Episode: 480 |
Maria Brito:
How Creativity Rules the World:


Maria Brito

How Creativity Rules the World

Show Notes

Maria Gabriela Brito is a Venezuelan-born curator, art advisor, and author. She is the author of How Creativity Rules the World, the art and business of turning your ideas into gold. Her published works also include Out There: Design, Art, Travel Shopping, and Greek Gotham. Maria is a graduate of Harvard Law, and after school, she moved to New York City to pursue a career as a corporate attorney. She started collecting contemporary art in the same year, and after nine years practicing law and acquiring art, Brito opened her own interior design and art advisory company. Learn more about Maria’s work at MariaBrito.co, and access her book, How Creativity Rules The World: The Art and Business of Turning Your Ideas Into Gold

Key points include:

  • 01:50: From Harvard Law school to art advisor
  • 09:17: Her work as an art advisor and NFTs
  • 15:28: Advice on buying art
  • 34:02: Advice on building creative muscle

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  1. Maria Brito


Will Bachman 00:01

Hello and welcome to Unleashed the show that explores how to thrive as an independent professional. I’m your host will Bachman and I am so excited to be here today with Maria Gabriela Brito who is a Venezuelan born curator, art advisor and author. And she most recently is the author of how creativity rules the world, the art and business of turning your ideas into gold. Maria, welcome to the show.


Maria Brito 00:29

Thank you so much well, and so happy to be here. Funny thing, you are the first person who have called me by my two names in maybe five years, you know, because it’s a very sub American thing when you know, your parents gave you all this names. I’m not sure that that must be every medicine thing from like, the colony and you know, the Europeans at one another. They always have like 20 names, but most people know me as Maria Brito. So thank you for reminding me that I had such a long name.


Will Bachman 01:02

Well, it’s so it’s so beautiful to say, you know, that Maria GAVI had a right to the whole thing. My, as I mentioned, before we started my, my wife is Petra, Juana. So we like to get to Latin America, at least once a year. And it’s, but I won’t try to do this episode in Spanish. So let’s, before we get into talking about your book, and I want to get to that you were graduated from Harvard Law School, and then had a journey to become an art advisor, which is not the typical career path of Harvard Law School graduates. Tell us a little bit about that journey about Harvard Law School to becoming an art advisor. And there’s a lot to explore with that practice.


Maria Brito 01:50

Well, listen, I you, you said, I was born and raised in Venezuela and a conservative family. And when you are in that environment, usually, you don’t really have a lot of choices with your career, because your parents have the mission to brainwash you and say, well, in this house, you are going to be a doctor, an attorney, or an engineer, something that they you know, they used to call it dependable and safe and prestigious and avoiding at all costs, God forbid having a child who was going to starve, because she was going to go to art school or fashion design or, you know, it was a different world. But also contextually my parents didn’t have the perspective and the opportunities that I had. And also Venezuela has absolutely nothing to do with the United States, right? I mean, it’s like completely different. But the the point is that I ended up going to law school and I went to Harvard Law, and I graduated and moved to New York, to work in law firms in corporate law firms, or corporate departments of big law firms, medium law firms, I worked in a variety of law firms, because I was always thinking the next one was going to be the best one, because I couldn’t really figure out why I was so miserable to begin with in the first one. And then in the second one, I was equally miserable. And the third one, it was like, Okay, it’s not really me. It’s, I mean, it’s not the law firm. It’s like how I actually am not meant to do this, and I don’t match this environment. And this is absolutely, you know, it’s killing my soul is I dread it. And it’s, I was a good lawyer, because honestly, you execute things on time, you are resourceful, you do what you’re meant to do, you show up to your calls, you work, you know, 16 hours a day. So it’s not really rocket science, once you’ve gotten through all the hurdles of you know, getting that your degree passing the bar and being an efficient and, and reliable member of your department, but out I just simply hated it. I had absolutely no desire to be there to serve the clients. I mean, nothing. And so I said, you know, to myself, look, at that time, I was 31 or something. And I had just gotten pregnant. And I had already been pondering my exit strategy for a long time. And I, the beginning, you know, you take this, like little fantasies and say, Well, what is it that I’m going to do, right? I mean, am I going to open a brick and mortar business? Am I going to go and raise capital? Am I going to start something from my, you know, limit room? What is it that I’m going to do? And this was a lot of, you know, soul searching, and, you know, so I’m gonna just come clean with myself because the truth is, I don’t like this corporate America thing. I don’t like the structure. I don’t really feel but I am utilizing my talents and gifts. And I’ve always had this passion for the visual arts, I think is absolutely fascinating. And the art market is also incredible. People have so much fear, even billionaires are so intimidated by the art market, and what happens in auction houses and galleries. And it seems so obscure and impenetrable. And I’m talking about 1314 years ago, right? When I was thinking about this topics, it’s a very different world right now. And, you know, I said to myself, I’m not going to be the parent who’s going to model after you know, like, to my child that I hate my job that I’m never around, because attorneys really have no time off. And it but he’s not only bad, I mean, if you were to have no time off, but you absolutely love what you’re doing is a very different proposition that you absolutely hate what you’re doing, and you have no time off. So I, after my child was born, I went back to the law firm for about three months, and then I quit. And I had already written a business plan for the business they the advisory, that, you know, it’s what it is today. I mean, obviously, he has gone through a lot of different iterations, because that’s what entrepreneurs do, you change a lot, because you need to adapt to the times, and that’s part of being creative is to be relevant to the moment that you’re living. And I started my business with a website, I hired a person who helped me with communications and a little bit of PR at the very beginning. And that’s how I started the business. And, you know, as I said, before, it’s been the best 13 years of my life, the business is a seven figure business with a very, very small overhead. And I just feel incredibly privileged that I was able to actually, you know, quit my job, open a business, build it from scratch, build a brand, become an industry leader. And, you know, being able also to expand in different areas, as I’ve had, because it’s not only the art advisory, but I also have a consulting part of the business that works with companies on innovation and creativity, because have been surrounded by the most extraordinary contemporary artists in the world, more than 450 that I’ve had the opportunity to work with. But I’ve also had these incredible clients who hired me, not only to build their art collections, but they were so fascinated by my story, that they would hire me, as, you know, as a as a speaker, or as a workshop, you know, a facilitator in their company so that I could talk to their employees about seeing things from a different perspective, and coming up with solutions that they never had thought about before. And so that is what gave me the impetus to open a an online course about creativity for, you know, people who wanted to enroll online. And that is also how the book came to be because the people who enrolled in the chorus had such massive breakthroughs, that I thought to myself, if they are having this breakthroughs, why is it that I cannot bring this to, instead of having, you know, 500 people who can take the course let’s bring it to, you know, 100,000 people who can actually buy the book, or whatever it is, right. So I, I feel incredibly passionate about what I build. And I think that we are in a very crucial time, where a lot of people are a bit you know, we’re going through the great resignation, a lot of people are quitting their jobs because they are not satisfied or fulfilled. They think that there’s a better way to do things. They also want to shift careers or finally and be their own bosses and things like that. And this is the right time to do it. For sure.


Will Bachman 09:17

So let’s let’s talk about your art advisory business. So you’ve developed a very impressive set of clientele, which includes Sean Combs and Gwyneth Paltrow and Tracy Anderson. Tell us what is the service that you provide as an art advisor? So, I mean, from from just the term of it, I imagine you help you know, people build their collection. But But how does that work? What what, you know, what are the pieces of that?


Maria Brito 09:52

Well, you know, art, contemporary art or modern art. I specialize mostly in contemporary but the Contemporary Art is an asset like any other, right? And so it is an investment, it’s a way to diversify wealth and portfolios. And not everybody has to be really wealthy, like both daddy or Gwyneth, people actually start collection sometimes with like, you know, $5,000. And that’s how they start. And it’s the art market is a 300 billion global business that has many moving parts. And that includes galleries, auction houses, online websites, where you can actually buy art, art fairs that have proliferated, you know, neck breaking pace, and so based so there are many different things that happen in the art world that have made it very, very extensive. So I am the eyes and ears of my clients in regards to what to buy, when to buy, what makes sense in their collections, because people actually live with the art in on their walls, even though once they’ve gotten the bug of collecting, they have storage is they rotated collections, they put things away, perhaps they want to sell something, somebody else may contact me and say I have this, you know, art piece, or this fifth part of my collection that I really do not feel connected to anymore, or you know, I need the money or whatever, you know, and so this transactions usually are different from anything else that you’ve known, because people have a lot of emotional attachments to something like their art and the things that they have acquired, because they are meaningful to them. So they they represent something that moves them. And you know, collecting art is something that started 600 years ago with a mid EG and the Renaissance. And the Middle Ages were the one who paid for the careers of Michelangelo and Leonardo da Vinci and Botticelli and things like that, right. And so those patrons of the arts still exist today, but they have different names. And they are, you know, a lot of them aren’t live in the United States. And they are generous. And they also utilize their art collections as collateral to borrow money, they also use their art collections to lend to museums so that people can actually enjoy the art and the different level, that some of them actually open their own museums and foundations, because they, they have already accumulated so much art, it’s just necessary for them as a matter of fact, to open up what they have to the world. So that’s kind of in a nutshell, what an art collect like an art advisor dos. And you know, it’s a very dynamic, it’s a very, very dynamic job, because now that are also this whole story of the NFT. And additionally, there are, for example, in New York City alone, that are more than 1000 galleries, and the art market in the past five years, has been fueled by Instagram, by people having a knowledge of art that they didn’t have before. And obviously people who invested early on and cryptocurrencies now are have an enormous amount of wealth that they can utilize, also to acquire art in many different ways. I mean, it could be NF T’s, but it could also be that, you know, they exchange their crypto, and they buy art with, you know, US dollars, or euros or whatever. So, it’s, it’s a lot of fun. But for the layman, it’s usually a very complicated thing. Because since it is so big, and it expanded and grew so much, people don’t know where to start. People don’t know where to put their money, people are afraid of making mistakes people. And you know, because again, it’s a full time job for me. So if like, people just want to dabble into it a little bit, they can, but it’s not necessarily going to be a, a well thought out process, if they do not dedicate themselves, you know, to the research, and the building of their relationships with the art dealers is very important too. So let’s learn it. You know, it’s like a lot of building relationships.


Will Bachman 14:31

Yeah. So let’s set aside NF T’s for a minute and let’s say someone wants to buy some physical art. And, you know, perhaps they have somewhere between, you know, five and $20,000 to think about getting started in collecting and what would your guidance be to someone you know, who wants to get started, you know, is curious about art, but really doesn’t know a lot about it. How do you start You know, how would you recommend researching, you know, getting starting knowledgeable of the what the world? And how do you think about, you know, buying your first pieces of art? Is it important to for example, you know, beyond just sort of just picking something that you personally like to look at? How should someone get smart in your nerves of knowing about the artist or knowing you know, where to buy it, etc?


Maria Brito 15:28

Well, you know, I can think about two ways. The first one is that because of the pandemic art fears, which are the most extraordinary place to see all the works under one roof, right, because art fairs are, you know, places where galleries from all over the world gather under one roof. And then you can spend the whole day looking at the offerings that each one of them has in their booths. But because of the pandemic, every art here, now also has an online component, where people can actually browse the art that those galleries are selling, no matter where those people are located in the world, right. So that is already giving people an enormous advantage that it didn’t exist before the pandemic, to look at the art from either some of the best galleries in the world, if they were to be looking at Art Basel online, or that are very interesting, young and fun, emerging. art fairs, emerging art fairs, that that’s where the new challenge is found. And that’s where people with a budget of 5000 to 20,000 can actually start getting an education of what it’s being shown right. And so that requires time, but the time is just logging in your computer going to the website of art fairs, like, for example, the future art there, or spring break art, there are untitled Art Fair. So they have physical moments when you know, they actually happen for five or six days in New York, or LA or in Miami. And then the websites run for about two weeks, 10 days or even more, in certain cases, they have, you know, websites with offerings of the art that was shown in that fair for four months. And that is an extraordinary way for people to actually understand what are the price ranges? What is the static of the moment? What is happening? What is resonating with them? Do you want to look at the different mediums is that a painting is that a work on paper, is that a collage you want to sculpture. So there has really never been so much axes at people’s fingertips ever in regards to the art market. And the second way I recommend is that, depending on where I mean, look, in the United, like the United States has also grown so much in terms of galleries, right? That almost every city has an art gallery or two. And I think that’s an excellent way for people to start getting their toes wet, because they can support the local galleries understand what the programming is, and form a criteria by being there in person and seeing what it is. And they might not just it might it might not be the best. But you can also have a criteria by determining that that’s not where you want to spend your money, and that you think there is something better. And so that’s why the online, you know, perfect art fairs are so important for people because after a certain amount of research, you can start having an idea of what you want. And I think that’s, that’s a great way for people to start.


Will Bachman 18:46

Now, you mentioned that this is I mean, this is a full time activity for you. And there’s just a New York City, there’s 1000 galleries. Talk to me about kind of your time allocation, a typical week, are you out there kind of visiting multiple galleries talking on the phone with gallery owners or artists or what specific, you know, online publications do you read and follow? So talk to me about kind of how you spend your time staying current with what’s going on in the art world?


Maria Brito 19:19

Yeah, I mean, I, I allocate time to go to galleries in person in New York City. any given week and make give me two or three hours because they are concentrated in neighborhoods. So if you go to Tribeca, you can see 10 galleries in 45 minutes, let’s say and you go to Chelsea, you can see 200 galleries in two hours, you know, because they are all next to each other. And also I don’t go to everything. I mean, I actually you know my own curator and editor I need to to choose what I want to see. So between three and four hours a week is like physical in person visits, I also go to museums because a lot of his artists or young artists even are having museum shows, or they are included in certain group shows and things like that. So I want to make sure that I’m seeing and I’m aware of that. I’ve also found young artists who’ve gotten museum exposure before they actually got representation from a gallery, because certain museums take risks and chances and things like that, especially. More recently, they want to diversify, who they’re showing, and why. And so that is part of, you know, the the physical, going places. Since I’ve been in this business for so long, I get previews on line and meaning, I get all this emails with PDFs, or, you know, websites, where you click and you enter into what they call the online viewing room with the offerings of a particular show. And the previews are usually sent to our collectors and our advisors a few days before a show opens. Because the demand is so high in in relationship to the supply. Usually good shows are sold out before it even opens to the public. Man, same thing happens with art fairs, not every but there is a lot of interest. And a lot of people who are buying art, particularly the young hot artists, because people feel that they can bet on something that they love. And it’s only five or $10,000. For somebody who has a collection with 2000 paintings and has a budget of you know, 3 million bucks a year. That’s really nothing. And so what happens is that a lot of people are just getting started and competing with those people too. And it’s this is not to discourage people, but it’s to actually set out the context of how it is right now, it was not like this, when I started, it was even not like this five years ago, but he has really gotten enormously big in in the past five intensified in the past three. So I spent a lot of time you know, reviewing those previous because usually the sales with my clients who already know, what they’re doing is through JPEGs, and PDFs that gets circulated me directly to my blind by email or WhatsApp or text. And I said, I love this artist, I think it fits in your collection. Rice is right, this is a picture, this is what’s available, I need to know in the next, you know, three, four or five hours before everything is gone. So that’s the time spent, you know, selling and going through this reviews is also substantial. I mean, it depends that are weeks where things intensify. If there is an art fair, for example, happening, the galleries have both a presence in the art fair and a show happening, or two or three, because a lot of these galleries have, you know, the Goshen has 20 galleries around the world, you know, and it’s four of them in New York City. So they have all sorts of activities happening all the time. And so about five hours or so our spend field, you know, going through all this emails and and you know, choosing what to offer to my clients. And I read art neck art net is the best online publication for people who want to understand what’s happening in the art world, they have a daily newsletter that has the latest of the art world, and interviews with artists interview with our dealers, movements in the market, headlines of the auction houses and things like that. And so, um, you know, that’s kind of like my, my time location. And, you know, there is also phone negotiations. There is I also visit artists in their studios, because that is a very in for a long time, it has been a very important part of my practice is to make sure that I also understand these artists, not just from the standpoint of what’s written on a PDF, or what’s written on a website, or what I have seen in a gallery, but I also want to hear from them what they do, how they think who they are. And that is, it has been one of the most rewarding things I’m doing. I’ve been doing that for the past 13 years. And it truly is one of those things that opens up your mind into so many different possibilities. And it’s a great thing to be able to see their careers unfold. Because, you know, I mean, there there is like this. These artists are so amazingly excellent since they graduate from their MFA or from their undergrads, and they are so ambitious to so it’s an incredible time to watch this. This people get up


Will Bachman 25:01

If you don’t mind my asking, what’s the typical? How do you fee structure for an art advisor? Is it sort of percent of the annual budget that they spend on the art? Or is it an hourly fee? Or how do you typically structure that,


Maria Brito 25:17

for the most part is the percentage of the acquisitions. And if that number varies, it could be 10%, it could be 12%. And it all depends on the client, the amount of work that the client acquires annually, and the size of the transactions, right, because sometimes, if you’re negotiating something that is a million dollars, for example, you are, I mean, for the most part, a lot of dealers and a lot of art advisors are willing to lower their 10% so that the transaction happy happens, everybody’s happy, and the clients keep coming back. Right. I that are also deals that are usually being co brokered, because somebody may use an advisor to communicate with another Arctic visor, almost like a real estate broker. Except this things aren’t all publicized in a website. So I may get a phone call from the auto advisor of a different collector. And that person says we have this piece of art that we are, you know, be at school the acquisitions when you sell things from your collection. And person may say where the acquiring this, do you have a client and the you know that usually, the way that is structured is that the fee gets split in half, right between the art advisor from the other side, and me, and obviously, the sale price goes directly to the owner. So that’s that’s kind of it is. That’s that’s the way it’s, it’s mostly in this business, I used to take retainers based on hourly rates at the beginning of my business, but it’s just not necessarily something I do anymore. Because, you know, I’m working with people for so long and new clients. Also, since now everything really is done online, I can sense from the very beginning if they are going to be serious, or if they if they just like, you know, trying to get information and not move forward. So I tried to be strategic in the sense that I can offer them things that and then I realize if they’re incredibly difficult to work with, because they can’t make decisions or because they are just hesitant or because then I you know, I just don’t offer them anything anymore. I don’t work with them. I don’t like to waste my time, I always try to be cautious and gracious in gifts, people a little bit. And I get a lot of people through referrals too. So I know, when my clients, I have a client who’s referred me like 10 clients, who all of them are people in the financial industry, and all of them think fast, make decisions fast. And you know, so you’re already sort of know where the client is coming from and what they want. And if it’s going to be a good fit for me or not.


Will Bachman 28:07

That’s amazing. Let’s talk a little bit about your book. So you book is titled how creativity rules the world, the art and business of turning your ideas into gold? What are some of the key messages that you want readers of that book to leave with?


Maria Brito 28:24

Yeah, you know, I think that creativity is the most important skill that people can have right now. And actually, at any time, but, you know, if you seen the statistics, LinkedIn has scanned the data that has been shared in, you know, the network by more than 100 million professionals, and the number one skill that is being required to for people who are looking to hire is creativity, but it was also the skill that they consider that the employers consider is the hardest to find. And it’s also the World Economic Forum, named it last year, the number one skill that is going to future proof any job. And, you know, it’s not only for people who are employed, obviously, but for people who want their their practices, their consulting businesses and their careers. And and, you know, their, whatever it is that they are doing to succeed. And here’s why. Without ideas, there is no for our heart, there is no progress. And without the fairies shielding yourself from the multitude of people who are doing the same that you’re doing is going to really be very, it’s going to be very difficult to survive long term, right? I mean, of course, people have to know their craft people have to know their businesses people have, you know, there are ton of lists and marketing, for example, is a creative skill. And if you don’t really know how to market yourself, it’s going to be hard. It really is going to be hard and if you don’t know how to you know what kind of words you use to express the core of your business and what you do, it’s also going to be hard. So I believe that I didn’t just write this book because it was the time to do it. But because I have experienced myself, all those different skills and habits and attitudes in my own business, which coming from a former corporate attorney, and to what I’ve turned myself now, wasn’t necessarily something easy. But I decided that I wanted to make it work. And I have interviewed and worked with a variety of different people, you know, employing 450 artists, but I’ve also had the opportunity to talk to scientists, and business professors, and in researchers and psychologists and I gathered an enormous amount of information around creativity. And one of the things that people trip up the most is thinking that creativity is a God given, you know, like gift or scale that only a handful of very chosen, you know, people have. And that’s not true. I mean, creativity is an amalgamation of skills that include, you know, risk taking, and autonomy, authenticity, the ability to ask the right questions, their ability to have, you know, critical thinking. And once you put all these things together, then you can say you are creative. And the second thing that is very important is that, you know, creativity, simply your ability to come up with ideas of value that are relevant for your business, right now, right. And since we are so different, all of us and have had different applications, different backgrounds, worn in different places, learned different skills, I, it’s hard for me to believe that people can’t be creative with all the different experiences that they have accumulated throughout their lives. And that’s what I’m set out to do with this book. It’s uh, if you can’t think differently, and if you cannot see things from a different vantage point, it’s hard to, to outshine, you know, the competitors, it’s actually hard to be noticed. It’s hard to, you know, we don’t want people to survive, we want people who can thrive in, in their professions. And that’s pretty much what I am looking to give to the readers who, you know, get this book is this blueprint. And it’s, it’s, you know, it’s things are simple, but that doesn’t mean they are easy, because it’s all about the work that people put into development, the skills daily, you can read the book, and that’s fine. It will entertain you for you know, whatever time you spend reading it, but the actual execution is what actually will give you the breakthroughs. And you know, simplicity is my my motto, because complexity is it kills execution, right is the enemy of execution. And I, I liked the book, it’s not the book is simple. But actually, I like the idea of giving people simple steps that can compound and actually manifest and all this incredible ideas that can be materialized. So the book is highly actionable. And at the end of each chapter, there is a series of questions and exercises for people to actually sharpen their creative thinking skills, and to take a chance on themselves daily. And that’s what I want to do.


Will Bachman 33:40

Great. So let me ask you about that. So let’s say a listener of this show right now considers herself reasonably creative person, but would like to be even more creative. Share one or two of those exercises, from your book of things that you could do today, to build that creativity muscle.


Maria Brito 34:02

One thing is, you know, you have to kind of surprise your brain sometimes. One thing I like to do at times is to write with my non dominant hand, and to jot thoughts. I mean, you’re not going to spend, you know, two hours trying to do something with nondominant hand but like, you have to jot your brain in different ways than what you normally do. And by the same token, for example, a lot of people have already created routines, routines, actually incredibly important. But what if you take a different route to work today? What if you, you know, go and take this phone call or just go with your computer to a different coffee shop and answer your emails from there, because the the point of generating new ideas will never come from doing what you do every day, they will have to you will have to actually immerse yourself in a variety of different environs. minutes. And then in look at things from a different vantage point, one, I was reading an article, and I was watching this novel Prize winner, Doctor Who won, I think, in 2010, in physiology, and they asked him, How do you actually innovate how you actually disrupt your field? Because the reason why he won the Nobel Prize, because he found some stem cells, and I don’t know what very, you know, I have no idea exactly how to explain it. But I, what I actually was looking is for the answer. And he said, I keep myself always reading and watching things that have nothing to do with my own field. Because the how my mind opens up, I hate to say, but if you read every trade magazine, and every you follow everything that’s happening in your industry, that’s not where you’re going to find the answers that are going to create breakthroughs, because otherwise everybody will be doing it, right. I mean, he’s like, Oh, my God, you go to every conference, and you’re super specialized, and you’ve done this thing, and you’re so good at it, you start developing a lot of blind spots, because you’re so good at it, you get comfortable. And so I encourage people to try, you know, if you only read a certain type of website, news, go to the one that is completely opposite, right? If you only watch sports on TV, go and get a film, you know, for a foreign foreign, indie film and spend, you know, two hours getting to see all the things and people will consider this to be like, so easy. But it’s actually miraculous for creativity, because a lot of the ideas that you’re forming, and the information that you are absorbing, gets stored in your subconscious. And it comes out in ways that you don’t even understand how did that happen.


Will Bachman 36:55

So that kind of bounce reminds me of the idea that Julia Cameron has of having an artist date with yourself on on some regular basis where you schedule time to invite serendipity. And it doesn’t mean going to necessarily Museum, it could just be mean walking on a different block than you normally do or visiting a store that you know, inspires you maybe a vintage clothing store, or, or just even kind of reading a book that would be outside your normal, your normal practice. Love those?


Maria Brito 37:29

Yeah, I mean, there’s that’s, that’s kind of like some of the many ways that people can prompt their creative minds. But it’s all about building blocks. It’s a lot about and, you know, I make sure that in the book, I mentioned every study that backs up each one of my points, because I know a lot of people won’t believe it, there is no data. And I actually want it to give people the data of why each one of these skills and habits are so very important for their creative minds.


Will Bachman 38:00

So, Maria, for people that want to follow up and find out more about your work, we will of course, include a link to your book in the show notes. Where else would you point them online? If you want to give a website or other social media address? Well, where would where would you point people?


Maria Brito 38:18

Yes, my website is Maria Brito calm that’s B as in boy, R as in Regulus is an island. T as in Tom Oh. And that’s where you’re going to find me. I mean, all the links to my social media, I’m on Instagram, I’m on LinkedIn, Facebook and Twitter. And so you can actually find me in those places. And you can there is also a forum that you can fill in if you want to get in touch with me and sent me an email. That’s very easy. It’s all under that roof of Maria Brita calm. And you know, the book is how creativity rolls the world and he’s a available everywhere where books are sold, right? I mean, like Amazon, Barnes and Noble and indiebound Books a Million any are independent bookstores. It’s published by HarperCollins. And I’m excited to bring this to the world.


Will Bachman 39:11

Congratulations on the publication of your book, and we will include the link to your website in the show notes. Maria Gabriela Brito, thank you for joining today. This is a great discussion.


Maria Brito 39:22

Absolutely. Thank you so much well, for having me. It’s my pleasure and my privilege to be here with you

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