Canvas and Crisis in San Diego as Artists Face the Reality of 2025
By Patric Stillman
San Diego’s independent artists are facing an uphill battle in 2025. As art sales decline and the costs of living continue to rise, many local creatives are struggling to sustain their careers even as they remain committed to their craft. This tension is at the heart of Fresh Artworks II, a local exhibition at The Studio Door in Hillcrest, showcasing work from 35 artists across the region. The exhibition is intentionally unthemed, offering a candid look at what artists are creating right now without the constraints of a curatorial agenda. For many of the participants, it marks their first professional gallery experience. The series was developed to address a gap in the local arts ecosystem: a lack of opportunities for artists at early or transitional stages in their careers to exhibit in traditional gallery settings.
As local and national funding for the arts continues to shrink, the series offers a rare point of access to visibility and professional validation. Michael Carini, a career artist featured in the show, described the economic climate as one of the most difficult periods he has faced. “Sales have been at a record low for me, many artists, and many galleries,” he said. “The average person does not currently have the expendable income for art purchases, something often viewed as a luxury. This is crippling community artists right now.”
Carini is not alone. Artists across the city are voicing concern over economic instability and a lack of support infrastructure. The situation mirrors the struggles experienced by many small businesses and independent galleries. While San Diego is recognized as a creative hub, the depth of its visual arts scene remains underdeveloped in terms of formal exhibition spaces for emerging talent and robust collecting networks. “The gallery infrastructure hasn’t caught up to the demand needed to attract serious collectors,” said sculptor Elena Miller. “Without that density, it can be challenging for collectors to see a broad range of work in one place, which drives them elsewhere. San Diego has the potential—it just might need the right momentum to get there.” Miller also noted the importance of pop-up exhibitions, partnerships with local businesses, and public art initiatives to build more sustainable visibility for artists.
Yet even these grassroots efforts cannot always bridge the gap between creativity and income. Artists like Stefany Haynie have diversified their practices to survive. While continuing to paint and sculpt, she has turned to vending at art markets and producing affordable prints and merchandise. “Not everyone can afford a $700 art piece,” Haynie explained. “Accessibility is for the art viewer just as much as the artist.” Mid-career artist Sonny Lipps attributes recent sales to persistence and creative outreach. “You have to get your work out there—off the beaten path,” he said, citing juried shows, nonprofit partnerships, and even mailing out stickers as ways he has stayed visible and connected to new collectors. Others have relied heavily on community networks to maintain momentum. “The San Diego Art Community has come through for me in more ways than I can count,” said figurative artist MDFerrera. “We can always strive for better, but you can still find plenty of opportunities, hardworking organizations, and endless collaboration.”
Still, the shift toward online promotion has presented a double-edged sword. While platforms like Instagram can expand an artist’s reach, they also require constant content generation to remain visible—a burden many find draining. “For me personally, beginning my social media pages was, and still is, a struggle,” said painter Nik Boivin. “The algorithms favor frequent, high-engagement posts. I don’t have time to make 10 reels a week—and that defeats the purpose of being an artist.” Boivin’s concerns also extend to the growing politicization of art, especially for LGBTQ creators. After sharing work from his Portraits of Drag series, which supports queer-focused charities, he received a wave of online harassment. “Politics have become a knife that a lot of people feel the need to use to slash the creativity and expression artists have,” he said.
Despite these obstacles, many artists remain optimistic about their creative paths. Carini called it “an opportunity to do the impossible.” Redin Winter, whose abstract works aim to slow the viewer in an increasingly fast-paced world, emphasized the necessity of connection. “It’s not just about having events or exhibitions but fostering a deeper connection in our community with art so that people show up and truly find value in it.”
That emphasis on connection is central to Fresh Artworks II. By pairing early-career and mid-career artists in a single exhibition, the show encourages dialogue across experience levels and brings together diverse perspectives without thematic limitation. It is an honest cross section of San Diego’s creative voice. Importantly, the exhibition also offers a note of hope. While economic challenges persist, the act of coming together, sharing space, and being seen has given many artists the momentum to continue. “In a time when many artists are working in isolation,” said one participating artist, “just being in the room matters.” For San Diego’s independent artists, visibility remains both the prize and the problem. But with collaborative initiatives like Fresh Artworks II and a persistent community spirit, there are still reasons to believe that the city’s cultural pulse is strong—and worth investing in.
Fresh Artworks II is on view at The Studio Door from May 1 to May 31, 2025, offering the public a chance to experience and purchase local art. An artist reception will be held on Saturday, May 17 from 6 PM to 9 PM. Access to see the art is always free and open to the public. The Studio Door is located at 3867 4th Avenue in Hillcrest and is open Tuesday through Saturday, 11 AM to 6 PM. For more information, visit www.thestudiodoor.com.