Q: Originally from the Midwest, what are some of your favorite things about living and working in New York

A: I lived all around the Midwest growing up. I came to New York from Tulsa, Oklahoma to attend school at Parsons at The New School. I've been in New York for 6 years, and can't see myself living anywhere else, as far as the U.S. is concerned. New York is incredibly stressful, overwhelming, and expensive, but there's a palpable energy here that constantly pushes you-- to be better, to keep moving forward. I value that force. It's impossible to remain stagnant here. 

Q: How and when did you first become interested in art and illustration?

A: I didn't consider it at all until I was already a sophomore in college. I began as a photo major at Parsons, while also enrolled at Eugene Lang for creative writing. Writing was always my path, but photography had come to me by chance. After a year in the photo program, I was curious to explore other mediums, so I switched to the illustration department on a lark. That first semester was actually quite intimidating; I was surrounded by those kinds of people who'd come out of the womb with pencils in their hands, and I'd just waltzed in with absolutely no idea what I was doing.

Q: Do you keep a sketchbook? What is the balance between the art you create on paper versus In the computer?

A: I don't work digitally, and I don't really keep a sketchbook, because I really hate sketching. I do constantly write down words or phrases that I like, or any lyrics or song titles that stick to me. Words are probably 80% of my 'creative process', as opposed to looking at visual reference, if that makes any sense. Words are extremely visual to me. I also just enjoy putting a title on a painting like "George Clooney eating french fries at the Vatican." Things shouldn't be taken too seriously.

Q: What do you like best about your workspace?

A: I live on my own, and my studio is in my apartment. I'm extremely fortunate to have it. I like the fact that I can be alone, and any distractions I have are my own doing—I’m the only one to blame. If I were in a shared studio space, I might thrive because I'm competitive, but on the other hand I might not get work done, because I love talking too much. I'm a solitary creature, but an extroverted personality, so I have to choose one over the other.

Q: Do you think it needs improvement, if so, what would you change?

A: I'm very messy, as anyone who knows me will zealously attest. People are probably raising their hands right now just reading this. I'm forever cleaning and organizing my apartment, yet you can never tell. It's incredible. Although I'm grateful for what I have, I'd really love more space to work bigger. I also own an elderly cat and a middle-aged ferret, so my studio has basically become a nursing home. It needs to be mopped.

Q: What is the most important item in your studio?

A: My French press.

Q: What is your favorite part of the creative process? 

A: Doing it. Feeling lighter afterwards.

Q: What was the strangest or most unusual assignment you’ve taken? What made it a success or a failure?

A: Once I was asked to do live-sketch 'fashion portraits' as a promotion for New York Fashion Week. I'm not sure how that happened. These bloggers, stylists, and writers came to sit for me, expecting to be drawn in a really fabulous gestural manner.Like the beautiful vintage couture sketches. I'm incapable of drawing in that style, obviously, so a lot of people were not pleased with my interpretations. I think they just took themselves too seriously.

Q: What was your favorite book as a child?

A: The Jolly Postman, Peter Pan, and Matilda. I was also obsessed with this book called The Stones are Hatching —I have yet to meet anyone else who ever read it.

Q: What is the best book you’ve recently read?

A: The best books are the ones missing from your own bookshelf because you've lent them out—I think you only force the really great ones onto other people. A few I can think of: The Ramayana (as told by Aubrey Menen), The Glass Castle (Jeanette Walls)You Can't Win (by Jack Black), Eating Animals (by Jonathan Safran Foer), The Liar's Club (Mary Karr), Helter Skelter (VincentBugliosi), Drugs Are Nice (Lisa Crystal Carver), and obviously Peter Pan (by J.M. Barrie).

Q: Where did your fascination with horses arise and what is the status of your quest to draw 100?

A: I drew the first few horses for this small group show when I was in school. I love the Plains Indian Ledger drawings. In Oklahoma, you have the largest diversity of Native American tribes in the U.S. The imagery of that culture becomes naturally ingrained in you, and l pull from it a lot without realizing. Several people started contacting me about the drawings, and I thought maybe I was onto something. I decided to do a series of 100 because it seemed like a good idea at the time. They've taken a backseat for a bit, though, because I'm more excited about other ideas at the moment. I'm not really 'into' horses anymore, but when I was young I was obsessed. I went to horse camp, I had the life-size poster of a horse looking over a barn door taped to my wall. I knew every breed and I scoured the Sunday classifieds for the horse that I was convinced I would someday own. I had a name picked out, which I won't tell you. I've always had the obsessive personality, for better or worse.

Q: What was your first professional assignment and how did you get it?

A: I did a small illustration for Nylon magazine. I'm not sure how I got it; I suspect they found me upon a generous recommendation from one of my wonderful professors at Parsons. The assignment was an illustration to accompany an article on the chef GeorgeMotz, who has mutton chop-style facial hair. The art director had the idea of me drawing actual meat mutton-chops under his sideburns since he's a chef. It was great.

Q: What was the last art exhibition you saw and what did you take away from it?

Q: The last show I went to was Raymond Pettibon's "Are Your Motives Pure?" at Venus Over Manhattan. I've always loved his work, and we share equally unusual last names. His lines are simple and unhindered; his work is masculine and decisive. I like any artist who makes work for themselves; I don't think he cares how you feel about it or if you understand it. There is no self-consciousness.

Q: What is/would be your karaoke song—and why?

A: One of my top 3 greatest fears is karaoke, so I can't really answer this question. If I were forced: Johnny Cash's "Ring of Fire.

Q: What is your hobby?

A: I still love to take photographs, and never leave my house without a camera. I'm very selective with each frame, and a roll of film will usually last me for a few months. It's a way of keeping a diary, for me. Other than that, I love sleeping and compulsively buying books I don't need on Amazon. My greatest, purest love is traveling alone.

Q: What would be your last supper?

A: A bunch of avocados.

Chelsey Pettyjohn is an artist from Oklahoma. Constantly seeking to make images that are purely honest and instinctive, she is interested in articulating a specific loneliness that can be seen as delicately, strangely beautiful.

Pettyjohn earned her BFA from Parsons The New School for Design, New York (NY), and has exhibited throughout the United States. Awards include: Communication Arts 53 Annual, Society of Illustrators Nancy Lee Rhodes Scholarship Award, American Illustration 31 Annual, Society of Illustrators Leo and Diane Dillon Scholarship Award, and has been selected for the upcomingAmerican Illustration 33 Annual. She currently lives and works in Brooklyn, New York. Blog. Instagram.