous knowledge from the museum came in very handy. Eventually, I realized I had a unique set of skills, and I started my own company. I now fix high-end finishes, which not many people want to do. Everyone wants to do a brand-new wall, but nobody wants to go in and fix somebody else’s mistake. It’s a niche, but it allows me to focus on what I really want to do: painting.
Let’s talk about your art. Where do you find your inspiration?
My work is very intuitive, and I’ve always considered myself an abstract impressionist. I’m drawn to organic shapes and movement. My process usually starts with making marks or a wash on a blank canvas to get things going. I don’t plan ahead too much - I let the painting guide me. Sometimes it flows, and other times I have to put a painting away for a while and come back to it later.
Especially during the pandemic, when it was hard to get supplies, I started reworking some of my old canvases. I lived in a building with lots of other artists and eventually also used some of their old canvases to paint over. That was really fun! Their work set the ground and I painted over it, but sometimes I would leave some of the images that were underneath.
And then I took the recycling a little bit further and incorporated other things into my work as well, like mirrors, eggshells, and silver leaf. One of my large paintings in your New York showroom even has a dress of mine in it. I enjoy the challenge of transforming something broken or discarded into something beautiful and giving it a new life in my artwork.
Speaking of challenges, how do you find the perfect working environment?
Honestly, I’ve come to realize that it doesn’t really matter where I work. Whether I have a huge studio or a small apartment, I’ll always find a way to create. It’s about adapting to the space and using what’s available. I think that’s a big part of being an artist - making something out of whatever situation you’re in. The space itself becomes a source of inspiration.
Also, New York has this creative energy that it exudes. It’s so fast-paced, it never stops. Just like me. I’m always wondering about what I can do next, where can I get my hands on?
At the moment, I’m in a transition phase, trying to focus more on my artwork full-time. I’ve moved into a smaller space, which is pushing me to think differently about my work. I’m experimenting with making objects and working on smaller scales, but I’m excited to see where this new direction takes me.
Some of your works are on display in our New York showroom, and one of your pictures even features a few of the chairs that we are best known for. How did your relationship with Wilkhahn come about?
My connection with Wilkhahn started somewhat serendipitously. Stephen Kelley, an architect friend of mine introduced me to the president of Wilkhahn USA, Michael Lakner. At the time, I had this canvas that I'd found, and my friend suggested I use it to create a painting featuring one of your iconic chairs. I loved the idea, so I did some research on your designs.
I ended up creating a painting that paid homage to your work, a canvas filled with Wilkhahn chairs, and it felt like the perfect setting to highlight their beauty. I made sure to include the ones that stood out to me the most, like the Graph chair, which has such a beautifully simple and iconic design.
The whole process felt very organic, and I have to say, the final piece really resonated with me. When I visited your New York showroom, I was struck by how well my work complemented your furniture – they complement each other. I’m excited to see how these chairs might inspire future pieces of mine.
Thank you, Molly. Your journey and creative process are truly inspiring. We’re looking forward to seeing where your art takes you next!