Shirley Yang Crutchfield: tech founder turned artist on gilding modern icons
Shirley Yang Crutchfield
Shirley Yang Crutchfield is a Chicago-based artist and former entrepreneur. Her work sits right between tradition and modernity, blending centuries-old techniques with contemporary aesthetics and modern takes on power, beauty, and identity.
Shirley left a successful career in tech after selling her company to pursue a lifelong dream: becoming a full-time artist. Influenced by Byzantine and Baroque art, as well as high fashion and her women peers, her work highlights the persistence and resilience of successful women and the strength it takes to thrive in today’s world. Using ”doratura a guazzo,” a 14th-century Italian gilding method with hand-mixed gesso and real gold leaf, Shirley brings both depth and a sense of honour to every piece.
This August 29–30, Shirley’s latest paintings will debut with Sun Valley Contemporary Gallery that celebrate powerful women from both history and today. She’ll also be doing a live gilding demonstration, offering visitors a behind-the-scenes look at the process behind her work.
In an exclusive conversation with FAULT, Shirley Yang Crutchfield talks about leaving the tech world, preserving ancient techniques, why icons matter, and more.
FAULT Magazine: Shifting from successful tech founder to full-time artist isn’t the most conventional path. What inspired that decision, and what has surprised you most about the transition?
Shirley Yang Crutchfield: I’ve always wanted to be an artist. I would sit and draw for hours for as long as I can remember. But like many, I felt the need to prove myself in more conventional ways first. After two decades in the tech world and eventually selling my company and starting a family, I felt I finally “earned” the freedom to invest and explore my artistic side.
Becoming a full-time artist grew out of a dream you had as a child. How has that dream changed or stayed the same now that it’s a reality?
Becoming a full-time artist has been more than I expected. The art world is constantly changing, with so many different paths to success. The dream I had as a child as it comes to creating art has stayed the same, but now it’s about navigating a much bigger picture: connecting with people, managing the business side, and staying adaptable as the industry evolves. It’s an opportunity to document our time in history the way I see it.
Working with such delicate and historic materials requires patience and precision. Can you take us inside your studio, what does your process look like? How demanding is it, and how satisfying does it feel when everything finally comes together?
My process is slow and detailed, which requires a lot of patience. I start by preparing the panel and applying 14 layers of gesso that I make from raw materials. Then, I apply clay bole, sand it down until the surface is smooth. The 24K gold or other metals come much later. It’s a demanding process because small mistakes (a finger print, a stray hair, etc.) can affect the result, and the conditions in the studio like humidity and whether I have the air on matters. When everything comes together, it’s very satisfying. Seeing the piece take shape after putting in lots of time and effort feels rewarding.
Learning traditional water gilding, known as ”doratura a guazzo,” from Master Guilders around the world must have been a unique experience. What was it like learning this centuries-old technique in such a hands-on way?
In my experience, learning how to do it from mentors is not the same as doing it myself. The process requires a lot of practice and experiments on my own. It is incredibly rewarding for me to be part of this ancient craft, where each step was built on centuries of knowledge, and every piece created feels like a continuation of that tradition.
You pull from Byzantine art, Baroque, fashion, and modern aesthetics. How did those influences come together for you, and what first drew you to explore them?
I’ve always been drawn to intricate details, the craftsmanship and precision behind them really resonate with me. To me, complex details reflect complex personalities and the diversity of life experiences. What interests me about this process, and the Renaissance in particular, is its emphasis on beauty, discipline, and craftsmanship. In today’s fast-paced world, those values feel rare. The artists of that time were focused on mastering their craft, believing that technique and creativity went hand in hand. That kind of dedication really resonates with me.
The idea of being iconic in today’s world plays a central role in your work. In your view, what defines an icon today?
An icon is someone who has worked hard for their success. Someone who can sit in their power without the performance, define success in their own terms and be kind to others no matter where they are on their journeys.
Your paintings highlight the perseverance and strength required to succeed as a woman. To what extent does your personal story influence your work, consciously or unconsciously?
My personal story definitely influences my work, though I try not to let it be the sole focus. The perseverance and strength I explore in my paintings are qualities I’ve observed in many women. My own experiences, whether from my career, my journey as an artist, or my role as a mother do at times inform the themes I choose to explore. However, it’s more about capturing universal qualities of resilience and strength that resonate with anyone.
Your upcoming exhibition at Sun Valley Contemporary Gallery, happening August 29–30, features new pieces from your ongoing series. What should visitors expect when they experience the show in person?
There will be new pieces from my ongoing series that highlight powerful women, both historic and contemporary. This show will feature more fashion-focused pieces with intricate details that explore the complexity behind these iconic figures. One of the highlights is a piece about Caroline Herschel, the first female astronomer employed by the English royal court, which I’m particularly excited about. It’s a blend of glamour and depth, capturing the strength and dedication behind the public image of these women.
Alongside the exhibition, there’s a meet-and-greet and live painting session planned. What made you want to give viewers a live look at the water gilding process?
I wanted to give viewers a live look at the water gilding process because it’s a unique technique that’s not often seen. It’s a precise, detailed process that requires a lot of patience, and I think seeing it in action helps people appreciate the craftsmanship behind the work. It also gives me a chance to engage with the audience, share the steps involved, and explain why this process is so important to my art.
Having found success in two very different industries, do you feel like society views artistic success differently than entrepreneurial success?
While the measurements and outputs may differ, the intangibles are the same. Both art and entrepreneurship require vision, taking risks, persistence, and a lot of hard work. In both fields, you’re creating something from scratch, building relationships, and constantly evolving. The approach and the results might look different, but the unpredictability and uncharted paths are very much aligned.
What is your FAULT?
I’m hard to satisfy. My sense of fulfillment is usually tied to output and achievements, which makes it challenging to feel content. It’s a daily practice for me to find peace, appreciate what already is, and remember to be grateful for the present moment.