Ever wonder what it’s like for the artists who serve on an art festival jury? We had the chance to interview two artists who did just that. Nathalia Toledo Barcia and James Pearce recently juried the 2025 Cherry Creek Arts Festival. Coming from different backgrounds, Toledo Barcia and Pearce hold varying views with the same objective: making and sharing their work with others. In this conversation, they share their approach to applying and participating in festivals, offer valuable advice for fellow artists, and reflect on their experience as jurors. Whether you’re a seasoned festival artist or just beginning your journey, their insights provide an inside look at what it takes to succeed in the competitive world of art festivals.
About the Artists
Nathalia Toledo Barcia is an Ecuadorian-born multidisciplinary artist with a rich arts background encompassing music, graphic design, and fine arts. She began studying classical piano at eight years old and continued for more than a decade. After shifting her focus to visual arts, she studied graphic design and fine arts and later specialized in audiovisual production. Now a New Orleans resident, Toledo Barcia showcases her works at juried art festivals and exhibitions, including the Ogden Museum, LeMieux Gallery, and the Clay Center. Inspired by Pre-Columbian artifacts and the concept of Aents—an Indigenous word from the Shuar Nation that describes how everything is alive—she describes her work as “[reflecting] the illumination through this multicultural dialogue, demonstrating their diverse visions and knowledge.” For Toledo Barcia, her art is created with the concept that nature has force, everything is alive, and everything has power.
James Pearce is an Illinois-based woodworker and furniture artist who was raised in a woodworking environment that inspired his craft. He developed an early fascination with mechanics, often taking things apart to understand how they worked. After high school, Pearce joined the Army as a diesel mechanic. He later returned to woodworking, initially crafting kitchen and bathroom cabinetry before evolving his work into what it is today. Known for his industrial mechanical designs, integrating functional mechanisms like screws and gears into his handcrafted pieces, his unique approach marries craftsmanship with innovation. The end result? Pearce creates furniture that is both aesthetically compelling and functionally dynamic.
Q&A with the Artists
Q: How long have you been applying to and participating in art festivals? What made you choose this direction for your career?
Toledo Barcia: When I started to participate in local art markets in New Orleans, I met artists who were exhibiting in shows outside Louisiana. I [then] started applying to art festivals in 2022. I got invited to some shows in Louisiana and Alabama, where I met other artists and learned from their experiences. With their generous help, I learned about top shows and what they look for in applicants, the value of investing in a canopy and display for booth shots, and how to present my work in photographs. I thought my art would stand by itself but didn’t consider that my booth display wouldn’t impress jurors. In reality, we’re applying to shows to compete for a spot, so not having the right tools when applying will work against you.
Pearce: I have been doing shows for close to 20 years. Shows allow a creative space to show my work and connect with collectors. I never felt other venues offered the same level of interaction.
Q: How far in advance do you typically apply to shows, and how long does it take you to complete applications?
Toledo Barcia: I used to apply close to the deadline because I had to find ways to improve my display or wanted to finish that “masterpiece” that I thought would impress everyone. Now, I apply during the first few weeks of the application opening. Many shows view work in the order it was submitted, so I don’t want them to see my work at the end. Now, I have enough photographs of artwork and statements, so the application process is quicker—it may take a couple of days. I like to review the applications several times with the juror’s view and update the information of every picture because it’s read to the jurors and contains valuable information.
Pearce: I try and apply to shows as soon as the application opens. I prefer my application shows up as close to first as possible during the jury process. Applications typically take a couple of minutes once new images are uploaded.
Q: What are your top 3 tips or “must dos” for completing applications?
Toledo Barcia:
1. Read the rules. It’s important to know what the show is looking for, specifically about the originality and authenticity of the work and if it is eligible. Part of the research is knowing how the show is run and its regulations. Read the jury details to find the average number of artists selected from the jury to participate. This will allow you to see the reality of what you are applying to.
2. Choose artwork pictures that are cohesive but unique and can stand by themselves. Those will be the right pictures.
3. Make sure the artist’s statement is not only a description about the technique, materials and tools you used, but also your own personal vision of your art, and what makes it distinctive from the rest. Write meaningful, detailed insight about your artwork that fits in the allowed character space and sounds convincing and creative.
Pearce:
1. Start your application the second the show starts accepting them. Even if you don’t finish and pay for the application, your application ID will put you closer to the beginning of the jury process in your category.
2. Consistency of work. We all evolve as artists and new work is almost a guarantee. Having images that are dissimilar can confuse a jury. For example, [a juror could say], “I like image #1 and #3 but I don’t like or understand the other two.” That could be the difference between being accepted to the show or not.
3. Follow the guidelines and rules set by the show.
Q: How often do you refresh your artist statement?
Toledo Barcia: I believe I’ve refreshed my artist statement at least eight times in almost three years. Artist statements are important for many shows. I used to focus on the techniques, materials, and special skills. This made my statement lack soul. Later I realized, I could write briefly about the techniques because I can explain in more detail in the artwork’s description. The artist statement gives an artist another opportunity to communicate their vision. It is important to take this seriously.
Pearce: My work stays pretty consistent, and my statement is accurate for most applications. I don’t refresh it very often.
Q: Explain the process of photographing your work. How often do you switch up the photos you submit on your applications?
Toledo Barcia: Drawing on my background in audiovisual production and design, I take photos myself. It is important to take lighting, perspective, and composition into consideration when photographing your work and when setting up the booth shot. Over time, I understood ways to set up backgrounds to enhance the depth of 3D artwork, like my ceramics. If you are not a photographer, hiring a professional to help capture high-quality images of your pieces is a good idea. Application fees are nonrefundable, so it is worth it to make your application as strong as possible. I don’t switch my photos very often within a year, so patrons, artists, and people within the art circuit can remember my art and style from the different shows I was accepted to.
Pearce: I photograph my own work using a backdrop and lighting. I use a square format and take the photo at an angle that fills the frame. I add new work as often as possible.
Q: How do you choose which pieces to submit for consideration for different shows?
Toledo Barcia: Every show has its own submission rules. For example, some prefer a range of price points, while others expect you to sell only the exact pieces you applied with. Certain shows allow creative photography that showcases multiple works in a single shot, while others prioritize expertly crafted, standout pieces. It is important to select pieces that meet the expectations of the show. The goal is to highlight work that fits the show’s criteria and sets your application apart, making a strong impression on the jurors.
Pearce: I submit my strongest, most consistent body of work.
Q: Describe your experience being a juror for the Cherry Creek Arts Festival. How did you approach the process, and what did you look for in the artwork?
Toledo Barcia: I approached the process with curiosity. Cherry Creek is well organized, and I respect their commitment to transparency and values such as inclusivity, accessibility, and equality. While some shows lean heavily into the production value of the artwork photographs and the booth shot, Cherry Creek focuses more on the commitment to displaying a diverse and balanced show. As an immigrant artist still learning, I’m grateful for shows that want to give a platform for true artistry. With this in mind, as a juror, I used my experience in different mediums to choose art that demonstrated skill and expertise. As an artist, I know how long it can take to produce daring and expertly crafted work. I tried to choose art that demonstrated mastery, had a challenging execution, showed a pioneering aesthetic, struck me with its creativity, and was culturally diverse.
Pearce: I really enjoyed being on the other side of the process. I found the way we, as artists, approach the application interesting. As an artist, you kind of wonder how your work is viewed. As a juror, I tried to put my personal taste aside and look at the quality and execution of the pieces presented. I loved that all the jurors were in the same room. Being able to discuss work and techniques with the others, I feel, led to a more balanced show. Cherry Creek doesn’t have a quota for each category, allowing the best work to create the show regardless of medium.
Q: What advice would you give artists looking to break into the festival industry?
Toledo Barcia: There was always one artist who generously shared their wisdom and knowledge with us and pushed us to improve and keep growing. We all need to kindly share the same generosity, share our particular and artistic experiences of life through our work, and help each other.
[It’s also important to] do research, visit shows, and talk to other artists. Check for mistakes in your submissions. Be creative in how you showcase art so your work can be understood better. Participate in mock juries to hear honest and experienced feedback from jurors in real time or go to application events where promoters answer questions in public. If you qualify, apply to the emerging artists programs. Almost all top shows are committed to supporting emerging artists. This will give you a real experience, and you will know if the art festivals are for you without spending a lot of money and resources.
I feel it’s important to stay true to ourselves and the artistic vision we want to share with the world. Don’t let pessimism and doubt shade the creative instinct. Not every show will be successful, but pay attention to every little compliment you receive. We should be grateful for all experiences, and keeping those memories in our hearts will fulfill the meaningful reason a human chooses art as a way of life.
We should challenge ourselves to constantly improve and listen to criticism so we can master our talents. Shows are very competitive to get into, and it’s worth it to keep the bar high. Every year jurors change, so be optimistic!
Pearce: Pay attention to the quality of your work. Improve the quality of your photography and get help if needed. Pay attention to the quality of your display. I try and create the look of a high-end gallery. I believe the quality of your display helps build trust with new collectors. If you don’t get into a show, don’t blame the show or jury. Take a look at your photography, work, and application. Always try and improve and better yourself.
