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Shawna Vesco Ahern: Second start to the right and straight on till morning.
Today's guest is Micah Ruiz the founder of Orion Custom Framing. Micah is the kind of person who makes you feel like you can build something beautiful from scratch, whether it's a frame, a business, or an entire life. Micah grew up homeschooled in a town of 400 people, the son of a pastor, with [00:01:00] no formal arts education, but with a punk mindset that carried him from a teenage summer job in a rural organ frame shop.
All the way to framing for SFMOMA and the Cantor. We talk about everything, how framing is intimate and emotional, how to avoid art history, scandals, and why he thinks everyone, whether they're preserving a Ruth Asawa, their kids' doodles or a chemo port. Deserves care and respect. Micah's story is one of radical self-determination.
He's building something that lifts up not just his own family, but an entire community of craftspeople. His whole ethos is rooted in respect, approachability, and excellence. In the result. It's a framing shop that feels more like a trade school, a healing space, and a love letter to art in all its forms.
This is an episode about trust, about trade, and about the very punk idea that you don't need a fancy degree to sit at the table. You just need a vision, some guts, and a very sharp blade. So let's get into [00:02:00] it.
welcome to Art Yap. And thank you so much for agreeing to be on our show. Um, I remember I've had a couple pieces framed by you and I remember walking into your mission shop for the first time and I got really nervous on my way there.
'cause I was like, what if I get there? And he's an art snob. Yeah. And I remember I had a piece by my friend Patricia Araujo. And I had no idea at all what frame I wanted for, which is a little embarrassing as like an art curator to have no concept of what I wanted. And I was like, what if he makes fun of me?
What if he judges me for this and I show up and I'm, I showed you the piece and you're like, Ooh, you know, it's a building. It's like downtown Soma. Um, what about this kind of like distressed, um, like metal frame and like floated a little? I was like, yes. Yeah, that is exactly right. Like I saw it together and I thought.
You know, this is perfect and it felt really collaborative with you and it felt really like friendly and like you were excited to be there doing it. And then we were even joking like. Some kids, 'cause I was gonna put it in my nursery for my kids. Like [00:03:00] some kids have Winnie the Pooh in their nursery, but my kids have brutalist artwork in their nursery.
So just like overall, it was like the best possible like experience I could have framing. Um, and the store itself is beautiful. Yeah. Um, so tell the fine listeners like the origin story of Orion Custom Framing. What about your education or your upbringing or your personal background led you to the moment where you're like, I can and will open a frame shop.
Micah Ruiz: Yeah,
Shawna Vesco Ahern: and then two.
Micah Ruiz: Yeah. Yeah, yeah, yeah. So I think that's a huge part of what I'm trying to do is, is like make it approachable 'cause that you're not alone. Almost everyone who comes in, it's either their first time framing or, or they've only framed a couple things and all they know is that it's expensive and they don't know anything about it, which is like a terrible way to meet people.
And that's literally how I meet everyone. And I think it's easier too, as a curator, that's really common too. It's easy to see someone else's work and to have a vision of it, but when it's your own. Like the hardest thing for me to frame is my own stuff. Mm-hmm. Anyone walks in, I have an answer immediately.
I know exactly what to do before they say a [00:04:00] word. I can like read them, get a sense of it, look at the piece and already have ideas. Mm-hmm. But when it's my own stuff, I'm like, I have no idea. Mm-hmm. And people come in thinking. Because of the level of work that we do and the experience that we have that we're going to be kind of uppity about it or be rude or look down on it.
So everyone comes in with disclaimers of, oh, it's just a print, or it's, oh, it's just a painting that might, it's just a, you know? Mm-hmm. And I, and I hate when people feel like that. I don't want anyone to ever feel like that, whatever the art is. Um, so a big. Part of what I'm trying to do is make it approachable and make it feel comfortable to come in.
And you don't need to know anything. 'cause how would you know, you know, the terminology or know what specifics you need. So sometimes people come in being like, uh, black frame white mat, because that, you know, 'cause it's easy to understand that. Right. And they need to feel like they have to have an answer.
Or you could tell that they've been research on the art before they come in to try to, in case they get quizzed or you know, and it's like in case you're an art. It didn't be that. Yeah. They're like. I don't know why I like it. I just, I'm so sorry. I'm like, do you have acetate free? Whatever. That's like, that's so [00:05:00] crazy.
Like you should just come in. It's a lot of education. So that's sort of how I had started the whole thing was with that mindset, and that's how I train all of my framers to also have that same mentality of like when people walk in, we treat 'em as a friend. So we don't want anyone, like, you'll never walk in.
And I'm like, Hey, how can I help you? You know, like, I'm just like, Hey, how's it going? Like they're gonna tell you how you can help them. Like, you're gonna get to that point. Like you don't need to have it feel like a interaction like that. It should feel like a natural friendship. 'cause you're about to do something very intimate and it's, you know, it's, it's a, it's a lot of trust and it's a lot of, you know, like trying to get that person comfortable mm-hmm.
And get them in the mindset of why they came in with this piece. Like if someone. Has looked us up. They've done some research or read reviews. They come all the way down, they deal with parking, they pull their thing up. That thing means something to them. Yeah. And sometimes when they have all those walls up, they're like, oh, I don't know.
It's just a this, you know, so it's like, it's good to get them back to like, where, what's the story of this? Where did this come from? And then that can a lot of times feed into the design, you know? 'cause you want to. [00:06:00] Feel the whole story of it in, in the design. Not just do something like, well, that color goes with this color, so mm-hmm.
There you go. You know? But it's more conceptual. It's more, there's so much more to it, you know? So I think being approachable is, is a huge part of what I'm trying to do. Mm-hmm. And make it be so people feel. I still want people who have those blue chip pieces or those high-end items to feel confident coming in.
Like, oh, they know what they're doing and they have the experience level to handle this. Appropriately and preserve it. But I want people who are bringing their kids art or bringing in a print of a friend or their own art mm-hmm. Or whatever, to have that same confidence and have that same experience no matter what, you know, what, whatever they're bringing in,
Shawna Vesco Ahern: just walking through the shop right now is looking like I wanna.
Pick one of these cool frames first and then search for the art that's gonna go with it.
Micah Ruiz: Yeah, yeah, yeah, yeah. And that happens a lot too, especially with the hand carved. We do these like wiggle frames and we do a lot of really interesting hand carved frames. So a lot of times people are like, what can I, I'm finding art for that.
Mm-hmm. And people do, they go search for things to try to fit into the frame. Mm-hmm. And I try to just have an answer for literally [00:07:00] anything that comes in the door.
Shawna Vesco Ahern: So where did your knowledge base come from? Did you. Grow up with this in the background at all, or did you find your way into school for this somehow?
Yeah,
Micah Ruiz: so I have been framing, uh, January was 23 years. Whoa. So I've been doing this over half. I'm 39. I was gonna say you're not, that's over half my life. I've been doing it since I was a kid. So I grew up in, uh, so I was born in Southern California and then my parents moved. Us to a town of 400 people in Oregon, uh, to start a church.
My dad's a pastor. I'm one of seven kids, so we have a big family homeschooled in a little tiny town, uh, very cult-like in my upbringing. Um, and then, but through the church, my best friend, uh, Zach, his parents opened a frame shop. Mm-hmm. And since I was homeschooled, I had flexibility within my schedule and they needed some help.
So I was, it was supposed to just be a summer job.
Shawna Vesco Ahern: Homeschool trade school. Yeah, exactly.
Micah Ruiz: So I started and I was, so, I started when I was 15. And then legally at. My 16th birthday, I was on the books. That's when I actually was able, legally able to sign and be a part-time framer. Right. So I started at 16. I was doing two years worth of high [00:08:00] school, um, and, and working in the frame shop, and I just fell in love with it.
You know, I, I get to work with my hands. And when you live in a place like that, there's not a lot of culture. Yeah, for sure. There's not a lot of opportunity. So for me to have any kind of art felt, I didn't even know that that was a job. You know, like I never even considered. You know, frames. I've never been to a gallery, I've never been to a museum.
Like Art was not on my parents' priority list. Mm-hmm. At all. So it just wasn't like I played music and I, you know, so I, I always was drawn to art through music and through skateboarding, but I didn't know what could become a, you know, especially through the framing aspect. Yeah. So I started. Just by a fluke.
I felt like I luckily fell into it and I did not expect to be doing it literally my whole life, you know? And then, so those, those owners, I wrote them when I, when I, um, first was published in Picture Framing magazine. Mm-hmm. And I sent them like a thank you. Oh, that's so nice. I'm like, whatever shop you guys would've opened, that's what I would be doing for a living.
So I'm really glad it was something cool and something with art.
Shawna Vesco Ahern: What if they were delicatessans? Yeah,
Micah Ruiz: that would be me. I'd be like, [00:09:00] that's just what I dedicate my life to, I guess, you know? Um, but it's hard to get. Like out of a town like that too. Mm-hmm. So like being in a town of 400 people, it's like.
People don't understand, like it's hard to get out of, you know? Yeah. So I grew up in a trailer park in a small town. I drove 20 miles to go work at this frame, shop at 7:00 AM every day. And I worked there up until I moved to Portland. Um, but I was an assistant manager, like, I think, so when people hear like, oh, a teenager working, you're like, oh, great.
Yeah, he was like half-assing it. Like, but no, I was an assistant manager. I took it very, I took my role serious. Like I was like. I was very on top of it. I was like, learning manage. I get that feeling about you management. And I was like, I had a goal then. Yeah. You know, and I was like a punk kid, but I, I knew what I wanted and I wanted to just work up and up and up.
And the owner saw that in me and he was willing to gimme the opportunity and treat me like a real employee who is, you know, valuable rather than like, some kid in a summer job. And I ate it up. Anything he gave me, I took, I was just like, took it up and up and up. And then, so it was really hard to leave, but I, I needed to keep growing and the only way to do that was to [00:10:00] move to a city where there was more opportunity.
Shawna Vesco Ahern: Absolutely. Yeah. Um, I let the listeners write in with questions too. So Aimee H. from Minneapolis wants to know why the fuck is framing so expensive? Yeah,
Micah Ruiz: that is a really good question. Uh, so I get asked that a lot, so. I think so it's like framing is costly. Mm-hmm. Not expensive. So expensive means that it's just, you're charging a lot for it.
Costly means there's value and sacrifice put into it. Right. So it's like, it's something like, so someone would be like, well, I paid $2,000 for that, but you're like. How much is walnut? Mm-hmm. How much is optium, how much is the fabric that we wrapped it, how much is the 20 years of experience to do that?
So it's like the cost. If you see the margins compared to what we pay for the materials, it's not what you think it is. Like, I can't tell you how many gallery owners are like, I'm in the wrong business. Every time we do a framing, someone says that, you know, like mm-hmm. Because it, it, it would appear that way, right?
You're like, I'm throwing, like this piece of art was 500 bucks and now I'm paying a thousand dollars to frame it like, [00:11:00] wow, you're just rolling in it. But it's like. We're using more expensive materials and we're using, you know, like more expensive equipment mm-hmm. And more, you know, so it's like all these things go into it that you're not considering.
Right. You know? So it's like can do and sourcing it. Shipping it, and Exactly. And the experience to do it because it's like, it is like a, um, there's science to it, but it's an art too. Mm-hmm. So it takes years and years and years to get really good at this and to be able to do it. Correct. And people don't get paid anything like framing.
I was making. Not much up until, uh, until I made my position be worth more. Mm-hmm. You know, because framers, and that's what I'm trying to do too, is pay framers a living wage so you can actually make a living continuing to do this. Mm-hmm. And so I, I pay more than most frame shops do for that reason. And I know that.
I understand you. Like, I need to make a living and I want to, you know, like, so I get that. And my job, this is not a nonprofit, right. I'm doing this to make a living and I got kids and I got, you know, like, so I'm doing it for a job, but I'm also doing it to bring all of us up and to put that back, invest into the craft.
Mm-hmm. [00:12:00] And so I have, I have framers who have been doing it for over 30 years. Wow. Working for me. And I have a framer who's been doing it for one year. So I want to continue. The craft by training up people who are, you know, who are new and who are, have the right mindset. Yeah. I said you're
Shawna Vesco Ahern: like kind of running your own little mini trade school.
Yeah. Your own little internships here.
Micah Ruiz: Absolutely. Yeah. 'cause it's like you have like. You can teach like skill. Mm-hmm. But you can't teach that hunger or, or that desire or the natural ability to like see a 32nd of an inch and have it bug you or to have, you know what I mean? It's like there's some parts of it that are just personality type that you can't train.
So if the right person comes along, I'm on it. You know? I was like, I don't wanna So you so superpower power, ocd. Exactly. Yeah. That's pretty good. Yeah.
Shawna Vesco Ahern: Um, what have been some of your most. Favorite or memorable pieces or experiences that you've had doing this now here in San Francisco?
Micah Ruiz: Yeah, San Francisco is an awesome place to frame, um, 'cause they're, you know.
People want to have like a unique story. They want to have something special and they have the money to back it. So, which is like [00:13:00] the perfect combination, right? Like you need that, that's all part of it, you know. Um, so I think, I mean, we have some pieces hanging that we framed at MoMA right now in the Ruth Asawa retrospective.
Shawna Vesco Ahern: Nice.
Micah Ruiz: That's a huge honor to like, go to the museum, this artist that I respect so much and be like, wow, like we did that. Mm-hmm. Like the shop that I made up like. I made up that name and I made up the, you know what I mean? Like, like that's crazy to me. I'm like, wow, look at that. We have stuff at the Cantor.
We have stuff at the Orange County Museum of Art. Like, those things are like these, like wake up of like, oh my God, I can't believe that this is real. You know? Um, but it's like, I think the sentimental things are the ones that always hit me the most. Mm-hmm. Um, we had one that like, not to bring the mood down, but it's like, so she brought in these chemo ports.
Mm-hmm. Um, her and her boyfriend's, chemo ports, they met during, um. Chemo. Like, wow. They were both in treatment and then they both were cleared and then he got his back and he passed. So she kept his port. 'cause that's how, that was their whole connection, you know? And she's very open talking about it. Like she, you know, I think when you're [00:14:00] that close to being sick, this and death, you're just, you think about it a lot so you have a better understanding of it and you're more open with it.
Mm-hmm. So we framed them in a shadow box in this like, really beautiful way where they look like they're literally floating and they're intertwined. Wow. And it's like, it's, it's so. Beautiful to be a part of something that's that heavy, you know? Yeah. So it's like, I think the sentimental things are always the ones that you're just like, oh my God.
And it's just the trust, right? Mm-hmm. For someone to seek you out and to trust you with this story and to explain it to you and to trust you with these items that, like, those are not replaceable. Like most art is replaceable, you know, original art, not so much, but you know, like most things are somewhat replaceable.
That is not, like, that's something that is like so unique and so, so scary to handle, you know? So, and it's like the value of it. Is not, what's the important part? Mm-hmm. You know, monetary value. It's the sentimental value in the, you know, like
Shawna Vesco Ahern: in moments like that, do you. Think of yourself as an artist, or do you ever call yourself an artist?
I mean, you're part of this process where you're doing the work [00:15:00] of an artist.
Micah Ruiz: Yeah, yeah. No, I think so. I think there, yeah, there's definitely an art. Art to all of this, you know? And it's like it's an art to see someone's vision and to make it come to life. It's an art to have the vision. For them. 'cause it's mostly that, especially now that we've been doing it so long and once you have a reputation, people come to you for your vision.
Mm-hmm. You know, they come to you and like, what would you do with this? What do you think would be the best? Or they come with an a sort of idea or they come with an idea that's not preservation level. So then we have to take that and. Create a way to make their, you know, kind of figuring out what their overall vision was.
Mm-hmm. And then making it something that is preservation level so that you're, you're protecting the piece. Yeah. Um, so it's reversible and, and, and, you know, safe down the line. So yeah. There's definitely a lot of, a lot of art to this.
Shawna Vesco Ahern: When I was brainstorming for today, coming in here, I kept thinking like art history wise about.
Like historical framing dramas that have happened. Yeah. Like in 1970, the Tate framed some Rothkos and all of his friends were mad. All of the art critics were really mad [00:16:00] because he had intended for the pieces to kind of float and like interact with the environment differently. And he intended for viewers to have like a different emotional experience than these like hard stark frames that the Tate had put around it.
Yeah. Um, do you ever worry about being embroiled in an art history drama?
Micah Ruiz: No, I think it's funny because a lot of people think like the way that a museum or gallery puts up the art, like that's the artist's vision. Like they, they, that's exactly how they, you know, they want it to be. So I want mine to look like that.
Mm-hmm. And you're like. Usually not. Mm-hmm. You know, like usually it's like the art, the gallery is trying to make them sellable. Yeah. They're trying to put it in something neutral enough that no one's offended by it. Anyone can visualize it in their space. So it's like maple is easy, white is easy, black is easy.
Mm-hmm. Because no one's offended by them. You're like, yeah, it will work. You know, like, so you're not even thinking about it. So it's not necessarily that the artist is like. I really want my things cheap white frame. That's my vision, you know, that's my dream. But it's like, that's, it's just what happens.
It's all part of it, you know? So, I dunno, I try to always [00:17:00] take the artist's intention in part of it, you know? That's definitely a part of what we're designing and, and sort of trying to get the feel of the piece to come across in the framing too, without distracting. Right. Like, to me, the perfect goal is for the frame to enhance the art.
To elevate it, but to sort of disappear. Yeah. Like you want it to be an afterthought. Like there are some cases where you're like, you want the frame to be as loud. It's, it's when it's become part of it, you know, and you're like, you're like, that's one piece. But for the most part, the, the frame's job is, is preservation.
Like that's what our goal is. Preservation, and then to highlight the piece. Mm-hmm. So when we've done a really good job is when you don't. You notice it's secondary. You know, you're like, you're like, wow, these pieces are beautiful. Mm-hmm. And then you notice the frame after the fact.
Shawna Vesco Ahern: And so you and your wife work at this business together.
Right. She handles like the whole other Yeah. Aspect of running the business. So your kids see both of you working on this business together. How do they understand what you do? Or do they have any kind of concept of what it means to like. Own a frame business?
Micah Ruiz: Yeah, I think they do. They've been in here since day one.
Mm-hmm. So Orion is my [00:18:00] son's middle name. Mm-hmm. Um, so they're at the base of it. And then my production space is Arrow Fine Art Services, which is my daughter's name. Mm-hmm. So I got both kids, uh, totally named. They're part of the, of the whole plan. So they've been in the shop. While we were doing the setup, while we were building, putting the tables together, they're here.
Like I, there's all the photos of us doing the setup. Like my daughter's on my back and I'm like putting cabinets together and like, so, and I walk them through it and we take them with us to, to galleries and to museums and things. Um, we framed these really cool lenticular pieces for, uh, Heesoo Kwon, who's a Korean artist.
And her pieces were hanging at the cantor and she was like, I would really love for you to come. You gotta come see him. And it was like. Sunday is my one day off is my family day. Yeah. So I was like, it's hard for me to justify driving a couple hours and do you know, she's like, bring your family. So she put my kids on the list.
Shawna Vesco Ahern: Wow. So
Micah Ruiz: to take them there, they saw those pieces out on the table when I was working on them. Right. And I didn't say anything to them. So we like go in and we go through this whole ceremony and stuff and then we go in and they're like.
Shawna Vesco Ahern: Wait, hold up.
Micah Ruiz: Like this it from your shop. Wow.
Shawna Vesco Ahern: And for them
Micah Ruiz: to see it in that beautiful grand room.
Yeah.
Shawna Vesco Ahern: What a [00:19:00] context shift made it.
Micah Ruiz: I could see my son being like, ah, it was like full circle to fully understand what we're doing, you know? That's amazing. And that's such a, like a proud moment to, to explain to, you know what, like that's what we do. Like, and it's, it's just so awesome to be a part of that.
So anytime we get to go to galleries, I take them with us. Do you have any hopes
Shawna Vesco Ahern: that they'll take over the business someday? Yeah, definitely. Or are you open to them becoming an astrophysicist or something different?
Micah Ruiz: Yeah, so what I've always told them is that they will learn this. You know, they're gonna grow up in the shop, they're gonna learn to work with their hands, they're gonna learn to handle tools and whatever they want to continue to do, I'm gonna support that.
Mm-hmm. But you will learn this first, both of them, because I think that these, these skills translate into a lot of things, just being able to, you know, handle hand tools. Like I have friends who are grownups who don't know how to properly handle a drill. Yeah. Or a saw, or, you know. Mm-hmm. So my kids like.
I have a video of my son at like three using a bamboo saw. He was cutting crossbars for me. Good. And people were like, what are you doing? Like he's, you know, this is Montessori. I trust him way more than I trust you with the saw, like he's got [00:20:00] his fingers tucked. He's got it on the other side of another, you know?
Mm-hmm. He's got it set up like he knows what he's doing. So it's like, I, I love that. That I want them to have that. So as of now, they, they want to, I was like, you know what, when are you gonna join? Like, when are you gonna be a part of it? Great. You gotta get through school, you gotta come, you know? Yeah. So they're excited to, to come in and, and be a part of it.
So what they will do, I don't know, but at least, at least a start, they will be, and it's fun
Shawna Vesco Ahern: too, as they start to enter in like, this is what math is for.
Micah Ruiz: Yeah, exactly. This is
Shawna Vesco Ahern: what we're doing with this. Yeah. Yeah, exactly.
Micah Ruiz: And they're like showing them, how did you get the measurement for the crossbar, you know, teaching 'em the fractional math and teaching 'em, you know, like why you're doing the things and Yeah.
And it makes those. Math and things make sense and you're like, wow, I'm glad I know how to do that. Yes. Because now it translates, you know?
Shawna Vesco Ahern: Um, do you have, you've talked about some like really great collaborations that you've done with the Cantor. I know you're a board member now. Yeah. Right. With the Fine Arts museums, the San Francisco, do you have any other.
Collabs or people out there that are kind of on your wishlist still?
Micah Ruiz: Yeah, so I was [00:21:00] just, um, nominated to chair of the board for the A GAC, uh, like last week. Mm-hmm. So I've been on the board for like a year. Um, it's, it's so cool to be part of like. Of, of the museums in general, but to be part of like the conversations and the voting for acquisitions and you know, like, uh, ex exhibitions coming up and things like that.
Just to be at that table is crazy. Did you, 10
Shawna Vesco Ahern: years ago, imagine this for yourself in any way. I, not
Micah Ruiz: even one year ago. Not even two years. Like this is crazy. So like, I have. Zero education. Mm-hmm. I was homeschooled and I graduated at 16 and that was literally the end of my education. Since then, I've just been working and I, I think that I, so there was a lot of time where I was like, what am I gonna do?
Mm-hmm. Like, I, you know, I was like, what? Like, I really was just like, I missed it. 'cause the way I was raised, education was not a priority. Right. It was just to be in the church and then that was our only focus and, you know, so I, I didn't realize that I could. Go to school until it felt too late. Mm-hmm.
You know? And I was like, well now [00:22:00] I, I'm on my own. I can't support myself. And like, I just didn't know. I didn't understand, yeah. That I could even have that as an option, you know? Um, so there was a lot of times where I was like, what am I doing? You know, so I think I, I just feel so. Blessed and so lucky to have gotten out of that town.
Mm-hmm. And to have gotten out of that mentality and to have gotten, you know, like as far as I have with as little as I have, it's like crazy. Just, I mean, leaning, leaning into your intuition and leaning
Shawna Vesco Ahern: into your specific skillset has really brought you a very long way. And there's a good lesson there, I think, for a lot of people.
Yeah. To really trust in yourself and your abilities and then try and flip that to somehow connect to capitalism. Yeah.
Micah Ruiz: Yeah. No, totally. And I think that that's the punk part of you somehow. Yeah, exactly. Well, I, I think that I am still, like, I'm working on not being embarrassed of my past, you know? Mm-hmm.
Because it is like, especially when I'm on the board, everyone's like doctorates and masters and all the, you know, multiple degrees and I'm like. I'm like, and I'm like, but I'm sitting at that table and I'm like, I deserve [00:23:00] to be at this table. You have unmatched experience for a completely different reason.
Yeah, exactly. So I come in from this other way, but I think that's something that's really important for people to know. 'cause like I didn't know that, that there was an opportunity for me to do what I'm doing now without having some kind of. A background or having some kind of a degree or having, you know, someone to help me or have, you know, like we bootstrapped this completely, right?
Like, I, I got a loan, I got a SBA loan to open the first shop, and that was three years ago. It was just me seven days a week. And I was like, I just worked every day and it was a sacrifice for me and for my wife, right? And it's a, you know, we, but we made this decision together, you know, that this is what I really want.
Mm-hmm. And I, I was like, I really think I can do this, but it's all of us. It's a sacrifice of our whole family. And I didn't know. W like how, how big it was gonna get or how quickly, you know, I, I had the vision of multiple locations. That was always in my head. Right. And I already already had the background.
'cause I've been doing this, I, I ran two shops here in the city for the last eight years before I opened this. Mm-hmm. And I ran shops before that, so I already knew what I wanted. I, I, I picked the pieces from those shops [00:24:00] that I wanted mm-hmm. Mine to be like, and, and I picked out the parts that I thought were correct and being done right.
And I got rid of the parts that I think were, do you know, not being done Correct. Or it could be done better. Um, it's
Shawna Vesco Ahern: remarkable how quickly you scaled.
Micah Ruiz: It's crazy. I have, so I now have 12 full-time employees. Yeah. And a couple on-call people. I have a production space that we purchased, and I have the two design studios.
Mm-hmm. Like, that's crazy. Like, I'm so busy doing it every day that I'm just like focused on the work. Mm-hmm. That I have to come up for a breath sometime and I'm just like, oh my God,
Shawna Vesco Ahern: this is so crazy.
Micah Ruiz: And are you good
Shawna Vesco Ahern: here? Are you gonna plateau right here for a while or do you just have another plan in the works?
We just
Micah Ruiz: keep going, you know, so I want. I want everything that's meant for me. Mm-hmm. And I think that I have found this really beautiful balance of like, not forcing things, but not hesitating. So, and, and in not hesitating, it's also planning and preparing for things that might be mm-hmm. And then when they come, it happens, you know, so I already have, I feel like I'm at a Ted Talk.
Right. I already have plans for more mm-hmm. Things. We already have things in the works. I already have things. So like, I'm thinking next year we'll [00:25:00] have more expansion and, and more growth. So I, I already have things I'm working on, but I'm not gonna force it, so I'm not Right. If it doesn't. Fall in line and it doesn't just happen, then it wasn't, it's not meant for me.
Oh, that's such a good lesson and I'm not gonna, I'm not gonna force it. Yeah. And I think that's what's really been working is like, not just, you know, FIP be like, what's your formula? How do you, you know, how are you planning this? And I'm like, I don't, I can't think about it like that. Yeah. I'm gonna ruin it.
Like it's all good. Business
Shawna Vesco Ahern: formula is part magic. Yeah,
Micah Ruiz: it is. Like it truly is like, so of all 12 employees. I have never put out an ad. They have all come to me at a time where I needed someone. Wow. And that sounds so woo woo and weird, but I'm like, it truly every single person. Mm-hmm. And they happened to come where I was like, the, the last person I was like, I had just hired someone, and then she wrote me and she wrote this really great cover cover letter that hit me, and I was like, oh, I really like her.
But I was like, I literally hired someone within the week. Right. I was like, I, you just missed it. I was like, but you never know. So come in, let's meet. And you know, 'cause she reached out and I, I know better than to turn that away. So I was like, come, let's meet and let's just kind of see. [00:26:00] And then literally the next day, so I wrote her and I told her that.
I was like, I just hired someone, but whatever. And then the next day one of my, uh, framers was like, Hey, I want to transition to full-time photography and I, I just need to focus and I need to go all in. And I was incredible. Okay, bye. Of course. You know? And then she's like, I understand that it's gonna take a while transition and it's gonna find someone.
And then like literally the next day I had that, that framer come in and she, I hired her that day. She started Monday, she came and just a couple trial days, and now she's been here for a few months. But it's just like everyone keeps coming right? When I need someone, whether I realize it or not. Mm-hmm.
You know, I'll have someone come and I'm like, oh, I really like you, but it's like. Do I need more help? And then we get slammed again. I'm like, yep, I need more help. Yeah. So it's just been too many things and it's not just that it's everything is working like that. Mm-hmm. Like the people are coming to us at the right time for the growth to continue.
I think people sense. How genuine it is and people sense the gratitude. Yeah. 'cause I'm seriously, every day I'm like, holy shit, I'm not in that town. I'm not doing, you know, [00:27:00] like this. No, you're here. This is, you're in the best city in the world. Why? I think my life is supposed to be lined up to be, you know, necessarily if you on paper.
So I am grateful every day I'm like, this is crazy. So when people see me working every day, I think they're like, well, seven days a week, you're gonna run yourself ragged. Or that it's like this bummer thing, like, I love being here. Mm-hmm. This is my happy place. I have all the answers here outside. I have no idea what I'm doing, but in here I'm like, I can answer any frame question, you know?
So like, I love being here. I love having the answers.
Shawna Vesco Ahern: Yeah, it feels that way. Everything about interacting with you and coming into your space, it just feels like you. Yeah. Um, I. I've noticed you have some tattoos. Yes. Do you have any good stories there to share? Um, with the kids I
Micah Ruiz: have, um, yeah, I have, so all my tattoos are very personal.
Mm-hmm. You know what I mean? They all have things like I always do it for a reason. They're things that mean something to me. And it's something I've been doing since I was 18. I had just got one I two days ago. Yes. For Orion looking fresh. So like I just got for the anniversary, um, I think. The one that stands out to me is on my stu [00:28:00] stomach.
I have 'em all over my stomach and chest too. Mm-hmm. But I have, uh, it's like hands shaking. It's like a demon hand. Mm-hmm. And a human hand, and they're handcuffed together. And I got that. So I'm, I'm eight years sober. Mm-hmm. Um, so I got that when I was three years sober. Wow. Um, just as like, making peace with my demons, you know, it's something that I was like, I can't, um, be stronger than them, but I can be smarter than them and get ahead of it.
So when my wife found out she was pregnant, the day she found out. I, I, I got sober that day. I stopped. Drinking and drugs, I stopped everything. Mm-hmm. And I wanted to really focus on being a good dad. Like my family's not in my life, like my parents. Mm-hmm. Have never met my kids. They don't even know I have a shop.
You know, I mean, I'm sure they know that I have a shop now, but like, yeah. We've, we have no contact, you know, for 20 years. So I don't want that. Like I, I, I don't want there to be any excuse for me to not be the best dad that I can be. Mm-hmm. So I'm gonna clear. All things outta my way. That would be an excuse or be a reason.
Well, congratulations on that. Thank you. So I like, that's one that I think I take very personal 'cause I'm like. [00:29:00] That's crazy. You know? Yeah. Like, and I think that that focus, that same mentality is what's working in the business. Mm-hmm. It's like what's making, it's just like being hyperfocused. Like whatever I point my energy at, I'm that level.
So I have to be really like mindful to point it at healthy things. Yeah. Because, and even that, I can overdo it. Where I have to be like, I need to step back. I need to like calm down a little bit or I need a break. Like I need physically, need a break. You know? I really admire this
Shawna Vesco Ahern: like clarity of vision you have for yourself, how you are in the world, how you want your family, how you want your business.
Yeah. It's like really inspiring.
Micah Ruiz: Thank you. Yeah.
Shawna Vesco Ahern: Um, the time has come. Would you like to ask my magic eight ball a question?
Micah Ruiz: So I have a yes or no question. I have never done an eight ball, 'cause the way I was raised we're not allowed to do stuff like that
Shawna Vesco Ahern: uhoh.
Micah Ruiz: So I was like, when I, when I was thinking about it, I saw that you guys were doing this and I was like, I've never even done an eight ball, which is really funny.
It's really close
Shawna Vesco Ahern: to witchcraft. Yeah, it is.
Micah Ruiz: And, and you know, like we're talking about, I have like such a balance of how everything's working that I don't want to question. So I was like, I'm too scared to ask any big [00:30:00] questions because. I, I believe I'm too superstitious to Yeah, I was gonna say. No, I get that.
So I, I have been working really hard on taking lunch breaks mm-hmm. Since I started the shop, I have not taken, I've probably had 10 lunch breaks total in the last three years. I, I don't eat till dinnertime, so I'm working on it. Mm-hmm. And I'm trying to be mindful and I'm failing at it miserably. So I think my question would be, will I start taking lunch breaks?
Shawna Vesco Ahern: All right.
Micah Ruiz: It's a certain,
Shawna Vesco Ahern: okay.
Micah Ruiz: All right. All right. You're gonna have a lunch break today? I'll do it today. Yeah. And the Magic
Shawna Vesco Ahern: Eight Ball also knows that you really do what you put your mind to. Yeah. So if you've decided you are gonna be healthy and take a lunch break, it knows you're gonna follow through on that.
Um, well thank you again for coming on Art Yap. And this kind of Ted Talk and just sharing about your life and your experience. It's inspirational to me and I think listeners are gonna learn a lot from this.
Micah Ruiz: Rad. I really appreciate it.
Shawna Vesco Ahern: Thanks for listening to Art Yap. If you enjoyed this episode, the best way to support the show [00:31:00] is to leave a rating or review. Share art Yap with a dreamer, a maker, a friend. Because good ideas are better when they don't end. For video trailers and sneak peeks, follow us on Instagram at Art yap underscore podcast.
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