Studio Visit & Interview With Risa Iwasaki Culbertson
Interview and Photographs by Brandon Joseph Baker
Risa Iwasaki Culbertson’s studio is a little pocket of wonder in a nondescript 8 unit apartment building in The Richmond neighborhood in San Francisco. As I take my shoes off in the studio doorway, I wonder if her neighbors have any idea of all the bright colorful works she’s created inside. The kitchen is in deviled eggs and shrimp bolo ties production, giant cocktail garnishes are mounted to the walls like taxidermy trophies, quirky plush puppets hang out in nearly every corner and overstuffed flowers grow to the ceiling.
During the two years I’ve known Risa I’m consistently struck in amazement at what she’s been working on in her studio. She dabbles in a variety of mediums, always challenging herself to invent new ways to push her craft, as long as the work will make something fun. Risa made giant wool arms that hug themselves in knots, hang like garland above her window or wind around pillars in a gallery. Her art taps into a simple youthful wonderment that most adults have long since abandoned.
A detail of ‘Hug’, an installation at MAG Galleries in 2024 for Risa’s solo show ‘It’s No Picnic’. Photo by Brandon Joseph Baker.
Risa works on a large scale salmon sushi roll for an upcoming show. Photo by Brandon Joseph Baker.
Risa exudes playful joy in her art and in her personality, she’s a full smile all the time. She confides she’s also an introvert who could spend days inside, which surprises me at first, but also makes sense with her volume of consistent quality in creative output.
Even the curtains placed to help keep heat in her studio have a fun and playfulness to them. Photo by Brandon Joseph Baker.
‘In the era of AI, convenience, living inside our screens, and people forgetting what it means to be human, I think we need as much art to keep reminding us of our humanity as much as humanly possible,’ Risa said about making art.
Interview
What is the first thing you do when you get into the studio?
I live and work in my creative space so it can be challenging to feel that switch into “going to work”. I usually sip on coffee and stare into space as I sort out what my day will look like as I look over my task list and check in with my friend Leah (Coffee n’ Cream Press) who we both have designated each other as “coworkers” because working alone can be really challenging. We work in similar worlds so it’s nice to have someone to bounce ideas off of, talk about the events we did the day before, and just say out loud what we need to get done.
Inside Risa Iwasaki Culbertson’s studio colors and creative chaos are constants. Photo by Brandon Joseph Baker
What motivates you to create or where do the ideas formulate that come to life in your studio work?
They usually come from a story I want to tell and then sorting out how to tell it. Or being curious about a new process or expanding what I’ve learned before, to lead me into a creative adventure. I’ll do a lot of trial runs for classes I’m developing, which is fun puzzle to figure out.
An alter in RIsa’s studio to honor her past pet rats. Photo by Brandon Joseph Baker.
Your work crosses multiple mediums using textiles, fiber, resin, felt, animation and sculpture, how would you classify your style of art?
Hm…. I’m not sure how to classify it. Or at least the proper genre. Quirky? Whimsy? Joyful? My nature is very playful so a lot of my work gets transformed from that lens, even though most of it has an emotionally heavy story behind it.
Hand painted resin casts as part of a shrimp cocktail Risa made in her studio. Photo by Brandon Joseph Baker
Works from Risa’s 2024 solo show “It’s No Picnic” adorn her walls. Photo by Brandon Joseph Baker.
Did you study art formally?
Nope! I have a business degree! Sometimes I wish I had gone to art school but, I had so much fun in business school (really).
Risa has lined her studio walls with her colorful creations, frequently rising to the ceiling. Photo by Brandon Joseph Baker.
You seem to have a lot of fun doing what you do. Your art feels fun and playful to experience but also watching you create shares that same playfulness. What role does play have for you in your art and process?
Playfulness in my work creates softness for me to wrap around heavier feelings that might be too painful for me to sit with. Outside of that, play creates the joy I want to see in the world, especially when times are rough, it helps me connect with people I love, and keeps me from getting sucked into the void and my brain from turning to mush.
Risa with her newest creations for ‘Final Feast’ at Moth Belly Gallery, December 12 and 13th. Photo by Brandon Joseph Baker.
‘It’s No Picnic’ by Risa Iwasaki Culbertson at MAG Galleries, 2024. Photo by Brandon Joseph Baker.
I loved your series “It’s No Picnic” from 2024 at MAG Galleries. The larger than life sized food found at a picnic felt joyful and whimsical. Yet the series was a way for you to process the grief of your father passing. Looking back on that series, what did you learn about yourself and your process from the experience of pushing through grief with creativity?
The final step I've found in any show I put together is where, after it’s up and I’ve sat with it for a while, a lesson is revealed. What I saw and didn't realize until then, was the actual spacing of the pieces. Iced tea came in the form of a cube of ice, straw, and lemon, deviled eggs all neatly spaced on a grid instead of on a plate, ice cream fallen off the cone, etc. I realized that I was coming back together and from the outside I don’t look any different, but I was. I changed. And that’s ok.
Straw, 61x2x2", wool felt, stuffing, archival cardboard. Ice, 11x11", wool felt, archival cardboard. Lemon, 17x10x8", wool felt, stuffing, archival cardboard. Photo by Brandon Joseph Baker.
Deviled Eggs, 5x5" ea., wool felt, stuffing wood. Photo by Brandon Joseph Baker.
I had a great time meeting Science Bob at your studio. Why did you create Science Bob and what plans do you have for him?
Ok, so, I have a lot of ideas and I’ve had them for a while to create a puppet/ stop motion/ live action show for kids - kinda, but also adults. It’s basically all the characters and scenes from the world in my head but I’ve been having a hard time bringing them to life. Science Bob was one of the characters. Science Bob is very much my dad and on the anniversary of his passing I got this surge of energy to make him come to life. I missed talking to him. Growing up he was a huge advocate for science being accessible to kids, he would go volunteer at schools and fairs, and even put together a series of low cost, easy experiments in a sharable booklet. I loved this as a character, someone you could interact with and be curious about nature and science with. Someone to sit still in curiosity, before picking up the phone to look it up.
Risa and her newest creation Science Bob. Photo by Brandon Joseph Baker.
Does the tactile nature of your work present any challenges in a gallery space? Do people ask to touch your art? Have you ever made work that is designed to be interacted with in an interactive or experiential space?
Oh yes. People want to touch it and I can’t blame them! I tell people that they are truly a reflection of the artist: colorful, playful, approachable but also very delicate and fragile. I’ve done installation works where people can play, sit, and touch everything. Would love to do more but until then, please touch with your eyeballs or take a class with me!
PBJ, 27x25x8", wool felt, styrofoam from Risa’s 2024 exhibition, ‘It’s No Picnic’. Photo by Brandon Joseph Baker.
When did you start teaching workshops and why?
The desire to teach probably came from my dad and his desire to have science be accessible. I want art to be accessible and I’m super friendly so why not! I don’t want to gatekeep and it’s fun so why not share? The first class I taught was on the Creative Bug platform which gave me the confidence to put myself out there.
Back when I had a letterpress shop I used to have letter writing Saturdays and missed facilitating a spot where people could come do something together. Bringing that back with monthly Drink and Draws (at 540 Bar) made me realize how much I enjoy community organizing. I’ve been brought into the Asian Art Museum and SFMOMA to do similar things and it’s been amazing to see friendships and connections be formed in real life.
What is your take on the DIY art community in San Francisco?
I teach on the regular at Workshop SF and those classes are packed. Events in the city where I’m bringing an activity are packed. I think people are hungry to make stuff and try new things. Our arts community is strong and so sweet and supportive with places like Mothbelly being crucial in cultivating, creating, and connecting our communities. I would love to see more people who are curious about making/ DIY or just starting to dip their toes in to come support the larger community that exists here.
Risa attends Andrea Bergen’s show “Whiskers in the Night” at The Birdcage in October of 2025. Photo by Brandon Joseph Baker.
What can we expect to see from you during the Final Feast pop up at Moth Belly Gallery?
This show has been a dream conversation come to life between Andrea, Mollie, and I and we can’t wait to see our stuff, and our friends Kai and Sophia, all together in a delicious pile of madness. I didn’t felt anything new for this and focused on things I currently enjoy making. You’ll see giant sushi made from cardboard, packing peanuts and ball pit balls, fabric sausage garlands, paper candles, and resin. So much resin. Shrimp bolos and deviled egg pins are on everyone’s holiday list. I checked already.
Risa Iwasaki Culbertson’s work will be part of ‘Final Feast’ a two day pop up at Moth Belly Gallery on December 12 - 13, 2025.
