Art Space Talk: Don Dougan

I recently interviewed artist Don Dougan. Mr. Dougan is a sculptor who works with a variey of materials. He has had a long career and his work reflects that experience. His work reminds me of tribal alters from another world. My imagination goes wild when I view the forms he has created.

Q. When did you first discover that art would be an important part of your adult life?

A. "Though as a child I had always thought about becoming an artist, I didn’t even decide to go to art school until two months after graduating high school. My parents were not artists but they both made things with their hands, so my handwork was always encouraged. Both grandfathers were architects and painters, and they too encouraged my efforts early on with art materials.

When I graduated high school I was at loose-ends and had no idea what I was going to do with my life, but I followed my intuition and applied to art school. The first semester of art school was very tough — it felt like banging my head on a wall — and though I was discouraged I kept trying. Then, over a period of perhaps two to three weeks, it was like a light-bulb lit-up over my head and I realized the only reason I was there was simply to find out what I could do. I realized the wall I had been banging my head upon was simply a door I wanted to open. By the beginning of the second semester of that first year of art school I knew artmaking was what I was going to be doing for the rest of my life."

Q. How has creating art shaped you professionally and personally?

A. "It enables me to find out who and why I am. Art shapes my life — it is the means for me to discover my own humanity, my purpose. It is both the way I can best understand and best share what I discover about life. Through the process of making I glimpse understanding who I am and why I exist."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Where I came from and my place in society cannot help but affect my art. From a middle class family where both parents worked, I grew-up in an environment that valued education, self-thinking, all the arts, instilled a certain work ethic. Though I rarely do a piece of art that has an overtly social or political theme, many of my pieces contain social commentary — however understated. I think the mind and outlook of the aware individual within society is the first line of offense against the entropic inertia of ignorance, bigotry, and oppression; and that meaningful social change begins and is best achieved within the individual’s own life."

Q. What are your artistic influences? Has anyone inspired you?

A. "I cannot give a simple answer to that question because I feel everything in my life is part of what made me the artist that I am. My parents showed me by example to make my ideas real by using my mind, my eyes, and my hands to express myself. They and my grandparents also provided a wealth of books to read about all kinds of subjects, encouraging my mind to be curious and discerning of quality whatever the outward appearances might be.

Whether written by Herman Melville, Edgar Allen Poe, Edgar Rice Burroughs, Kurt Vonnegut, Andrew Loomis, Agatha Christie; or illustrated with the work of Howard Pyle, N.C. Wyeth, Chesley Bone stall, Charles R. Knight; or about the works of artists like Michelangelo, Grinling Gibbons, Ivan Mestrovic, Elie Nadelman or about natural history, paleontology, archaeology, etc. — each work influenced my art in it’s own way.

Nature, in all her majestic little details, showed me the depths I needed to plumb with my perceptions. And later, after I became an art student, I found the sculptural works of Brancusi, Noguchi, Arp, Giacometti, and Cornell. As a graduate student I studied with bronze and iron sculptor George Beasley who — in addition to sharing much technical information — helped me to delve even deeper and to push myself out of the self-perceived boundaries of what I had been doing.

The list of my influences is constantly growing because my work continues to be a dialogue with the world around me. As far as contemporary artists I am struck by the concepts revealed in the work of Igor Mitoraj, Andy Goldsworthy, Martin Puryear, and Louise Bourgeois —among many others. But I am influenced by historical cultures as well as contemporary work — the remains of artifacts of ancient Egypt, of the Etruscans, and of pre-European contact Native Americans sway my perceptions equally."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "As a child I was fascinated with shells, minerals, and fossils — I collected them along with marbles, chunks of wood, pieces of broken glass, or anything else that caught my eye. I spent more time making ‘landscapes’ for my toy soldiers than I spent actually playing with or moving the soldiers around. I made sailboats and rubber-band propelled paddleboats the workbench in the basement so I could float them in the stream near the house.

Halloween was always a special time as a child when I could make a mask and costume to wear. I learned to make functional things — whether they were the bow and arrows I played Indian with, or ‘jewelry’ for my mother or sister’s birthdays, or a bookshelf to hold my treasures. As a sculptor I still search out natural forms and found objects for my sculpture.

As a sculptor I am still making landscapes and populating them with characters, still making boats, and still making masks. Functional items I make now include custom-made tools for my own purposes, but also the occasional piece of jewelry, or sculptural container, light fixture, or piece of furniture."

Q. How long have you been a working artist?

A. "If you count from when I graduated with a BFA it has been thirty-two years. But in my mind the watershed moment was actually a couple of years later when I completed a 400-pound marble and serpentine sculpture titled Angel’s Kiss. The title referred back to something to a design instructor said my freshman year. He was angrily berating the whole class because we had collectively failed to meet his expectations for a particular assigned project. As part of his trying to get across that we needed to work hard to learn to solve the design problems he said, "Do you think an angel comes down from the sky, kisses you on the ass, and — ‘POOF!’ — You’re an artist?" Anyway, years later when I finished that particular sculpture I felt the sweet paradigm shift and knew that — figuratively — an angel had finally kissed my ass."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I’m not sure I can pinpoint any one thing, partly because of the widely-varied nature of my work in terms of imagery, materials, concepts, and styles. I think the viewers who take the step to become collectors are probably responding to different aspects in the pieces, though perhaps one thing they have in common is a certain reliance on their own senses and instincts. Most of my work is very tactile, and I have always noticed it is difficult for most viewers to resist the temptation to run their fingers over the surfaces of my pieces."

Q. Where can we see more of your art?

A. "My website is: www.dondougan.com My website is a personal effort and design, so is constantly being updated and added-to in terms of content. Though I welcome any inquiries as to sales of my work on the site, the website is not intended or promoted as a commercial site. In addition to providing images and philosophical statements about all the styles and types of sculpture I produce, I use the website to share technical information and images about the historical tools and processes used to work stone, as well as my own personal working techniques.

There are pages covering the process of the low-tech lost wax investment foundry we use when I teach in Italy along with stone sculpture, including examples of student’s work. There is also a section on a couple of basic stone-carving classes I have taught in Finland, again with images of the student’s work.

Though I do not blog, there is a good bit of personal viewpoint presented in terms of artistic concept and process, as well as a bibliographical page covering technical sculpture concerns, and a separate unlinked section I use to supplement teaching my physical stone or wood carving classes."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Currently I am not represented exclusively at any physical gallery, though there are several online galleries that represent my work. I have always submitted to group exhibits with themes that interested me, and I continue to seek out and exhibit in alternative-space venues."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "Though I was represented by several well-respected galleries in Atlanta for over twenty-some-year period, the galleries either underwent new management or closed due to retirement of the owners. In one case the gallery exclusively representing my lip sculptures decided to focus only on artists with an Asian heritage (rather successfully as it turned out) and so I was dropped from the stable."

Q. What trends do you see in the 'art world'?

A. "I have never paid much attention to the trends in the ‘art world’ so much as I follow the output of working artists I enjoy, and am always lookout for new artists’ whose techniques and perceptive eyes provide a dynamic or moving content for me. "

Q. Any tips for emerging artists?

A. "I don’t know if I can offer any better advice than what the late comparative mythologist Joseph Campbell gave, which was simply to "Follow your bliss." Or, what an artist friend of mine, Larry Anderson, said to his painting students "There are two rules for an artist. The first is that artists make art. The second is that there are no rules." Or what a fellow stonecarver, George Graham, says to new carvers, "Keep your chisels sharp." Or lastly, what Picasso once said: "Art is not truth. Art is a lie that makes us realize truth." Sculpting can get very expensive."

Q. Do you have any tips on how to save money?

A. "I scrounge — always on the lookout for the discarded that I can make into art. Stone is so ubiquitous in most locations that finding working material is easy, though obviously one can’t be too picky. On the other hand, I feel one should buy the best tools and equipment one can afford and it will never be regretted. Pawnshops are good sources for good tools at low prices (if you know what you are looking for). Learn to make your own tools, or modify readily available ones to meet your needs. Be flexible in your needs and work creatively with the tools at hand."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "Yes, I have done works which are quite explicit in sexual imagery and some gallery owners or exhibition venues object. Since explicit imagery is not a political statement for me as much as an erotic one, and because I have many more works that are not explicit, I simply exhibit other pieces. When I find an exhibit or venue that is appropriate to the imagery I show the work there. In the rare occasions when my work carries a political content it is usually not overt and requires some degree of perceptual acuity on the part of the viewer. The question of political censorship has not arisen for my work, but whether that is due to a lack of perception or a sympathetic leaning of the venue owner/operator I could not say. "

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "The year it took me to work out the final version of Angel’s Kiss was a very difficult point in my career. I had not yet devised a method for working on multiple pieces concurrently, and that particular piece of sculpture went through numerous design changes before I arrived at the version I was satisfied with.

There were periods that lasted for weeks as I dealt with the sculptor’s equivalent of ‘writer’s block.’ That was the only work I completed that year, and I sweated every bit of it. Though in looking back I find the piece itself not particularly striking or remarkable compared to later works, it was a watershed in terms of my perceptions of myself and my work, and in developing an approach to a method of work that suited the flaws in my own psychology.

Now I never am ‘blocked’ psychologically because I literally have several dozens of works-in-progress at any given time. When I am working on a piece and the next step is unclear or giving me trouble I simply set the work aside and pick-up and complete another work. I keep track of all the works (general working concepts, time spent, dates, costs, materials, etc.) on a database on my computer, which allows me to pick-up the work even several years later.

This way of working allows me to go back and finish the work after my unconscious has had time to develop the answer or intuitive method for the step that was unclear or troublesome earlier. In one sentence... why do you create art? It is a voyage of discovery."

Q. Can we find your art on MYARTSPACE.COM? Not yet.

A. "Although I am a member I have as yet to add any images to myartspace.com gallery."

Q. What can you tell our readers about the art scene in your area?

A. " I live and work in a suburb of Atlanta in the southeast USA. Atlanta is a beautiful city with much to recommend it, but — speaking very generally — perhaps the art scene here could best be seen through the eyes of the local designers/decorators.

The collectors in the area lean towards traditional, somewhat provincial types of décor. And the particular northern suburb where my stone is gravitationally attracted is even more conservatively provincial than other parts of Atlanta.

Artists who do impressionistic landscapes, flowers, and portrait work can be very successful here. Contemporary work with an edge is not overly well-received as compared to the type work more fitted to the traditional conservative design and political values so prevalent here, though there are a few excellent galleries for contemporary art in Atlanta proper."

Q. Does your cultural background play a part in your work?

A. "Of course, but only insofar as my general WASP upbringing was something I rebelled against in my youth, and consider simply confining at this point in my life. But my cultural background certainly gives me a strong basis for communicating to a large segment of that population, even though I hope my work transcends those limits and can speak to more culturally-diverse cosmopolitan viewers."

I hope that you have enjoyed my interview with Don Dougan. Feel free to critique or discuss his art.

Take care, Stay true,

Brian Sherwin

New Galleries: Embedded Objects or URLs

For artists shifting to the new myartspace site later this year, the a "gallery" will have some different features that are important to point out.

First, myartspace will introduce the concept of "portfolios". A portfolio is like a folder on a computer. It contains many images. So a portfolio could be named "France" for photos or paintings done there, or "Egypt" or "flowers". A portfolio is a collection of images and a means of organizing them. A gallery is a collection of one or more portfolios. A portfolio can be used in several galleries.

Second, galleries are "flash objects". The new myartspace site is not solely based on Flash, but the galleries are. Galleries can be integrated into other HTML pages (for instance, myspace, LiveJournal, or your own personal website) in two ways. A URL reference can be used to "link" over to the gallery or javascript code can be used to "embed" the gallery object into your work. While this all sounds a bit technical, it should be easy to master. For those that have used YouTube to host and embed videos, a myartspace gallery will be very similar.

Galleries have an automatic "play" mode when they start up. This means that images begin to appear and the viewer moves from image to image every few seconds. The timing of that display can be controlled. Additionally, artists can supplement their images with an audio narration (that explains a bit about the painting/photograph) or with a music track. At any point, one can stop the autoplay mode and take over the process manually moving to the images they wish to see.

More details will be forthcoming over the next few weeks.

Art Space Talk: Heather Morgan

I recently interviewed artist Heather Morgan. Heather is an artist who strives to reveal the beauty and terror of human existence. She has an eye for the beauty that can be discovered in people who have been 'damaged'. Thus, she finds beauty in weakness, pain, brevity, and struggle. Heather embraces this aspect of human life with a theme of self-creation. She is interested in the fluidity of identity.

The viewer takes on a voyeuristic nature as he or she gazes upon Heather's paintings. The struggle of her figures can be observed in their awkward poses and contorted positions. They appear sickly and broken... yet they have an inner strength that stares back at the viewer. Heather's goal is to stimulate contradictory forces of attraction and repulsion."

Q. When did you first discover that art would be an important part of your adult life?

A. "I began studying Biology in college, but I spent my free time running around town with students from art school. They seemed to be having such a time of expressing themselves. I took an acting class and it was there I discovered that I needed to make something in order to survive the condition of living."

Q. How has creating art shaped you professionally and personally?

A. "Making art does not so much "shape" my profession, as it is my profession. I learned to be personally creative through relentless self-invention, before I was even conscious of such a thing. My work expresses the possibilities of self-creation and then contributes to them."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Society must be endured. And yet it sparkles with the power of individuals."

Q. What are your artistic influences? Has anyone inspired you?

A. "I am inspired by a Wildean wit and a Morrissey tune, the epic pathos of Michelangelo, the threatening qualities of a German Expressionist painting, the seething life in Nan Goldin's scene, the breathtaking snarkiness of John Currin. David Bowie is really the ultimate self-creator."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I come from a background of trauma and violence. This has taught me to be inventive and to be able to mingle all kinds of experiences for the purpose of showing them to others. I want to add a little beauty to the world, made poignant through the pounding of our puny fists."

Q. How long have you been a working artist?

A. "13 years?"

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "The people who collect my work have the knack for finishing the stories that are suggested there."

Q. Why did you choose the medium(s) that you use?

A. "I approach many other areas with the same zeal and sensibility as that of my paintings. I write, take photographs, shoot video, and perform. I studied painting initially with romantic ideas about the Painter, which proved untrue. Painting is not comprised (only) of swanning drunkenly about the city, it is hard work. One could spend a whole lifetime at it, it would seem."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I have an M.F.A in painting/printmaking. It is a terrific conversation starter. As soon as you mention it to someone, they will immediately inform you that they cannot draw. Studying painting was an experience I cherish for what it lent to my abilities. My career can be measured with my coffin."

Q. Where can we see more of your art?

A. "My studio is a pretty fun place to visit. You can have the fur chair."

Q. Are you represented by a gallery?

A. "Most recently I was represented by the oldest gallery in Berlin, Ladengalerie. The director there was a singular force in promoting the interests of figurative painters from the GDR."

Q. What trends do you see in the 'art world'?

A. "I studiously avoid examining what the art world is doing. I just look at the pictures."

Q. Any tips for emerging artists?

A. "Just look at the pictures."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Every point is a tough point, I hit rock bottom every other Tuesday. Don't you?"

Q. In one sentence... why do you create art?

A. "Art is a way to describe the beauty and terror of existence."

I hope that you have enjoyed my interview with Heather Morgan. Feel free to critique or discuss her work. You can view more of her work by clicking on the following link: www.starboy.org

Take care, Stay true,

Brian Sherwin

Art Space Talk: Donald Bruschi

I recently interviewed artist Donald Bruschi. Mr. Bruschi's work is conceptual and contemporary. He explores sculpture, installation, time, performance, and photography by utilizing rays of light. In a sense, his work documents how light can be used to create art.

Mr. Bruschi is known for his 'Light Drawings'. These 'drawings' are time exposure photographs that involve intricate installations and live models that wave neon tubes as the photos are being taken.

The light accumulates on the film with interesting results. In a sense, they are an amalgamation of time and space. Donald documents the outcome as if he were some form of scientist.

These works blur the line between installation, sculpture, performance, and photography. They allow Donald to explore his ideas while pushing technological limits.

Q. How long have you been a working artist?

A. "I made some art/craft stuff in high school that opened the door to art school. I still have some sculptures and prints from the early 1980’s. I got into juried shows starting in 1984. I got serious about art in college and never stopped."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "Ok, let’s look at James at Ask (image above). I set up It’s Just Light: There’s Not Much Too It For my solo show at the Arts Society of Kingston last summer and then did light drawings. I think this was the first morning the sculpture was ready. With light drawing you wave a light source around with the camera’s shutter open. You are working in the dark. The light accumulates on the film. You don’t see what you get until you get your pictures back. It’s with my experience, with film, exposure times, what lens etc, that enables me to get at least a few good shots per roll, usually. I wanted a lot of images because I had to get proofs to the photo printer. I showed three 30"x40" photographs as part of the show. I also projected slides at the opening. I needed good images in a couple of days. There we were, light drawing in a big gallery in front of a sculpture, it was great. I shot a few hundred images over 2 days."

Q. What is your artistic process?

A. "Last fall for my show at the Islip Art Museum’s Carriage House I set up a sculpture and did light drawings. I pretty much had the idea worked out after my show at the Art Society of Kingston. I wanted to do light drawing earlier in the process and with more people. I did my first light drawing in Islip right after my truck was unloaded with the gallery assistant. Next I set up a sculpture, The Un-Great Wall which would be my light drawing stage. Some of these light drawings were shown as part of the show. I did light drawings with a lot of different people as I set up the rest of my show. Some of the people who helped out were Director of the Museum, Mary Lou Cohalen as well as a few of the other artists. Someone walked in looking for the previous show, next thing she knew she was light drawing.

The other part of the process is the actual sculpture or installation. I work with light in my sculptures, an important my sculpting process is about what the light will look like and how it interacts with the rest of the sculpture. Presently I am working with light coming out of the negative spaces of I-Beams. I also work with stone, steel, wood and other materials. I have a piece with a tree in Exit Art’s City Lights show right now. In Idea Under Construction I use all types of stuff to create a workshop in which sculptures appear to be under construction. I fabricate most of my stuff. I make my own neon, I weld, work with metal, wood, I make all sorts of stuff."

Q. Why did you choose the medium(s) that you use?

A. "I think they chose me."

Q. How has creating art shaped you professionally and personally?

A. "Being an artist, for me, has really made me look deep inside at a number of things. How far one can push and develop ideas is amazing. I get a lot of enjoyment as I see my skills improving. The quality of my work this summer was really good, I spent time with the fit and finish; it looked great. To keep going is a testament to believing in yourself. Its just common knowledge that you’re not going to get into every show, every gallery or have every proposal accepted. Once you accept that you’re past the point of no return. Basically my life revolves around art."

Q. What are your artistic influences? Has anyone inspired you?

A. "I’ve always been inspired by Fred Tschida, one of my professors at Alfred University. Through Fred I learned about conceptual art, that you could follow your ideas and the final result might be art. The process and the documentation of the process could also be art. I’m mostly inspired by conceptual artists who broke new ground. Jackson Pollack is a good example. The guy decides to throw paint around and the rest is history. Marcel Duchamp too. Duchamp says anything can be art, I say then anyone can make art. That’s why it’s important to do my light drawings with many different people. At the Islip Art Museum last summer I did Light Drawings with a gallery assistant as soon as the truck was unloaded. I also like Tim Hawkinson, Tim Noble and Sue Webster, Jason Rhodes, Damien Hirst. My favorite painting is Architects Dream by Thomas Cole. A lot of people inspire me, I like to keep an open mind."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today?

A. "I like the world we live in and my art is a statement about that. You could not make the stuff I make without photography or electricity. My work is a reflection of my mental, physical and technical state. Some of my heroes outside of the art world are Albert Einstein, Einstein studied light amongst other things. I am fond of Nicolai Tesla and Thomas Edison, both tireless inventors who worked with light, electricity and mysterious phenomena. The last book I read was Benjamin Franklin’s Autobiography. Franklin was an extraordinary person on many levels, and, oh yea, he experimented with electricity."

Q. Do you have a degree or do you plan to attend school for art?

A. "I earned a Bachelor of Fine Art degree in 3 Dimensional Studies from the New York State College of Ceramics at Alfred University in 1983. Alfred U is a great place. I worked with professors who taught craft and technique as well as concept. Aesthetics were up to the students. My professors were supportive and open minded. I have remained friends with some of them and could show up at their houses tonight and be welcome to stay."

Q. Where can we see more of your art?

A. "I keep my website pretty current: www.donaldbruschi.com You can see more work there. I have a few shows in the works, I post upcoming shows on my website."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "My website has a links page. You can check places I have shown at as well as some art organizations."

Q. What trends do you see in the 'art world'?

A. "To me it looks like we are in a period of individual expression. There are sooooo many artists. It’s not like Europe 100 years ago when Impressionism or Cubism blossomed. I see more creativity and innovation than a unified approach. With the technology I can see work from all over the world in an instant. I see the Internet as a huge resource, you’re reading this, aren’t you? The Internet is phenomenal for finding out about shows, I remember getting Sculpture Magazine in the 80’s and a lot of the deadlines had passed before it was even printed. It’s important to know where we with technology as well as art history."

Q. Any tips for emerging artists?

A. "Make art the most important thing in your life. Believe in yourself, keep pushing, be open minded and keep reinventing yourself. Search for materials, techniques. processes and imagery that you resonate with. Read the writings of other artists. Don’t be afraid to throw stuff out. Dennis Oppenhiem said (in the 1960’s) after a show they would just throw out what didn’t sell. Get involved in local arts organizations, hang out with other artists, share ideas and resources."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "I haven’t been far enough away from rock bottom to know. Its not like I ever thought of giving it up but everything is still a push. I get shows, I have a nice, well equipped studio and stuff. I was at an opening in Chelsea, NY last month. The artist sold about 10 $75,000 paintings before the show even opened, I was inspired. I could use a show like that!"

Q. In one sentence... why do you create art?

A. "I am on a journey, I think of stuff, develop my ideas, people put my work in art shows, I get feed back and I’m off to the next step; it’s a thrilling and stimulating ride, I have met and worked with incredible people."

Q. Can we find your art on MYARTSPACE.COM?

A. "Yes, under DonaldBruschi. Or look in the Installation or Sculpture section"

Q. What can you tell our readers about the art scene in your area?

A. "I live in New Paltz, NY a small town with a bit of an "artsy" reputation. We do have a nice arts center: Unison Arts, as well as SUNY New Paltz with the Dorsky Art Museum and a Fine Arts program as well as other places that show and support the arts. I also belong to the Arts Society of Kingston. Kingston is a small city and has a more vibrant and eclectic arts community. I can be in NYC in an hour or so; with it’s too numerous to mention museums and literally hundreds of galleries, NYC’s still the "Place"."

Q. Is there anything else you would like to say about the 'art world'?

A. "It’s a great place to be!"

I hope you have enjoyed my interview with Donald Bruschi.
Check out his work on the main site by searching for DonaldBruschi.
http://myartspace.com/ Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Maia Simonia

I recently interviewed artist Maia Simonia. Maia reveals her subtle vision in each work of art she creates. Viewers have noted that her images have a 'Zen atmosphere' about them. In a sense, she adds serenity to her work with every stroke of paint.

One interesting aspect of Maia's art is the fact that she combines traditional and modern techniques with her paintings. You can observe the old and the new clashing together to form lively images when you view her work.

Q. When did you first discover that art would be an important part of your adult life?

A. "I was 8 or 9 years old, when I start painting. It all happened quite naturally."

Q. How has creating art shaped you professionally and personally?

A. "Art lives everywhere where practical or emotional necessity provokes the process of recreation of the inner or outer world. Creation is a living process, which certainly shapes anyone who’s fully dedicated to it. Any profession has the same principle.

Then, as an apple tree can bring nothing more than apple, as well all artists create according to only what they contain. Art for me is a mirror that portrays the true self of the author. Actually, all arts have began from the need in materialization of the reflections formed in mind, for making it visible, tangible and (at the later stage of evolution), discussable. By any means, man needs to see the reflection of his physical and non-physical self." ….

Thus, I can observe and discern myself through my art, which can help me in my further personal development. However, for personal development it is not the only the way and not so simple ether."

Q. How has society influenced your a intentions art? Are there any social implications in your art?

A. "There certainly are, though the influences are not recognizable in my works.

No matter how integrated we are or not, we still are a part of the society, which has its conditions and structure, meaning that we automatically are involved in it, thus influenced too. Is not it so, that the interaction is the basic low of nature? Everything influences everything…But of course degree of influence depends on the character and source of the influence itself and on the maturity, experience and the knowledge of the person who meets it.

One who is aware of basic principles of life is emotionally more resistive from rough influences. Although, very important to stay flexible and open and vigilant, otherwise there is a great danger of stagnation or delusion. I think even the hermits are not completely protected from the insidious influence of the society."

Q. What are your artistic influences? Has anyone inspired you?

A. "Yes, the beauty of the great mind, which contains many other noble qualities, is the most inspiring phenomenon for me. Beautiful mind can encounter you in any corner of life. Can be shaped in any forms, and has many languages. You could meet it equally as in a shoemaker, Plato, or Dante and Giotto, …………Tesla or the street beggar in your neighbourhood who might have rather wider thoughts and a dignified soul than we can ever imagine. Anyone can be an influence and anyone can inspire.

Recently my friend Luciano sent to me this beautiful metaphor:

"Do you know why the ocean is so large and limitless? Because Ocean is humble: by holding itself lower than all the rivers, it receives all their waters."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I was brought up in the environment of mathematicians, physicists, and engineers from where I gained a great love for sciences and mostly for philosophy. I had a golden childhood. After, my independent life I went through heavy storms. Nevertheless, I am grateful to it because due to the practical experience my theoretical knowledge became vivid. I have partly fought with my "William Wilson".

In my works those experiences are not literally reflected, but they are."

Q. How long have you been a working artist?

A. "Long enough, though I had some gaps in between that were determined by uneasy circumstances."

Q. What is your artistic process?

A. "What to say? It is never the same."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I have degree from the Tbilisi (Georgia) State Academy of Fine Arts, and three years study experience at the Rietveld Academy of Modern Arts, in Amsterdam.

Study has helped me in acquiring of skills. But the question of career is purely my own task and it is a continues process of practice and perfection."

Q. What can you tell us about the art department that you attended?

A. "At the Fine art Academy in Georgia, we were taught in classical way. We had 5 hour painting and 2 hour drawing lessons every 6 day per week. In between, we had all kinds of theoretical lectures including the lesson in the defence, where we were studying the defensive methods for the possible military attack from USA.

At the Rietveld Academy in Amsterdam, I was willing to learn the much about modern art, which I did, although it was much to much to talk about. It was an extended process of real action in making art.

After all, I became more convinced that making good art is not up to where we get our education but up to the personal capability and profound dedication, good art doesn't need to disguise under the veil of the trends."

Q. Where can we see more of your art?

A. "At www.freewebs.com/art-maia/ the temporal site before I construct the new one."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. "No. Not at the moment."

Q. What trends do you see in the 'art world'?

A. "I follow the hot discussions between modern and classical or common art representatives and their curators. None of them could win the battle over what is true art. That often fail to understand that true art can be born from both sides.

It is obvious that there is the tendency of manipulation of the art market. This is a syndrome of the entire world and it pervaded in every single field. Seemingly, some influential figures conduce in determining the standards of art and even try to influence the direction of further development of art, but what is their premise? Benefit? Pride?

However, despite the tendencies of today, I do strongly believe that at the end nobody can control "art" as nobody can control any process of evolution in nature, simply because, that, "creation" is the initial and most powerful element of the universe.

The eternal rebirth of "logos" (idea) tends to gravitate only with the receptive soul and mind. That is the cradle of art. This alchemy cannot be ruled or intruded by profanes."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "I was only censored when I was a student. I painted Apollo and 9 naked dancing muses. Officials dismissed me from the exhibition."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Tell me who hasn’t."

Q. Can we find your art on MYARTSPACE.COM?

A. "Yes. See Maia-art"

Q. What can you tell our readers about the art scene in your area?

A. "Due to modern technology the world has become tighter; the process of globalization and information exchange has reached everywhere. People are well informed and tend to follow recognized and established values. What happens in the Netherlands happens in the USA."

Q. Does religion, faith, or the lack of either play a part in your art?

A. "Something like that nature does play an indirect role in my art. Maybe it sounds too loud and silly but for me religion is a philosophy or an idea motivated by keen interest in finding the understanding of truth. Do we know what the truth is?"

Q. Does your cultural background play a part in your work?

A. "Certainly!"

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "I wish persistence and good luck to every artist! In addition, at the end I want to bring my gratitude to you Brain, for your interest in my works!"

I hope you have enjoyed my interview with Maia Simonia. Do a search for 'Maia' on the main site and you will find her work. http://myartspace.com/ . Feel free to critique or discuss her art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Yiu Keung Lam, Marco

I recently interview artist Yiu Keung Lam (Also known as Marco). Yiu's art is marked by his bold use of expressive techniques. Strong use of line and painterly strokes define the images that he creates. He values the exploration of color and marks upon the canvas.

There is a story of pain and struggle behind Yiu's art. This is one emerging artist who truly has a voice behind his work.

Q. When did you first discover that art would be an important part of your adult life?

A. "About four years ago, in one occasion I seen one TV program introduced about Monet, I found his work really amazing and gave me great impression. After that, I decided to take a one year course in Fine Art, and I felt more and more interested about Painting after the course."
Q. How has creating art shaped you professionally and personally?

A. "I'm not work in Art industry, therefore Art means to me is all about personality development. I feel complete and find satisfaction whenever I'm painting and connecting with anything related to Art."

Q. How has society influenced your art? Are there any social implications in your art?

A. "In my Art, I don't have any specific theme, however it's naturally some similar elements come out from my mind and being expressed via my Art, which is "struggle with the Fate", I don't know the exact reason but I guess it most likely influenced from my life experience. I usually have strong feeling about negative issues which happen in society."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are so many Great Artists influences me, like Lucian Freud, Francis Bacon, Vincent, Egon Schiele and Paul Gauguin etc. I like the way they were focus on humanity rather than technical. And I like the primitive colours they used to express their emotion."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I didn't have a degree in Art study, I just studied Art in one year diploma course, so it is so difficult for a people like me to enter the Art industry in Hong Kong. However, my tutor who studied Fine Art in UK has inspired and influenced me a lot and he always encourage me to be a Professional Artist. Therefore "Struggle with the Fate" is a message I always express in my work."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I hope for those who can understand my message in my painting and read my mind would collect my art."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "I would like to discuss "Mother and Son". When I painted this piece, I was thinking about the tough life my mum went through when I was a kid."

Q. What is your artistic process?

A. "I'm planning to hold my personal exhibition, so I'm working very hard on it now."

Q. Why did you choose the medium(s) that you use?

A. "I choose Oil as my painting material as I find there is no limitation on Oil creation, at least for me."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "As mentioned before I don't have a degree and I don't have any plan to attend school for Art yet. As firstly I can't afford to be a full time Art student, and secondly I still think Life experience can inspire me a lot in my painting instead of keep myself in Art school. However, if one day I can afford the time and money maybe I'll still consider to study art in School."

Q. Where can we see more of your art?

A. "You can visit the following website (although currently the service is suspended and will be resume service around Dec) :

.....http://www.hkartlife.com/marco.htm Which was established when I was studying in Chinese University and apart for my own works, it also contains those art works of my ex-classmates."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I'm not represented by any gallery yet. I was attending two exhibitions as a group before and I'm planning to hold my first personal exhibition next year."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "2005 March Graduation Exhibition of the 6TH Certificate Programme in Fine Arts 2005 Nov "Confused" Fine-art exhibition in First Institute of Art & Design Gallery(Design First Gallery) Hong Kong (their website : www.designfirst.edu.hk)"

Q. What trends do you see in the 'art world'?

A. "I think although it's so popular to add some technical elements into Art by computer, but the trends will eventually going back to primitive style painting in Art scene."

Q. Any tips for emerging artists?

A. "I think only few genius are born to be Artist, the rest of the people in the world has to go through a long way and much life experience to be a famous artist. Nevertheless, I think it's still very hard for a people to be emerged as Artist in a commercial city like Hong Kong. Therefore I think the only way people in Hong Kong is to approaching different knowledge as much as possible, it helps to open our mind in creativity as the Hong Kong Artist I seen are usually follows the China Scene, American Art Scene or else, we don't have our own style."

Q. In one sentence... why do you create art?

A. "I like to express my emotion and my resentment of my society directly from my Art piece."

Q. What can you tell our readers about the art scene in your area?

A. "I'm from Hong Kong and I think the Artists here are not being respected. And I don't think there are sufficient people here can truly understand Art as the majority here only keen on commercial entertainment."

Q. Does your cultural background play a part in your work?

A. "A little bit."

I hope you have enjoyed my interview with Yiu Keung Lam. Feel free to critique or discuss Yiu's art.


Take care, Stay true,

Brian Sherwin

Art Space Talk: Jesse Richards

I recently interviewed artist Jesse Richards. Mr. Richards is a punk film-maker, painter, and photographer. He co-founded the Remodernist Film and Photography movement and was a member of the Stuckist art movement from 2001 until 2006.

Mr. Richards was a contributing artist at the 'Stuckists Punk Victorian' exhibit and the 'Triumph of Stuckism' exhibit. In 2003 he co-produced a short film called "Shooting at the Moon", which premiered at the New York International Independent Film and Video Festival.

Jesse's work is marked by what can only be described as 'street truth'. His work may seem crude to some, but at least it is honest (sometimes brutally honest.) This honesty is captured by his ability to convey human behavior and struggles with each shot from his camera



Q. When did you first discover that art would be an important part of your adult life?

A. "I guess when I figured out that I communicate better by making a film or taking a photograph or painting a picture rather than talking to people because I get shy and miscommunicate what I mean or just chicken out of talking at all. I’m fine about talking once I know you but sometimes its tough for me to get the ball rolling."

Q. How has creating art shaped you professionally and personally?

A. "I think it has helped me get away from lying as much as I did when I was a little boy."



Q. How has society influenced your art? Are there any social implications in your art?

A. "Maybe, maybe not. Some people have told me that kind of thing about my films and paintings and so forth, but its not something I think about when I’m making something, nor something I would have the slightest clue about afterwards. But I think its safe to say that what you make is affected by who you are and the world that you live in, whether you mean for that to happen, or not, or just don’t notice."

Q. What are your artistic influences? Has anyone inspired you?

A. "Painters I like: Die Brucke group of German Expressionists, especially Schmidt-Rottluff, Nolde, and Kirchner; Vincent Van Gogh, Edvard Munch’s late paintings of models in the studio, a lot of Post-Impressionism, Billy Childish, Joe Machine, Wolf Howard, Philip Absolon.

Filmmakers I like: early Godard and French New Wave, no wave and punk film like Amos Poe and Nick Zedd and Wolf Howard, also FW Murnau, Carl Th. Dreyer, Yasujiro Ozu, Aki Kaurismaki, Wong Kar-wai, Nicholas Ray, Jules Dassin, Robert Bresson

and music is very inspiring, like old blues and gospel and punk and Tom Waits- I could go on forever so I’ll just stop here."



Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Ok so I was adopted, I lived with very elderly foster parents until I was almost three and I’m sure they were nice and meant well but I have these very early memories of feeling lonely- actually my whole life I’ve felt a sort of loneliness deep down, even when I’m pretty much happy- that probably ends up somewhere in what I do. Anyway I was adopted at almost three years old by a great family that loves me very much and is thankfully not crazy at all, but I guess the stuff prior to that had an impact.

And then other than that there are things- images, feelings, ideas that you get obsessed with and they get into what you do, sex, women, slow dancing, cigarette smoke, dogs, fighting, loneliness, driving, the vulnerability that you can feel when you’re naked, music, the ocean, dirt. But it is really hard to know exactly where these things come from, why these obsessions matter, and how they fit in exactly."

Q. How long have you been a working artist?

A. "I’ve been making films off and on since I was a teenager- a good amount of them got destroyed in a basement flood in 1998. I began messing around with photography off and on since I was in film school in the mid-90’s and then I started painting after I got arrested in 1999 for destruction of property and reckless burning. I lit someone’s KISS t- shirt on fire and through it out a window. Anyway, it landed in a dumpster unfortunately. So after that mess was over and the charges were dropped I turned to painting to try to help. I’m not one of those people that thinks painting or filmmaking or any of that will save you from who you are-that is a bunch of crap I think- but sometimes it can really help a bit."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Usually younger people- teenagers and people in their 20’s and 30’s are the people who seem interested in what I do- a lot of punks, and goth girls, people that listen to Tom Waits or Billy Childish also. Once a child psychologist in Liverpool bought a painting- I wonder if it is in her waiting room. But actual collectors I don’t know- I don’t sell tons of work- I’m not a good business guy. I don’t make much effort at selling myself or what I do, and I’m not exactly a prolific painter so, my stuff is priced high ‘cause I don’t make a hell of a lot of paintings- there are more unfinished than finished and when something is done and done right it is hard for me to say goodbye to it, so if I do I want to pay my rent for a while."



Q. Discuss one of your pieces. What were you thinking when you created it?

A. "I made this Super-8 short film called "Shooting at the Moon" with my friend Nic Watson. We co-wrote and co-directed it. It was about these two people who were at the end of a relationship; they were together still but didn’t believe in love anymore. The guy drank too much. The girl just began not to care.

It was a big change for me to make this film, because before this there was usually nudity in my films, and I wanted to do something opposite- in this the couple doesn’t even kiss- they almost do while dancing, but then it doesn’t happen.

While making this film I guess the main thing we were thinking about accomplishing was to express this emotional experience, and have people really feel it, and not to get to complicated with story or anything that would distract from this feeling we wanted people to have while watching the film. I think for some people this worked."

Unfortunately the film is not online at the moment, but I have a still of them dancing and almost kissing that you can see."

Q. What is your artistic process?

A. "I try to work as quickly as possible with whatever I’m doing and to rely as much as I can on my intuition. Otherwise I begin to second-guess myself before I’m finished and that can be a terrible trap to get into."



Q. Why did you choose the medium(s) that you use?

A. "I started off making films- that was always the most exciting to me. I began painting, and photography and directing plays and acting after that for a few reasons:

To be a better filmmaker by doing these other things.

To blow off steam and have another way to do stuff but without knowing anything about it (not being trained as a painter/actor/photographer) and therefore not having rules or preconceived notions or professional aspirations to get bogged down by.

And within these things- for painting I like oil paint, its messy and feels real and is more satisfying to me, for filmmaking I like shooting on film, especially grainy film like Super-8 or 16mm, for photography I shoot film and have recently gotten into Holga cameras and pinhole cameras because there is an older and sort of spontaneous quality to the pictures they can produce. I also need to get an older Polaroid camera at some point for the same reasons."



Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I went to SVA to film school for two years. The first year was great, I did stuff that I was happy with, I had professors that were intelligent and inspiring and enthusiastic. The second year I had bad professors who obviously hated teaching, and were pissed off by it, they were not supportive for the most part and my work got shitty (or at least was not feeling truthful to me), I began to lose my love of filmmaking and I drank too much and got depressed and had a breakdown and left. I still feel a bit guilty about it. I still don’t know if I did the right thing or not. Anyway it took a year or two for me to want to make another film after that."

Q. Where can we see more of your art?

A. "Film stills, photography and paintings are here:
http://www.cuntyscoundrel.com/
http://www.remodernist.com/ "

As I mentioned before we’ve gotta get the film clips back up- we had some problems with them, but otherwise you can find stuff there."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "No I’m not represented by a gallery- I’m wanting to pick specific shows and projects and so forth to be involved in as they come up if they’re interesting. Right now I’m planning to have some Holga photos in Johnny Brewton’s next issue of "Bagazine". Johnny runs X-Ray Books Co. and recently did the art direction and design for the new Tom Waits 3 cd set. I will hopefully also shoot some pinhole photos that I’m happy with for an upcoming book including work by various pinhole photographers at Urban Fox Press. Lastly I’m trying to put together a punk film DVD compilation including films by myself, Nick Zedd, Harris Smith, Wolf Howard, and no-wave filmmaker Amos Poe."



Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "I’ve shown stuff (films, paintings photos) in various places, but the two I liked best were "The Stuckists Punk Victorian" show for the 2004 Liverpool Biennial at the Walker in Liverpool and the Remodernism show that I was in at CBGB’s313 Gallery in New York in 2005. The Walker show is still online here:

http://www.liverpoolmuseums.org.uk/walker/exhibitions/stuckists/index.asp
The most enjoyable film screening I had was of "Shooting at the Moon" at the 2004 New York International Independent Film and Video Festival."

Q. Any tips for emerging artists?

A. "Try not to think you’re hot shit ‘cause you paint or make films or whatever it is you do. At the same time always tell the truth in what you do, or at least tell whatever the truth is from your perspective. This way you’re probably guaranteed to remain financially poor but you won’t have to feel guilty for being insincere. And try not to think about it as a "career" or yourself as a "professional"."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "No it hasn’t, and if it were I’d quit whatever show or thing it was, or fight back. But at the same time if its something that might upset a child then I have no problem with a warning about content being posted, as with what happened at "The Stuckists Punk Victorian Show" which if anything was pretty much harmless to the show if not a bit silly. But if they had removed the paintings that were a bit racy, I think many of us would’ve taken our stuff off the walls and called it quits on that show. Now you’re wondering about the paintings- one was this intense painting by Joe Machine of sailors having violent anal sex. Joe is probably my favorite of the remaining Stuckists- he does not mess around and because of his fearless paintings, people sometimes get a little riled up. Another one that I think concerned some people was a great one by Wolf Howard called "Being on the Dole Is Like Playing Chess with Hitler". I think people get worried and are apt to misinterpret things that use this kind of imagery and some people may have misread it, or at least were not happy to see a painting that included Hitler as a character."



Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Well I don’t have a career as a filmmaker or a painter, and don’t want one in that sense. Once something is work I begin to hate it. (Although it is good to have money to eat and buy film and paints and canvas and so forth). But the toughest part about making a film or painting or what have you is when I’ve put a lot of heart and time into something and it comes out feeling phony. That is frustrating as hell.

It is also difficult sometimes to find models, actors, etc. for things especially when there isn’t money involved. Then you have to find people that really are enthusiastic about what you’ve done and want to get involved for that reason. Money can spoil a lot of these things. Also when you pay someone to be photographed it makes it feel, I don’t know, less authentic? I guess that’s the word I’m looking for."

Q. In one sentence... why do you create art?

A. "Because I have to, even if nobody looks or cares- and beyond that its sort of impossible for me to verbalize."

Q. Can we find your art on MYARTSPACE.COM?

A. "Some of my photography is on there. I put a gallery of paintings up twice and twice it disappeared. The internet and computers are not my friends. You can find me under my name- Jesse Richards. Someday I will try to put the paintings up again."



Q. What can you tell our readers about the art scene in your area?

A. "Right now I’m in Western MA, while my girlfriend is finishing school here. We just arrived recently and I’m not really involved in the art scene here yet, but Northampton seems to have a bit of a scene. I used to live in New Haven, CT. which had sort of a negative art scene. New Haven for me always felt like a place where something exciting was about to happen, but then never ever did. I don’t mean just for myself, but in general. It seemed like any time that anybody did anything worth a shit they would either get attacked, ignored, or ridiculed and eventually they would say fuck New Haven and do their stuff in New York City or Philly instead where people actually care about things."

Q. Has politics ever entered your art?

A. "Only in the sense of knowing that life is fragile and short and I need to be honest when I do something because- who knows? I’d rather not do anything at this point rather than do something that felt insincere. I guess that’s not politics exactly but more a feeling about the world? I don’t know…."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "I guess I’ve said what I can for now, but if any of your readers are interested in what I do and want to get involved, collaborate, pose for Holga photographs or whatever or just feel like saying hi- please feel free to contact me via my website.



Jesse Richards

Outlaw Painting, Film and Photography:

http://www.cuntyscoundrel.com

http://www.remodernist.com

And see a new painting on the Saatchi Gallery website:

http://www.saatchi-gallery.co.uk/yourgallery/artist/details.php?id=537


I hope that you have enjoyed my interview with Jesse Richards. Feel free to discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kathy Ostman-Magnusen

I recently interview artist Kathy Ostman-Magnusen. Kathy is highly skilled artist who has worked in a variety of styles. She utilizes many techniques to create her images. Her work is marked by a bold use of color and a real sense of line and composition.

The majority of Kathy's work is highly focused on the female figure and identity. She captures the daily lives, fears, and desires of women with her work The end result is a collection of images that reveal the strength and sexuality of womanhood.

Kathy is also interested in the mystical side of life. Thus, she paints images of angels, mermaids, and fairies. Her goal is to give life to these creatures through her work. These works often convey a message of spirituality to the viewer. The artist and her creations share one soul.

Q. When did you first discover that art would be an important part of your adult life?

A. "Several years back I worked at a craft co-op in Santa Barbara. It was the first time I realized that there was real money to be had doing crafts. There was a potter in the co-op who was making consistent sales. My ex husband made me a wheel, we took an Adult Ed night class and learned how to throw. After about the 6th class, during a question and answer session, my ex announced that we were going to make our living doing pottery. The whole room grew dead silent and everyone looked at him stunned with their mouths open...iINCLUDING ME!

We did in fact quit our jobs some 6 months later, moved to the mountains in N. California and did just that.

I just want to interject however that I don't consider the 'production' of anything as art, rather a craft that stems from art."

Q.How has creating art shaped you professionally and personally?

A. "The souvenir pottery business gave me a lot of know how. One small step at a time while asking A LOT of questions along the way gave me a wonderful education and confidence.

Production pottery, production anything for that matter, is a soul robber. While I gained marketing tools and learned that to achieve my goals I needed to be a self starter, I also realized that money can turn someone into a machine. I painted during all of that time but I did not feel the freedom of expression I have found since I walked away from that business.

Marketing something that is mass produced, even though completely hand made is easier to handle than marketing art, from the heart. You take it pretty personally if someone rejects your soul on canvas. I find myself vulnerable to criticism but because my goal is also marketing my art I accept it. I want my work to get better and criticism is a part of that. I might cry and feel pathetic for a few days but then I press forward. I think I am a more balanced and centered person because of art. I AM also pretty spacie at times but as an artist but I don' apologize for that, it is just me going within."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Several years ago I was at a crafts fair with my pottery. I had two of my paintings there that I was delivering to a nearby gallery. These paintings were from my "Erotica Series". This series really does not show anything that might offend anyone except for the expression on the face or the setting, i.e. one of my pieces is "Lap Dancer", yet she has her hands over her breasts. The paintings at that show were much tamer than that though. A man came up to me quite upset and wanted me to take the paintings away. I asked him, "Why?" What did he think he was seeing? He had no answer because he was only seeing the suggestion of what he felt was wrong. He became very flustered and walked away. I must confess I kind of got off by toying with him, but that is not the reason I paint my "Erotica Series". I continue adding work to that series because I paint women in all contexts and scenarios and I just don't think sex is a bad thing.

I have many ongoing series; Hawaiian; African; Cosmopolitan; Fairy's and Mermaids; etc. My ethnic paintings have social relevance because history vrs.society is implicated by the subjects expression and attire. An example of this is many of my Hawaiian paintings are taken from historical photos during a very dark period for Hawaiians. They lost their land, their Queen and their culture in one clean sweep. Their faces reflect the emotions that anyone would feel under such oppression. I paint my African Series in a different context. My goal in that series is to paint triumph, pride and strength. My mermaids and fairy's convey the hope for magic that we all long for. I just think we are multi dimensional and should not limit our thinking. We have all struggled in one way or another and should try to relate in some way to others in their sorrow or fresh awakening to fantasy."

Q. What are your artistic influences? Has anyone inspired you?

A. "Gustav Klimt, I have a series called "In Search of Klimt". I have tons of books that go on sale at Borders or wherever. Da Vinci and Michelangelo live in my house along with all the impressionists. I comb emotional content from anything I see including children's drawings. Art is everywhere and in everything. If a child or even an adult comes to me with a ball point pen drawing there is redemption in it and I look for that. When I find it, I find their heart and mine.

My husband has inspired me a lot because he believes in me and encourages me to create. I have a few friends like my friend and web-master Carrie who encourage and believe in me as well. They aspire to inspire and their gift to me is remarkable."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I am a self taught figurative artist and illustrator. I believe that talent is passion and desire and the rest is practice. I also feel that anything can be learned from a book and inspiration is found even in a fallen leaf.

As I already said I owned and operated my own souvenir pottery business in Northern California. I had eight contracted workers and one full time shipper. Products were created, hand sculpt, wheel thrown and personalized to meet each clients specific needs. My company shipped to most National Parks, Disney World, J C Penny and over 1000 specialty shops all over the US. After 20 years in the souvenir business I decided to focus on her painting and sculpting."

Q. How long have you been a working artist?

A. "When I was a little girl I actually peddled my work to neighbors. I have memories of charging my mothers friends a nickel for my theater shows and art lessons for their children.

A true marketing sense came to play when I had my pottery business though."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I think they relate to my passion. We seem to long for the same rainbow or dream."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "Anticipation" 36x24 oil on canvas, dated, Sept. 1998 part of my "Passion Series" was actually a breakthrough piece for me. I had been painting my "Victorian Series" for months, spending hours on modulating the colors. I paint a lot from photos. My goal with the "Victorian Series" was to put in as many colors in the skin tone as I could. Looking at a photo or life long enough a lot of colors begin to show themselves that normally go unnoticed. Modulating many colors I became frustrated and board after finishing 10 or so of them. I had a canvas that I had painted a dark blue and decided that maybe it would be ok to just play.....and not modulate at all. I found a picture that I liked, studied the colors, filled my brush a fresh for each stroke and applied them to my canvas. I have not modulated since. I continued painting with this color palette naming the series "The Passion Series". I still tried to fit every color in the rainbow on my palette as I do to this day adding small nuances wherever I can. I would add here too that the series before "The Passion Series" was "Hawaiian Legacy" which is predominantly done in sepia, tones."

Q. Why did you choose the medium(s) that you use?

A. "I use oils mostly because I think they demand more respect . I love new things and being versatile so I play around with many mediums; clay and metals; watercolors; silk; sand blasting and chemical glass etching and acrylics."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I continue to attend "The School of Possibilities"."

Q. If you have a degree, how influential was the school where you studied?

A. "I have taken very few classes. I took art in High School but was not considered to be noteworthy in any way. I never actually learned anything there. High School...ug! I took a sculpture class at a Jr. College that I loved. I learned how to make a great patina in that class."

Q.Where can we see more of your art?

A. "My website:
http:www.kathysart.com

Monkdoogz Urban Art
547 West 27th Street
New York, NY
http://www.monkdogz.com/

Morris Library
UC Berkley, CA.

Wailoa Center
Wailoa State Park
Hilo, Hawaii

Makana Lani
116 Kamehameha Ave.
hilo, Hawaii

Aloha Outpost
Pahoa, Hawaii"

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "The above are all ongoing except for Monkdogz Urban Art. I have a show coming up there early 2007.
http://www.monkdogz.com/"

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "I have been in a whole slew of different galleries that have taught me different things. One being get it on paper! Another being keep in contact with the gallery owner, they may just disappear one day with all of your paintings."

Q. What trends do you see in the 'art world'?

A. "I see more and more passion especially on My Space. I am in awe of some of the artists on My Space and feel my passion validated by them. People seem to be into more color."

Q. Any tips for emerging artists?

A. "It all depends on where your heart is. You can create business around anything that you love and believe in. You have to believe in yourself. You have to decide when you wake up in the morning that every part of you is about art and you have to act on that. There is no such thing as writers or painters block and you need to accept that. It is all about passion and pressing forward and getting better. Notice your competition but connect with who you are 'more'. Play! Have fun with your gift because it is just that, a gift."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "Oh yeah! It still is. I have tons of paintings that, ' where are ya gonna put them?' You still have to paint or sculpt them though or you will stunt your emotional growth as an artist and human being for that matter. I have private showings for some of my "Erotica Series" Monkdogz Urban Art has and will again show my "Lap Dancer"."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "When I left my pottery business and ex husband. I walked away with ten boxes, my easel, paints and canvases. I had become brain dead doing 120- 180 face mugs and comical souvenirs a day. It was a choice to walk away. It took me a few years to find myself again. I am getting closer to that point of getting back the little girl inside of me, who started making paper dolls because she loved it."

Q. In one sentence... why do you create art?

A. "I can't help myself."

Q. What can you tell our readers about the art scene in your area?

A. "Hawaii equals tourists and that is pretty much the story except for a few galleries and the art councils.

I have been very involved with the art groups on Kaual. The artists on Kauai are some of the best you will ever see. There is a very strong feeling of camaraderie between artists there. Some would say they have cliques like any art group but I have a theory about that. Bring chocolate chip cookies, wear a big smile and volunteer. I wrote an article on being rejected from art shows, that include my cookie recipe, that can be found at: http://www.buzzle.com/editorials/2-14-2006-88942.asp called, "Juried Art Shows; Nothing Personal Girl! " or just type, Juried Art Shows; Nothing Personal Girl! on google and it will pop up several times.

Artists Groups on Kauai:
Garden Isle Arts Council
sponsored in part by The State Foundation on Culture and the Arts, Hawaii.
Kauai, Hawaii

I was President of GIAC 2001-2002
I am still a member

Kauai Society of Artists
sponsored in part by The State Foundation on Culture and the Arts, Hawaii.
Kauai, HI

I served on the Board of Directors 2001-2003
I am still a member "

Q. Has politics ever entered your art?

A. "I am VERY political but don't paint it except for the reference to historical Hawaiian oppression that I mentioned before."

Q. Does religion, faith, or the lack thereof play a part in your art?

A. "In some of my work like with my "Mermaid Baby" series, or "Euphoria' from my "African Series" I try to convey magic and hope and fantasy. The belief that yes the Tooth Fairy is well and comes often despite your grown up doubting."

Q. Does your cultural background play a part in your work?

A. "I am Swedish and Norwegian and live in Hawaii. I paint Hawaiian, African, Asian and I guess white stuff whatever that might mean. I appreciate the diversity. A common denominator of them all is that I paint mostly women.... cause I am one."

Q. Do you have any further advice for emerging artists?

A. "Always paint or sculpt in SERIES... each image sent is 'part' of an ongoing series."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. Don't let anyone ever tell you that you can't do something.... you can.

I hope that you have enjoyed my interview with Kathy Ostman-Magnusen. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Chris Parks

I recently interviewed artist Chris Parks. Chris creates abstract art that reveals a vision of an ethereal world. Chris utilizes mixed media within a liquid medium in order to create flowing paintings. The 'moving paintings' are then 'frozen' at a particular moment in time through the use of photography.

Mr. Parks does not digitally manipulate his art. All aspects of color and form are visible at the time of capturing the image. He uses organic particles to add a natural randomness to the flow and feel of the images. The paintings only exist for a moment. Thus, Chris takes images of the desired effect before it is gone forever.

Chris was commissioned by director Darren Aronofsky to produce organic fluid effects for the movie The Fountain. http://thefountainmovie.warnerbros.com/ (Observe the trailer.)

I'd like to thank Fraser Kee Scott, director of Agallery, for introducing me to Mr. Parks.

You can buy Chris's art here:

http://www.agallery.co.uk/

http://www.agallery.co.uk/gallery.php?cat=5723

Q. When did you first discover that art would be an important part of your adult life?

A. "My professional life has always been focused on the creative, whether wildlife and marine film and photography, special effects work, museum exhibit or special venue films. Art has always been a great interest and has influenced my other creative work. Now that I am able to spend more time on it, these other creative disciplines are feeding back into my art. I have never really drawn a line between ‘art’ and anything else creative as they are just different ways in which I express or communicate."

Q. What are your artistic influences? Has anyone inspired you?

A. "That is a hard question because I think I am influenced by everything visual and plenty that isn’t visual. Sometimes it is conscious but often it is a subconscious thing. At the moment my work particularly explores colour and movement so everything from how the old masters handled light, via the colour studies of the Bauhaus to the light paintings of Rob and Nick Carter or the motion studies of Eadweard Muybridge and graffiti art of Temper."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Massively! A lot of my life has revolved around water, from many years of competitive rowing, to sailing and hundreds of hours spent diving or filming marine wildlife. A lot of my work is an abstract representation of my marine or freshwater experiences, whether based on the nature of light under the waves, the power of a storm, the feeling of moving efficiently through or over water or the more tangible movements of marine creatures."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "There doesn’t seem to be a pattern as such but my work often provokes a reaction in people who have experience of diving as they pick up on those influences in my work. I am continually interested by the pieces that people gravitate towards. Everyone goes for different pictures and it is usually their experiences or their background that draws individuals to different works."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "Poseidon’s Static grew out of my trying to paint the soundscape that surrounds you when you are under the ocean. The clicks, roars, snaps and myriad of sounds that come from the creatures and the movement of the water is a huge part of the underwater experience and is so full of colour. This piece set out to capture that."

Q. What is your artistic process?

A. "I very much start with an idea. This might be followed through, as in the case of Poseidon’s Static, or I can be taken off at a tangent as the picture evolves. The process involves painting within a small volume of liquid, about the size of a cup. The liquid becomes my three dimensional canvas and I paint within that using brushes and needles with paints, inks dyes and a range of organic particles. Different liquids allow me to control the ‘canvas’ in different ways. I work on a very small, sometimes microscopic scale as this helps me with the control. The smaller the volume of liquid the more it behaves like a solid and so the more accurately I can work. Some pictures are the size of a pinhead. The painting though, being in a liquid, is continually in movement, so once I have it as I want it I use photography to ‘freeze’ it."

Q. Why did you choose the medium(s) that you use?

A. "The medium has evolved out of my other work. My father and I originally developed the techniques and the equipment that I use for this work, for filming marine organisms – many of them so small that you can’t see them with the naked eye. I enjoy the fact that the technique that I now make use of was originally developed to enable me to film the habitat and some of the creatures that I am now using as my inspiration. It also allows me to work in a way that is totally unique and lends itself to exploring depth and movement which I am usually looking to capture."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I did a degree in engineering initially before doing a masters in design at the Royal College of Art. They have helped the practical and problem solving side of what I do as well as giving something of a business grounding which helps me to spend more time concentrating on the creative side of things. The Royal College of Art is a hotbed of ideas and creativity and its strength is as much in the courses that you interact with as the course you doing."

Q. Where can we see more of your art?

A. "On my website at http://www.chrisparksart.com/"

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Agallery – http://www.agallery.co.uk/

I am exhibiting at The Great Art Fair in London from 30th November – 3rd December."
Q. What trends do you see in the 'art world'?

A. "Democratisation of the art market with less reliance on galleries to promote one’s work and working much more closely with galleries when putting on shows or exhibitions. While most people want to see a work of art before buying it, so minimizing the amount of work that will be bought directly through websites, I think that artists websites do help potential buyers find new artists and get in contact directly – rather then purely being able to see what is in the galleries and shows."

Q. Any tips for emerging artists?

A. "Do what you love and persevere. You have to persevere to succeed and you will only be able to persevere if you love what you do. Be a sponge! Absorb ideas and information from everything around you, whether it be books, other artists or your surroundings."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "I have been very lucky but rejection is always tough and as an artist you have to learn to deal with it because it is very much a part of the process."

Q. In one sentence... why do you create art?

A. "I am never as content as when I am expressing myself artistically, exploring an idea or working towards a goal, oblivious to time and totally absorbed in what I am doing."

Q. Can we find your art on MYARTSPACE.COM?

A. "Soon!"

Q. What can you tell our readers about the art scene in your area?

A. "My studio is in a little village, on the edge of the Cotswolds, out west of Oxford. There are a lot of very good artists around here doing some great work including Hamish Mackie the sculptor and Jennifer Newman the painter and sculptor, both who do a lot of work directly for clients rather than relying on galleries. Local galleries (as a gross generalization) tend to concentrate on local scenes by local artists and de Montford reproductions."

I hope you have enjoyed my interview with Chris Parks. Feel free discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Martha Walker

I recently interviewed artist Martha Walker. Martha is a sculptor who uses organic forms to express her views about life. Through her work she reflects her love for science and her goal to convey a message that is personal.

Each piece is a statement about life. Thus, each piece is a personal reflection that is constructed through her mastery of skills and her quest to know the heart of purity and truth. Her work is a celebration of life, the beyond, and female sexuality. The female identity is boldly captured in her use of curvilinear forms.

Her sculptures take on many forms. At first glance one is reminded of the smallest organisms on our planet. Further observation reveals insight into the cosmos... the basic theories of how humankind came to be. Closer examination reveals shapes that are the essence of the female form... rugged and pure... a trinity of life.


Q. When did you first discover that art would be an important part of your adult life?

A. "when i went to art school at pratt institute in 1971."

Q. How has creating art shaped you professionally and personally?

A. "professionally, i'm really just getting started. i was able to focus on art 20-30 hours a week in the last few years. before that, i was a business person. so, professionally, now that i'm making time for art making, it's just starting to take off. i find that because i am so serious about maximizing my efforts, that everything i do must be the absolute best that i can make it. i strive for as much "perfection" as i can achieve. when something is finished, i don't want it to have any part that i feel i would like to change or re-do. on the personal level, i am much more organized and focused. every moment needs to count so that i can spend more time on my art."

Q. How has society influenced your art? Are there any social implications in your art?

A. "my art is very personal. i have a lot of strong political opinions, but my art expresses the subconscious, the inner world. it's an escape from the cacophany of social argument."

Q. What are your artistic influences? Has anyone inspired you?

A. "the classic sculptors and painters are a great influence: michaelangelo, da vince, rodin. then there's the modernists: rozak, gonzalez, and my mentor, john pai."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "the biggest visual influence on my work would have to be microbiology and oceanographic images. i spent a lot of time looking under the microscope in my father's lab as a child, so science has a good deal to do with the "logic" in my abstract forms. i also did a lot of skin diving as a child, and i was always amazed and fascinated by the world beneath the surface."

Q. How long have you been a working artist?

A. "about 4 years."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "i really can't pinpoint much. they seem to "get" what it is i'm trying to convey."

Q. What is your artistic process?

A. "i draw with quill pen and ink, and mostly, i weld steel, through a process called "puddling". this means that i use an oxy aceteline torch to melt and bend steel rods. i make lines in space, and then i drip the metal to build up form, much like dripping wax from a candle."

Q. Why did you choose the medium(s) that you use?

A. "because it is like drawing 3 dimensionally. the "line" can move anywhere in space. then, dripping the metal allows me to create organic looking images."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "i have a bachelors and a masters degree, both from pratt institute. it helps me to have a high standard when i deal with presentation. that is the primary thing that i remember about school when i work. also, i think that my level of discipline and my work ethic are influenced by what i was taught to do in school."

Q. What can you tell us about the art department that you attended?

A. "i think it was really good for me. there were a lot of choices as far as the actual facilities and the available media. the teachers were the most important thing for me. i still stay in touch with some of them, and they are very generous with their advice."

Q. Where can we see more of your art?

A.
" http://www.marthawalker.net
http://www.sculptor.org./
http://www.440gallery.com/ "

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. "i am a member of the 440 gallery in brooklyn. i am in an upcoming group show there in february 2007 called "process", and my solo show is scheduled for september, 2007"

Q. What galleries have you exhibited in?

A. "denise bibro fine art in manhattan, ben shahn gallery in montclair, new jersey, the 440 gallery in brooklyn."

Q. What trends do you see in the 'art world'?

A. "for sculpture, the biggest trend is installation art. i am not motivated to make installation, but is certainly is a growing movement."


Q. Any tips for emerging artists?

A. "keep working at your art with whatever time is available to you. don't be discouraged if you are not immediately recognized."

Q. In one sentence... why do you create art?

A. "it makes me peaceful...it fulfills me."

Q. What can you tell our readers about the art scene in your area?

A. "i'm in brooklyn, new york, specifically in park slope and the gowanus area. redhook is nearby, and that's a big "scene", and so is dumbo. i think that the gowanus area is really changing. it's packed with artists now."

Q. Has politics ever entered your art?

A. "only in the sense that my images are female in their orientation."

Q. Does your cultural background play a part in your work?

A. "i am jewish, and a few of my works have jewish themes, but only when i feel like it applies."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "i think that in many ways, my art is not part of the current trend. i'm aware of this, and i really want to stick with what i'm doing. i feel that the work shows integrity, and that by sticking with what i believe, i will make the best statement artistically."



I hope that you have enjoyed my interview with Martha Walker. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Tony Juliano

I recently interviewed artist Tony Juliano. Tony "Baloney" Juliano is an award winning satirist artist. He is known for his infamous 'Yoda Lisa', a painting that reveals the lengths that Mr. Juliano will go to get a laugh from his viewers. Mr. Juliano calls his art "AGOO ART". Agoo Art is a name that derives from a childhood nickname.

Mr. Juliano is an artist who is not afraid to have fun with his talent. He is a rare gem in a world of artists that are overly serious about their creations. His images are created with humor in mind. These amusing pieces offer the viewer some comic relief from the seriousness that is often found in our world.

Mr. Juliano has exhibited his Agoo Art throughout the world. His exhibits tend to be like a circus. Fans of his work arrive at his exhibits dressed like cows, robots, chickens, monsters, sumo wrestlers, and accordion players. Santa Clause is known to visit his exhibitions as well. Tony, who dresses in unique outfits, stands before them like a ringmaster during his exhibitions.

Q. When did you first discover that art would be an important part of your adult life?

A. "The womb. Seriously, I always love to draw at a very young age. Though it was mostly cartoons and monster drawings. The first time when I got the itch to become a fine artist was in October of 2000 when I had my first real art show at this big event called City-Wide Open Studios. It was in a warehouse with about 300 other artists. I occupied the uni-sex bathroom there. It was a big hit for me! I made lots of friends and fans. I had people write on the stalls as if it was a guest book, I had refreshments in the sinks, and you could tak a copy of my resume out of the toilet seat paper dispenser."

Q. How has creating art shaped you professionally and personally?

A. "Really weird and yet I become a business man too. Even though I wear a purple coat and a top hat and I'm surrounded by people dressed as chickens, robots, cows, and Santa Clause... I take my career very seriously. I pay my taxes, I mingle with the crowd, and I show up at gatherings and meetings. I'm a regular Bill Gates."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My art is inspired by parody and satire which I take out on other famous artists. I like the fact that I'm respected as I mock the masters. I'm also inspired by movies, TV, animals, food, and other pop culture. My feelings on the world is like I take reality and turn it into what I'd like it to be. My mind is a little bit whacked, but in a good way."

Q. What are your artistic influences? Has anyone inspired you?

A. I'm a big fan of MAD Magazine! There still cranking out new ones even today. MAD is like fine wine, it gets better with age. Others... Mark Ryden, Shag, Lisa Petrucci, Kurt Halsey and of course Gary Larson from The Far Side. He is a freaking genius!"

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "My past artwork was mostly cartoons. I love cartoon and comics and I still do. I drew Count Von Count on the living room wall when I was real young. My parents did not get mad at me on the fact that it looked really good. I started painting seriously at age 13. Then started doing cartoon paintings in my weaning years of College. It was a slow process in finding my nitch. But it found me when I wasn't looking."

Q. How long have you been a working artist?

A. "I started doing murals and illustrations in 1997 a year before I graduated College. Then in 2003 I formed my own free-lance art business called Agoo Art, LLC. Since then, I've been traveling all over the world doing exhibits, art festivals, and murals. I also teach art as well."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "All ages and anyone with a good sense of humor. Everyone can relate to one or more of my artwork in some way. As an example... I was in New York City doing Washington Square Outdoor Art Exhibit when this lung doctor bought Uncle Ed and his Amazing Iron Lung painting for his office. The painting is some old dude in an Iron Lung. Also, when I was in Liverpool England exhibiting at The Walker this total stranger bought a painting that I had in my Hotel. I get in his car, he drives to an ATM, drives me to my Hotel I run up and I grab the painting Mirscopic Germs, pays me and drops me back off at The Walker. That was a great and weird experience."

Q. Discuss one of your pieces.What were you thinking when you created it?

A. "My Yoda Lisa (image above) painting came to me while I was siting at my desk trying to figure out what can I do to parody the Mona Lisa. The day before, I was watching Return of the Jedi so it came to me... Mona - Yoda and I did a rough sketch and then started painting the very popular Yoda Lisa. I sell magnets and prints of this painting like hot cakes but I refuse to sell the original painting. I always said, if George Lucas came up and wanted to buy the Yoda Lisa for $1,000,000, I still would say, no."

Q. What is your artistic process?

A. "Thinking up ideas for my next painting usually comes to me when I just hanging out or driving or walking aimlessly... They start off as a rough sketch in my sketch book or napkin or anything I can use to draw on. Then I start painting with acrylic paint onto stretch canvas. Then I paint my pine frame and I write the title of the painting on the bottom of the frame. So it looks like a single panel comic but it's really a painting."

Q. Why did you choose the medium(s) that you use?

A. "Acrylics I always felt more comfortable with. But now when I do my parody paintings, I've been using the mediums that the original artists use. Like my parody of Robert Mapplethorpe I took a B&W photograph and put it in a painted frame. I still do paintings mostly, but I've been adventurous from digital prints of Spam cans (a parody of Warhol's soup cans) to sculptures."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I'm a graduate from Paier College of Art in Hamden, Connecticut with a BFA in Illustration. Having a Degree is good, but my artwork is what most of my clients care about. Dan Clowes said, the only piece of paper less valuable than your artwork, is your BFA."

Q. How influential was the school where you studied?

A. "I learned a lot from Paier but I grew after College. When I developed my own style it was not really the Paier style at the time. Paier has grown too since then. I've been asked to come back to Paier and give a lecture to the class on how to achieve in art."

Q. What can you tell us about the art department that you attended?

A. "As a free-lancer, it is very cool to be in one art department for awhile, then move onto the next one. I never get board. I'll be working on making backdrops for a theater performance about W.W.II for one season. Then I'll be making backdrops for a Haunted House for the next 3 months. Very diverse."

Q.Where can we see more of your art?

A. "Please visit my web site www.agooart.com"

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Well, I just had a crazy art reception at The NEST Art Lofts in Bridgeport, CT. It was totally wild! We had the CT Girls Roller Derby Team serving drinks on their roller skates! We had live music and wild performance art too. Tons of people came! The exhibition will be up till January 1st of 2007. Also, I'mm talking to the curator at Monkdogz Urban Art Gallery located in the heart of Chelsea in NYC. More info on that later. And finally, this March, I will be exhibiting at l'art Noir New Orleans in a comic exhibit. For more info go to www.lartnoirneworleans.com."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A.
"Limner Gallery, NYC. www.slowart.com
John Slade Ely House, CT. www.elyhouse.org
Artescape Studios, CA. www.artescapestudios.com
The Walker, Liverpool, UK. www.liverpoolmuseums.org.uk/walker
La Viande, London, UK. www.laviande.co.uk
CBGBs 313 Gallery, NYC. www.cbgb.com/gallery.html
Hygienic Art Gallery, CT. www.hygienic.org
MoCCA Art Festival, NYC. www.moccany.com
Europa Gallery, NY. www.nydai.org "

Q. What trends do you see in the 'art world'?

A. "Alcoholic drag queens rolling around in a puddle of Tapioca pudding while playing hypnotic chimes on the ukulele in the Brooklyn Museum."

Q. Any tips for emerging artists?

A. "Start locally and show at some coffee house first. Get your art out before you hit the major galleries and museums. It's a long, long, long process. So don't get discouraged quickly. I've got enough rejection letters to wallpaper my entire studio twice with!"

Q. Has your work ever been censored? If so, how did you deal with it?

A. "When I started out, I was doing these really harsh and somewhat evil comics. I did this one drawing called Uncle Gabe which depicts a middle age man jerking off to the Olsen Twins videos. I had this up in a coffee shop. I was new to this kind of art world and did not know the ropes. The coffee house received three hateful comments on that drawing within a day. I had to take down the drawing as well as a few other pieces which were not as horrible, but the owner did not want to take any more chances. I don't do shock art anymore but I do like to go over the edge just a bit still. Uncle Gabe now hangs in a friends studio. A good friend of mine that believed in me early on."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "I have not hit rock - bottom yet... It's tough out there, don't get me wrong. I might just flip out and work with a squeegee and clean peoples cars for a living when I can't take the pressure anymore. Keep an eye out for me."

Q. In one sentence... why do you create art?

A. "Because that what the voices in my head tell me."

Q.Can we find your art on MYARTSPACE.COM?

A. "Soon."

Q. What can you tell our readers about the art scene in your area?

A. " New Haven, CT has a strong art community. Kinda like Twin Peaks meets The Adventures of Pete & Pete. Artists like Tony Falcone and Colleen Coleman who are working artists too. So many galleries to show in like ALL Gallery, John Slade Ely House, ArtSpace, there's the New Haven Arts Council which has done a lot for New Haven artist! There's Creative Arts Workshop that provides art lessons the list goes on..."

Q. Has politics ever entered your art?

A. "Not at all. I hate Politics. I usually avoid talking about them. I am aware of politics and I do vote, but I'd rather paint about films, food and fun stuff. I only did one political painting called, There's a Politician Under my Bed only because there is so much bad things happening in the world right now and it's hard not for it to have an impact on you."

Q. Does your cultural background play a part in your work?

A. "Not really. My Father is white Italian Catholic and my Mother is Jewish Russian and I think there's some French in me too (but my Dad won't admit to it). I was never brought up on any Religion. My parents always said, Treat other nice as you would like to be treated. My family believed in the goodness of yourself and other people."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "Keep your feet on the ground, Keep your head in the stars and keep buying more of my artwork! See ya at Peggy'sPlace AKA The Guggenheim."

I hope you enjoyed my interview with Tony Juliano. Mr. Juliano is in the process of creating a myartspace.com account. Until then... you may observe his art at http://www.agooart.com/ . Feel free to discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Karl James

I recently interviewed artist Karl James. Karl is a self-taught artist working from South Australia. He is a multi award winning artist and his work has been exhibited widely throughout South Australia.

Mr. James is interested in discovering 'truth' through painting. In a sense, his work is a constant search for truth and a reflection of the soul. Karl has taken many paths on his quest. These paths can be found in the many forms of artistic expression that he has embraced.

Mr. James has utilized charcoal, printing, etching, collage, painting, and illustrative narratives to explore his vision of truth. His work can be both brooding and vibrant. In a sense, he explores the nature of the human spirit in a visually expressive manner.

Q. When did you first discover that art would be an important part of your adult life?

A. "I won a prize for my art when I was 5yrs old. My headmistress saw something in my work and entered it. She still after all these years follows my work. I think I owe it all to her."

Q. How has creating art shaped you professionally and personally?

A. "Professionally it hasnt really, but personally it is really the very essence of who I am. I am an artist in my very soul."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My art is very cerebral, I am a studio painter and that is my haven. when I paint I dont think an awful lot about whats happening outside that sacred place, in fact thats where I go to get away from it.. I love the act of painting. Society is harsh and violent enough so if I can create some beauty it can only be for the good."

Q. What are your artistic influences? Has anyone inspired you?

A. "A great deal of my art is about or a reference to other art, so my influeces lay there. Australian artists Brett Whiteley, Garry Shead, and of course Vincent, Braque ( It was a small book hidden away in a school library on Braque that stole my soul and really sent me on my quest as and artist - I stole the book) I love Rembrant, Carrivaggio and some of the new artists , Mark Ryden, Ray Caesar, Joe Sorren."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I am a steelworker, Father, husband , artist. I think most importantly was the nurturing of art in a young boy by his teacher and peers ( other kids would get me to draw stuff for them in school) If I hadnt got those kind words early would it have made a difference I wonder. I firmly believe one should nurture the gift when it is recognised so as not to lose it."

Q. How long have you been a working artist?

A. "I sold my first painting at the age of 17 . I think that was an important milestone for me and I suppose the start of serious painting."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Obviously a stunningly keen eye and good taste, (LOL) A love of colour and harmony."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "sunflowers (image above) This is one of my newest works in the Vincent series. As a young painter I had - as most - gone through the whole being in love with the impressionists and then Van Gogh. But over time one grows and becomes more enthused by other artists and what is going on around them. And besides, the impressionists and to even more extent VanGogh have become over exposed to the point of almost becoming kitch.

Recently however a colleague of mine put together some narrated letters of vincents (as read by kevin Bacon) to some music so he could have something different to listen to in his studio. I got a copy. Hearing those intelligently and beautifully written letters prompted me to revisit vincents work and I suddenly found, after all these years, a new appreciation.

I decided to use some of his work as a base and add relevent text from the letters to some paintings. I did these paintings in my own style, loosely painting and trying not to make them overtly Vincent. The works including Sunflowers are oil on board."

Q. What is your artistic process?

A. "I rarely do any prep drawings prefering to work straight on the board or canvas. I do however draw up the piece first in charcoal. just to get some bones down and figure out some basic composition. Then I "distress" or destroy the backround with a multitude of colour in acrylic, I cant bare the white canvas stage. this can bare some great accidents that can change the course of the painting. Then comes the hard slog, the practical decisions, the dialogue between myself and the emerging work. I try to make the work "look " painted, I leave mistakes, It shows a history of the work. The actual act of painting is difficult to describe as it is so intuitive now. Sometimes it feels as though I am just an instrument for some other force and just obediently obey, - thats the best and the work feels effortless. sometimes it is a struggle, .........it is a difficult pleaure."

Q. Why did you choose the medium(s) that you use?

A. "I love to try all sorts of mediums and dont restrict my self. I often use many in the same piece of artwork." .

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I dont have a degree but as a young man desperately wanted to go to art school. There are none where I live and my father wanted me to have a trade. So thats what I did. I often wonder - what if...........

However I never stopped painting and trying to find my own way. Having said that, I feel un encummbered by art school thought on what is supposed to be or how I should paint or think. Art for me has become a lifelong journey of dicovery.

Q. Where can we see more of your art?

A. "I have a web site which is at http://members.optusnet.com.au/kjames05/ "

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I am not currently represented but am currently working on new works to show to prospective galleries. I have shown throughout South Australia though."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "Most of my exhibitions have been in community regional galleries, usually as part of a group show. The nearest metropolitan centre is Adelaide which is 400km away. There are no commercial galleries where I live. I find the intimacy of Cafes should not be underestimated either. That environment gives the viewer more time to relax and enjoy a piece of artwork."

Q. What trends do you see in the 'art world'?

A. "I'm Definitely very exited by the new "low brow" and pop surrealism, particularly the likes of Ray Caesar, Joe Sorren, Mark Ryden. This seems to be taking the world by storm "

Q. Any tips for emerging artists?

A. "Devour art books, find out as much as you can about whats going on now and get a good knowledge af art history. - Know what you are talking about. Be true to yourself, you are unlikely to make a good living so make sure you create for yourself - if someone else likes it thats a bonus, if they buy it all the better. Treat your gift as a life long journey of discovery, you will never stop learning. Push your boundaries."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "I once had a series of works toured around the state by the country arts touring exhibitions program, They where etchings and pastelles of nude angels. - nothing overtly erotic. Anyway when I got the works back together with a list of various comments from wherever they had been I was shocked to find out that in one small town the headmaster of the school had refused to show them even to his senoir students and put forth a formal complaint to the program Another said he would never accept touring programs again, and another said - "if these are angels I dont want to go to heaven" WOW!

How did I deal with it, - I laughed, I thought it was scandalous and scandle is good for an artist. Then I did a collage about it and keep that in my studio as a reminder. Dont you hate super conservative philistines."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "My first commercial gallery show ( part of a group) I was so exited, my works looked great and I must say very strong against some of the others. I had travelled some distance for the openning. During the night I felt so alone - none of the city artists talked to me, the gallery directors snubbed me, it was awful. Then they sold a work for less than I had propossed and were very cold about the whole affrair. I was devistated. I havnt dealt with that gallery since and have just concentrated on new work and showing at the local universitys gallery."

Q. In one sentence... why do you create art?

A. "I have to, simple as that. Creating art is the very essence of me, its my calling and personal jouney, its how my soul learns. Pity I cant make a living out of it as well."

Q. Can we find your art on MYARTSPACE.COM?

A. "kjarts"

Q. What can you tell our readers about the art scene in your area?

A. "I live in Whyala, rural South Australia, a steelworking town, a very blue collar town. Art is of little consiquence here but there is a small band of tight knit artists. We create together, share our work and thoughts. A few have shown overseas. There are no commercial galleries so we show where we can or travel to the city. One of our objectives is to bring contemporary art to those who dont know about art and to educate where we can. A few of us are steelworkers, some are teachers and students."

Q. Has politics ever entered your art?

A. "Only in one piece (in my pics in myspace) called caroussel of fools - that is a comment on the current Debarckle in the middle east with strong references to what I think of US forgien policy. But as a rule I dont think art and politics happily mix."

Q. Does your cultural background play a part in your work?

A. "No, I dont really think so, maybe some might see something that I dont."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "I hope my work makes the viewer stop and look, It doesnt matter if you like it or not as long as it makes you stop. What a waste if an artwork doesnt provoke some responce. I must also say that the online art community is fantastic and very supportive. Art now belongs to the masses."

I hope you have enjoyed my interview with artist Karl James. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Chet Zar

I recently interviewed artist Chet Zar. Mr. Zar's images would be considered Dark Art. However, there is a hidden beauty about his work. In a sense, his paintings are beautifully scary.

Drawing inspiration from his love of horror films, Mr. Zar creates characters that capture feelings of fear and anxiety. There is degree of isolation about his paintings. The viewer senses danger as he or she views the nightmares that stem from Mr. Zar's wonderully creative mind. (When I first observed his work I thought about the horrors of what a nuclear attack may result in.)

Chet Zar also draws inspiration from his career as a special effects make up artist, designer, and sculptor for the motion picture industry. Mr. Zar has designed and created creatures and special effects make up for such films as, "Planet of the Apes", "The Ring", and "Hellboy". His work can also be observed in the critically acclaimed music videos for the art metal band, Tool.

In the past 7 years Zar has embraced the digital side of special effects. He has utilized the computer to translate his dark vision with 3D animation for Tool’s live shows and has released many of them on his own DVD of dark 3D animation, "Disturb the Normal".

At the beginning of 2000 (at the suggestion of horror author Clive Barker), Mr. Zar decided to go back to his artistic roots. He now has a focus on his own original works and has tried his hand at fine art, specifically painting in oils. The result has been a renewed sense of purpose for Chet in regards to his art. His new found artistic freedom has given him clarity of vision. This vision is evident in his darkly surreal (and often darkly humorous), paintings.

"Chet's art is beautiful & scary. His style has a modern twist crashing into a classical approach. I think Chet is a master painter on his way to making a great mark in our little world. Wanna do something smart with your money? Invest in a Chet Zar painting." - Adam Jones (TOOL)

Brian Sherwin: Chet, when did you first discover that art would be an important part of your adult life?

Chet Zar: I remember thinking as far back as first grade that I was going to be an artist when I grew up.

BS: How has creating art shaped you professionally and personally?

CZ: That’s a difficult question because it seems like it has always been a big part of who I am and my personal and professional life has always been deeply intertwined with creating art.

BS: How has society influenced your art? Are there any social implications in your art?

CZ: Yes, I think society influences every artist. How could it not?

BS: Your work reminds me of a nuclear nightmare full of mutations and distortions of life. Do your paintings reflect a concern over weapons of mass destruction?

CZ: In my early teens during the Reagan years, the possibility of a nuclear war was on a lot of kids minds. I used to dream about it a lot, seeing a mushroom cloud off in the distance and getting that sinking feeling like it was all over. I see that anxiety in a lot of my work. But even more so, the themes of the madness and utter recklessness of nuclear weapons find their way into a lot of my paintings.

BS: Chet, what are your artistic influences? Has anyone inspired you?

CZ: In my early childhood it was the art books that were around my house and my aunt’s house (she was a very talented artist). Escher, Dali, Bosch are a few that come to mind. I was also very inspired by horror movies, Big Daddy Roth art, mad magazine, aurora monster model kits, Frank Frazetta…..as a teenager, Giger became a big influence. And through it all my stepfather, James Zar, was a big inspiration to me. He is a fine artist so he was constantly painting while I was growing up. Beksinski is also a big influence.

BS: Chet, tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

CZ: I have been drawing, sculpting and painting for as long as I can remember. My early family life had a lot of stress because my biological father had severe emotional problems, so much of my childhood felt very scary. I think that’s why I got into horror. I felt a deep connection with it and that is probably why my artwork today is what it is.

BS: How long have you been a working artist?

CZ: I guess since I was about 16 or 17. That wasn't doing my own fine art, though. That was doing make up effects, which I kind of view as commercial art. Anyway, I have been working in that field for about 20 years. I started pursuing my fine art career in about 2000.

BS: Chet, if you could pinpoint the characteristics of people who collect your art, what would they be?

CZ: Hmmm...well, I haven't met all of them. But from the collectors that I have met, the common thread seems to be that they have an upbeat, kind of positive energy. They are not the brooding Goth types that you might expect. But like I said, I haven't met them all.

BS: Chet, discuss one of your pieces. What were you thinking when you created it?

CZ: Okay, how about "overlord" (Image above). I found an old photo of a clown from some old movie. He looked like shit, like an old haggard clown. I thought it would make a nice painting and I wanted some practice using photo reference. So I started with the clown. I kind of put a little downs syndrome in his eyes, I thought that would be cool, a retarded clown. There was no background yet and I don’t know how I came up with those figures. The antennae on their heads were an afterthought, but I think that kind of gives the whole painting its meaning and ties everything together.

BS: What is your artistic process?

CZ: There are generally two ways I work. The most common way is starting with doodles. I sketch on scraps of paper all the time, and when I see something I like, I will take it and start to develop the idea. When I get the idea far enough along, I will paint it.

The other way is when I just get a flash in my head of a finished image. That doesn’t happen as often. "Black Magick" (image above) is a good example of one of those pieces that just came to me and it was really just a matter of trying to transfer it from my mind to the canvas.

Sometimes I get ideas from seeing something the wrong way. Example: I saw a music video of some shitty band the other day that was all made up in this cheesy monster makeup, kind of like Gwar if they took themselves seriously.

There was a shot where one of the guys tilted his head back and sprayed water up out of his mouth. On first glance I didn’t know his head was tilted back, and for a moment I saw this faceless thing with a spray of mist shooting up out of the top of his head. I am definitely going to use that for a painting.

I try to keep the concepts open ended so that it can develop as I go. Not the most disciplined way to paint, but it keeps things fun for me. To me, art is a refuge from the rigid structure of the real world, so it is important that I allow myself that freedom.

I don’t use a lot of reference, but that is mostly out of laziness. I don’t have a lot of free time to paint (I still have to work a day job), so I can’t always take the time I should to shoot photo reference or find photos in books. I usually just wing it and make it work. If I had my way, I would probably block my figures out in clay, light them and paint from life. But I don’t have that kind of luxury yet.

BS: Why did you choose the medium(s) that you use?

CZ: I love the look and feel of painting with oils. I like layering and glazing and the depth it creates. I like how oils blend together. I used to paint in acrylics, but once I switched over to oils I never went back. I think if you know how to do it, you can get a similar feel to that of oils, but it’s still kind of like an imitation of how oils naturally look. Plus, you can’t beat the feeling that oils have while painting. They just feel so smooth and luxurious. It’s like sex.

BS: Chet, do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

CZ: I have no degree and I haven’t really had much schooling outside of high school.

BS: Where can we see more of your art?

CZ: You can observe my art on my website. www.chetzar.com

BS: Chet, are you represented by a gallery? Do you have any upcoming exhibits?

CZ: I don’t really have any official representation. I have my largest piece ever in the next copronason gallery show in December (http://www.copronason.com/ ). After that, I have a solo show at the strychnin gallery in Berlin in February ( http://www.strychnin.com/ ).

BS: What galleries have you exhibited in?

CZ: I got my start showing at the cannibal flower group show. I show a lot at the copronason gallery and thinkspace gallery and the hive gallery in l.a. I have shown at the capla/kesting gallery in New York as well as strychnin gallery in New York.

BS: Chet, what trends do you see in the 'art world'? Any tips for emerging artists?

CZ: I definitely see a trend towards more dark stuff and people who can actually paint. The established conceptual/modern art scene is dying I think, and good riddance.

This new scene is a lot more inclusive, at least here in L.A. there is really a sense of community among the artists and gallery owners alike. There is truly an artistic renaissance happening here in l.a. I thought I would never live to see.

I would suggest for any emerging artists to take advantage of the situation here, particularly with the cannibal flower group shows. There is now attitude and not a lot of formality. L.C. and Michelle waterman (the folks who run cannibal flower) really care about the art community and they deserve a lot of credit for what the scene has become.

BS: Chet, has your work ever been censored? If so, how did you deal with it?

CZ: Hmmm….I don’t think I have ever been censored.

BS: What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

CZ: Probably when I was first starting off because that was when I realized that my day job creating makeup effects in the film industry was a dead end and that fine art was the only way out for me. And I wasn’t selling right off the bat, so it was a little frustrating. I suppose I am still going through a tough period right now because I still have to work the day job to support myself and it is really difficult to work in a field you don’t enjoy when you know that you could be at home painting. But hopefully I will be able to transition to painting full time soon.

BS: Chet, in one sentence... why do you create art?

CZ: Because it’s fun.

BS: What can you tell our readers about the art scene in your area?

CZ: There are so many great artists here in L.A. that it’s difficult to take it all in. finally, a reason to be proud of living in this hellhole. It almost makes it worthwhile. But to my knowledge, there is nothing even close happening right now in any other part of the country or world, for that matter. Right now, as an artist, L.A. is the place to be.

BS: Chet, is there anything else you would like to say about your art or the 'art world'?

CZ: The old, stale art world is dying and a new movement is being born. Get in while the getting’s good!

You can learn more about Chet Zar by visiting his website-- http://www.chetzar.com/. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Chet is a member of the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Hiroshi Matsushita

I recently interviewed artist Hiroshi Matsushita. Mr. Matsushita strives to create paintings that demand the viewer to think about modern day issues. He utilizes an expressive manner of painting in order to give life to his thoughts about society and the nature of humans.

This focus on social commentary is prevalent in his work. Poverty, government control, and self-destruction are just a few of the themes that can be observed in his images. The end result is a body of art that is visually interesting and intellectually stimulating.

Mr. Matsushita has stated that he is inspired by surrealism and pop art. He has discovered his artistic direction by drawing inspiration from music, film, and advertising. This experimentation has allowed Mr. Matsushita to develop a unique style that is perfect for expressing his social views.

Q. When did you first discover that art would be an important part of your adult life?

A. "I’ve always drawn for as long as I can remember, when I was young I used to copy characters from comic books and try to create my own. I’ve had periods through my teens when I didn’t pick up a pencil for years but I always go back."

Q. How has creating art shaped you professionally and personally?

A. "I think if I didn’t create art I would go mad. When the world around me is falling apart I lock myself away and paint. I feel like I’m leaving my mark on the world and it makes me feel better about myself. I’m not saying people will be looking at my work in hundreds of years but at least I’m trying."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I like to think that my work is surreal pop art and my idea of that is to take surrealism and base each piece on modern day events. I don’t get out much, in fact I’d go as far as saying I’m a recluse. This is through my own choice and I believe it’s possible in our time to never leave the house. So I tend to watch a lot of TV, lots of news and documentaries and the world we live in is just a crazy place so I try to paint what I see."

Q. What are your artistic influences? Has anyone inspired you?

A. "I didn’t grow up in an artistic family so there were no books around but I remember seeing a Dali print when I was in my teens and being blown away. The Surreal movement from then on was my main point of reference but I have also embraced other forms over the past few years, mainly pop art. I’m also inspired by poster art, Russian and German from the Second World War. Also I have to say probably my biggest influence was LSD and Magic Mushrooms, when I was younger I experimented a lot with hallucinogenics and it really does open doors in your mind. I haven’t touched drugs for a long time but they have made a lasting effect."

Q. Does your cultural background play a part in your art?

A. "This probably brings me back to the world being a crazy place. England in 2006 is a strange place to live and influences me greatly. There are so many things wrong with it but it’s still great at the same time and I could never see myself living anywhere else. Britain is a cultural melting pot and produces so much talent it’s frightening."

Q. How long have you been a working artist?

A. "That’s a tough question to answer because I still don’t make enough money from my art alone. I often work as a freelance designer which is OK but I see it as taking up valuable time that I could be painting but technology lets me do it from my own home so I can’t complain."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I seem to get the best response from women which I find strange. Over the last couple of years I have had a number of female students base a part of their art degree on my work but very rarely do I get contacted by or sell to men."

Q. Discuss one of your pieces. What were you thinking when you created it? (Image above)

A. "The Modern Crucifixion – I pick this one because this relates to previous questions about society. In the UK we have celebrity magazines and all they do is bitch and rip these people apart. So many people form their opinions based on what they read so this piece basically is saying we nurture talent and then when it gets too big we crucify them and rip them to pieces. To me this is the modern crucifixion."

Q. What is your artistic process?

A. "I have 2 ways of imagining a piece, the first is the complete picture will come to me in a dream and I just have to sketch it down before I forget. The second is when I get a bit stuck as to what to paint next, I will just sit for about an hour sketching until something will come to me."

Q. Why did you choose the medium(s) that you use?

A. "Simply because they were the only tools lying around the house and from then on I have stuck with it. If I can make more time I plan on exploring new mediums."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I wasn’t privileged enough to further my education, I’m not saying my family was flat broke but my parents wanted me to work straight after school, and as always art college is seen as a complete waste of time to some. If I can make more money from my art I would like to take some time out and maybe get a degree but it’s not important now."

Q. Where can we see more of your art?

A. "My work is all over the web, last time I looked there were 160 sites showing some of my work. The best place to see it though is my own site http://hiroshi.artbabyart.net/ Keep a look out for some site updates shortly, I plan on adding some screensavers and desktop pictures. I may also add some hi resolution images for people to print themselves for free. Plus there are some hidden galleries on there of some rubbish early work, see if you can find them."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. "I’m currently in talks with a gallery in my home town of Liverpool. They want to display my work but I’m not sure if it will benefit me at all. I know there is a market for my art but finding it is the hard part, if anyone has any tips let me know."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "Unfortunately I haven’t exhibited anywhere, I’ve had offers but the gallery wanted me to pay and this didn’t quite seem right, there are so many art scams about. I mean why should an artist ship there work across the world and pay £1200 for the privilege. It would be nice to get my work out there though so any offers?"

Q. What trends do you see in the 'art world'?

A. "I have to be honest living in the UK there is a real stuck up attitude towards art. It’s not meant to be ‘for everyone by everyone’ if you know what I mean. I feel the internet has changed the art world for the better, now anyone can display their work. To me if something looks good to someone then it shouldn’t matter who created it and what formal training they have had, but in the UK the establishment just don’t want to know. To me the art world should be looked at in the same way as the music business. Imagine if the music business didn’t welcome new artists and was only interested in the past, it would die. There is a website called Britart, it’s well known and has some great artists on there like Peter Blake but it also has someone on there called Vic Reeves (last time I looked). Now Vic Reeves is a very funny man and one of my favourite comedians but his sketches are total crap and if he wasn’t who he was he would not be on Britart and this annoys me. Britart should be using their power on the web to welcome new artists not people who’ve made a name for themselves elsewhere who have no artistic talent."

Q. Any tips for emerging artists?

A. " I could do with some tips myself but all I would say is keep believing in yourself. Plenty of times I have almost given up and if I hardly sell anything before I die at least I will leave something for my family to remember me by. "

Q. Has your work ever been censored? If so, how did you deal with it?

A. "It’s not been seen enough to be censored. It would be nice to be censored though, at least I’d know I’d made it."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "I’ve never left rock bottom."

Q. In one sentence... why do you create art?

"I create art to release all my thoughts and share the madness with the world."

Q. Can we find your art on MYARTSPACE.COM?

A. "Yes, Hiroshi Matsushita. You might try searching for just Matsushita."

Q. What can you tell our readers about the art scene in your area?

A. "Liverpool, England. It has probably got the best art scene in the North West, plus it has a Tate which can’t be bad. It is also European Capital of Culture 2008 so there are lots of changes going on. Hopefully this will bring Liverpool and it’s people to a wider audience."

Q. Has politics ever entered your art?

A. "I painted a piece this year titled ‘Capitalism + Fear = Fascism’. I was watching a lot of news relating to the war in Iraq and reading things regarding the oil situation. There just seems to be a lot of things that don’t add up about this war and you’ve got to be worried how America and Britain have acted. Also the Israel/Palestine conflict, it reminds me of the troubles in Northern Ireland and I think if Israel acted like the British Government did then, things might be different."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "Just keep looking at my work and I’ll be happy. As for the art world I think there is a revolution on the way, pick up a pencil or a brush, get your work online and be seen. Forget the big galleries they’re out of touch, release your creativity."

I hope that you have enjoyed my interview with Hiroshi Matsushita. You can find more of his art by searching for 'Matsushita' on the main site. http://myartspace.com/ .

Take care, Stay true,

Brian Sherwin

Art Space Talk: Maureen Girard Mason

I recently interviewed artist Maureen Girard Mason. Maureen is an artist who is interested in telling a story with her art. Her paintings capture the magic of youthful imagination. The paintings reflect the dreams of children. Thus, they convey a sense of innocence and curiosity.

Maureen's paintings have a sense of mysticism about them as well. Her images, which are often embellished with real gold, have a unique quality in this respect. This quality strengthens her ability to express her vision of the 'dream world'.

Maureen's "Sun Dancer" image was featured on the cover of the June-July 2006 issue of the New York Spirit magazine.

Q. When did you first discover that art would be an important part of your adult life?

A. "It has always been a part of my life but sometimes life takes over. You know, the domestic thing, husband, house & kids. I would say that i really picked it up again in 1999."

Q. How has creating art shaped you professionally and personally?

A. "It's allowed me the freedom to explore my curiosities about life without limitation. Whether it be something I've seen or something that I need to express."

Q. How has society influenced your art? Are their any social implications in your art?

A. "It's had a huge impact as far as my evolution goes. My new work is part of my rebellion phase. Someone always has the opinion that I should either stick to watercolor landscapes or pastel portraits. I keep evolving so now I paint from my heart."

Q. What are your artistic influences? Has anyone inspired you?

A. "I love story telling, exploration and the possibility that there's always more than meets the eye. Waterhouse was a huge influence as well as Susan Boulet."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I don't spend too much time dwelling on the past so most of my work is based where I am now or where I'd like to be."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I would say that they are open to new ideas and that they believe that anything is possible."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "I have several coming up but the dates aren't set yet. I'll have to give you an update."

Q. Where do you see your art in 10 years? What are your plans?

A. "Well, I'm not sure. I'd like to get my work out to a larger number of people. I've thought about the print market but don't know much about it."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "The Face of Courage was created for my boyfriend who was going through a really tough time. The lion has often been used as a symbol of courage so weaved his profile in it. Actually it all came together quite well."

Q. What is your artistic process?

A. "Some of my images are designed to go with poetry that I've written but usually I'll use a suggestion or a symbol as a reference point and sketch it out. I always think of my painting in layers - what base colors do I want to reveal in the final image. Then I move on to the main subject and background. Scratching and splattering are done at different times and I let the painting evolve on its own."

Q. Why did you choose the medium(s) that you use?

A. "It's been an experimental process. I prefer to sketch people instead of painting them. Oil pastels allow me to do both. Watercolor is a wonderful medium that I can throw and see what images start to appear. My paintings are a melting pot. If I've got it more than likely I'll use it."

Q. Do you have a degree or do you plan to attend school for art?

A. "I'm not signed up for anything at the moment but I'm not ruling it out. I do get together with other artist friends & have our own critique sessions though."

Q. Where can we see more of your art?

A. "I update my website with fairs, festivals and gallery information."

Q. Are you represented by a gallery? If not, do you want to be?

A. "I show my work at the River Gallery in Higganum Connecticut but I'd love to have my work in galleries abroad."

Q. How many pieces have you sold in your career?

A. "My records show 31 in the last couple of years."

Q. Why do you create art?

A. "If I'm painting a landscape it's for the sheer fun of throwing paint. If it's a figurative piece it is created by a need for creative expression."

Q. Where can we find you on myartspace.com?

A. "Saltwater Moon Studio Gallery"

I hope you have enjoyed my interview with Maureen Girard Mason. Be sure to comment about her work.

Take care, Stay true,

Brian Sherwin

Myartspace.com: Schools

I'd like to introduce you all to another aspect of the myartspace.com community... The links below will send you to a great educational source for art students, educators, and advocates.

http://www.myartspace.com/schools/forums/

http://www.myartspace.com/schools/

Myartspace Schools is a place where people can discuss student news, issues, opportunities, and all things art school. It is perfect for advocates of art education, art educators, and art students. Give a big thanks to Mr. Luke Aleckson for his efforts!

Get involved! Inform your art departments!

-B

Art Space Talk: Lynne Taetzsch

I recently interviewed artist Lynne Taetzsch, author of 'The Bipolar Dementia Art Chronicles, a Memoir'. (http://www.artbylt.com/book.htm)

Lynne creates abstract paintings for the sake of painting. Lynne is a 'process painter'. She is interested in the process of painting itself. She is not interested in creating images that are 'set in stone'.

Her focus is to utilize line, color, shape, and texture to create images that express emotion. The emotion conveyed depends on how these aspects are used. This focus on the physical elements of painting are well established in her body of work.

Q. When did you first discover that art would be an important part of your adult life?

A. "I knew from the time that I was very young that I wanted to be an artist. There was a smooth transition from making craft projects as a kid, taking oil-painting lessons from a local artist when I was 11 and 12, and eventually going to Cooper Union Art School in NYC."

Q. How has creating art shaped you professionally and personally?

A. "Professionally, I always worked at other things to make a living in order to paint, but for the past six years I’ve been working full-time as an artist. This is the fulfillment of a dream I had all my life.

Personally, I always saw the world through the eyes of an artist. I was particularly aware of color, shape and form. I noticed the shadows, and the sun sparkling on water. The visual world was always alive to me in a special way. I have also made it a point to look at art throughout my life, which has enriched me greatly."

Q. How has society influenced your art? Are there any social implications in your art? What are your artistic influences? Has anyone inspired you?

A. "The strongest influences on my art were made by the abstract expressionsists. I fell in love with Hans Hoffman, Jackson Pollack, Rothko, DeKooning, and others. I was not really interested in any art before the cubists. So I guess you could say that my art was forged in modernism.

Years later I tried to look at art politically, from a feminist point of view, for example. But while it’s true that women artists have always been under-represented in museums and galleries and not given their due, I could not therefore change the art that I made. Socially and politically motivated art is not what I’m about."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "My non-objective or non-representational style of abstraction evolved when I was at Cooper Union in the early sixties. But everything I experience and see is reflected in my art today. I am always pushing myself to see if I can go to a further edge."

Q. How long have you been a working artist?

A. "I have always done art part-time, but have been doing it full-time since 2000."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "The people who collect my art love the energy and color and movement in it."

Q. What is your artistic process?

A. "I listen to loud music, standing up, painting on large stretched canvases on an easel. I work over days and weeks, creating layers which dry in between. The first layers are "background" which may or may not still be visible in the completed work. I paint fast, covering the whole canvas with large gestural strokes. Then I stand back and look at it, to see what the painting requires next. My art is based on improvisation, like jazz."

Q. Why did you choose the medium(s) that you use?

A. "I used to paint in oils, and then when I was living in southern Florida on the beach, I noticed it took weeks for the paintings to dry. I switched to acrylics then (early eighties) and never looked back. Acrylic is perfect for my current painting process."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I studied art in several places besides Cooper Union (Rutgers, University of California, University of Southern California), but never got a degree in it. I have degrees in other things, including a PhD in Creative Writing. Since I never wanted to teach art, not having a degree in it hasn’t hurt."

Q. Where can we see more of your art?

A. "On my website at http://www.ARTBYLT.com. This January I will have a solo exhibit at the Upstairs Gallery in Ithaca, New York. I have art in The Gallery at Hawthorne Plaza just outside of Kansas City. I will be exhibiting in June of 2007 at The Hopper House in Nyack, New York."

Q. What galleries have you exhibited in?

A. "I have exhibited in many galleries. A few:
Clinton House Artspace, Ithaca, NY
Monkdogz Urban Art, New York, NY
Hartley Gallery, Winter Park, FL
Gallery for the Arts, Mt. Sterling, KY
The Kentucky Gallery, Lexington, KY
Reston Art Gallery, Reston, VA"

Q. What trends do you see in the 'art world'?

A. "There still seems to be a strong bias toward conceptual and installation art in big city galleries. But there is more openness, and therefore room for an individual artist to follow their own path. As for collectors, I think they are interested in excellence and uniqueness, rather than a particular trend."

Q. Any tips for emerging artists?

A. "Follow your heart and instincts, not what you perceive to be the hottest trend. Paint for your soul, not for money. Don’t give up."

Q. In one sentence... why do you create art?

A. "I create art because I would hate myself and fall into deep despair if I didn’t."

Q. What can you tell our readers about the art scene in your area?

A. "I live in Ithaca, New York, which is in the Finger Lakes region of upstate New York. It is a college town (Cornell University and Ithaca College), and we have a thriving population of artists and musicians. With a general population of only 30,000, however, we don’t have a big art-buying community. There are a couple of small artist-owned or co-op galleries, several non-profit galleries, and the museums and galleries connected to the college and university. Most of us who make a living on our art sell it elsewhere."

I hope you have enjoyed my interview with Lynne Taetzsch. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Gallery Space Talk: The Progress Energy Art Gallery

I recently interviewed Lia Gallegos. Lia is the director of the Progress Energy Art Gallery. Feel free to contact Lia if you are interested in exhibiting. http://www.nprgallery.com/

Q. You are the director of the gallery. Can you tell our readers a little about yourself? Are you an artist as well?

A. "I have had a passion for the arts all my life but through the course of events, I ended up focusing on the commercial arts rather than Fine Arts. In 2002 I moved from the Portland , Oregon area to West Central Florida , experiencing an immediate and life-altering culture shock. I found that I had taken for granted the plethora of art that surrounds the residents of Portland on a daily basis and missed that aspect desperately. The rain; that I could do without! So once I recovered, I realized I needed to get involved in the local arts community to do my part in guiding its redevelopment toward being a more artistic and cultural haven for the Creatives I knew were hiding here. Not only have I been the volunteer Director for the Progress Energy Art Gallery for the past two years but I have been involved with numerous art groups, have assisted in organizing public art events and involved myself with City government through the Cultural Affairs Committee."



Q. Have you had past experience as a gallery director?

A. "I have not worked as a Gallery director before, although I have owned my own business for several years which gave me the necessary skills for marketing and managing the Gallery. My life-long interest in the Fine Arts and experience as a graphic artist made it possible for me to work with artists and understand the expectations of the community."

Q. What is your gallery 'about'? What kind of artists do you represent?

A. "Our Gallery’s mission statement should cover both questions:

PROVIDE CULTURAL ENRICHMENT

Through the exhibition of emerging regional artists and established regional and international professional artists that expands the art experience for the community;

RAISE PUBLIC AWARENESS

Encourage residents & visitors of all ages to participate in the experience of all aspects of the arts (visual, written, performing) (appreciation and creation) through public awareness campaigns;

EDUCATE

Offer educational programs in the business of visual arts to artists and general Arts education for the public. Provide lectures and workshops. Promote apprenticeships and mentoring programs;

PROMOTE PUBLIC ART PROGRAMS

Promote and assist in raising funding for public art programs in the City of New Port Richey that feature works by local artists."



Q. What is the history of your gallery? What is the origin of the gallery? Who were the 'key players'?

A. "The Gallery was created three years ago by the Greater New Port Richey Main Street Organization; it is the local manager for the State of Florida’s Main Street program under the National Historic Preservation Program. Main Streets all over the Country are working diligently to revitalize historic downtown districts. Our board was relocating its office at the time and decided rather than putting another service business in a downtown store-front, they would instead, front their office with an art Gallery. Our local energy company, Progress Energy, was approached because they have a reputation for being a strong supporter of the arts in the Tampa Bay region. Their annual grant has allowed us the ability to spear-head the revival of the Arts and Culture movement in our downtown."

Q. What is the 'art scene' like in your area?

A. "The art scene in New Port Richey (Florida) is growing. It’s really an exciting time to be here and be a part of the events that are taking place. Our entire area is experiencing regeneration and renewal with many younger residents with more expendable income moving to the area. That means we have more exciting art than ever before AND we have more buyers looking for art. It’s still very early in the process though, and we are in desperate need of more galleries and more groups dedicated to the discussion of the arts and the creative process as well as professional artists who are working full time at creating their art. Residents already have spoken, they LOVE the arts and want to see more of it in the area…..artists now need to get involved in the community building effort if we are going to be truly successful."

Q. Has the market been good for the artists you represent?

A. "Because we represent such a vast array of artists of all levels from emerging to seasoned professionals, we don’t have quite the same method of marketing as most commercial galleries. Despite not being able to specialize, we do have a relatively good market for our artists. I have noticed that the trend lately has been that Expressionistic and Cubist pieces with vibrant colors and bold strokes are very appealing to buyers; also black and white photography has been going rather well too. But in my experience I have learned not to count on the status quo or even my own opinions; art is subjective and if it moves a person, they will take it home with them."

Q. Do you have any links to the websites of the artists that have exhibited at your gallery?

A. "Actually, we keep a list of everyone who has shown at the gallery on our website, that particular page is www.nprgallery.com/artists.htm."

Q. How often do you have exhibits?

A. "We host a completely new exhibit every two months, within each month though we choose one artist to feature, so there is always something new in the Gallery for our guests to come back for."



Q. Have you had any well-known artists exhibited in your gallery? If so, who? What was that experience like?

A. "I am constantly amazed by the quality of artists to be found in New Port Richey and the surrounding areas. It seems this is the nexus of the universe for Artists—everyone ends up here eventually!Most recently we had Gus Ocamposilva (http://www.ocamposilva.com/) in the gallery with his Columbian inspired Expressionistic pieces.

We have many artists with Bachelors and Masters of Fine Art from some of the top Universities in the county and many who have studied and exhibited abroad. I think our most well-known artist, locally, would have to be Kevin Grass (http://www.kevingrass.com/).

Also, we had the pleasure of hosting the work of Denny Karchner
(http://www.karchnerwesternart.com/) whose photo-realistic pencil art renderings of historic Western figures are held in the permanent collection of the Buffalo Bill Historical Center in Cody , Wyoming ."

Q. What is your gallery address? How can artists and art lovers contact you?

A. "The Gallery is located at 6231 Grand Boulevard , New Port Richey , FL 34652 . Artists can always email me a link to their on line portfolio at info@nprgallery.com or they can mail a hard copy to the address I just mentioned. Art lovers can find us on the web, or they can come by any time Wednesday through Saturday, we’re open 12-8 p.m. We’re just a few doors down from the historic Richey Suncoast Theatre...it’s a big, two story, gold domed building, can’t miss it!"



Q. Do you have a website for the gallery?

A. "Yes, I do. It’s www.nprgallery.com. I just recently renovated it and there are still a few things in the works, but there’s plenty of info about the Gallery, upcoming exhibits and our mission."

Q. In your opinion, what makes an art gallery a success?

A. "I would have to say a gallery that is successful finds a balance between art as a commodity and art as the heart and soul of a person personified in paint, plaster, metal or glass. Loosing site of that fact diminishes the value of the art to the buyers, in my opinion. I believe that if the artists are passionate about their work and the gallery curator and staff share that passion with prospective buyers, the buyers will react to that and want to bring that enthusiasm into their homes. The end goal is always to sell the artwork, but it doesn’t have to become a lifeless article of trade in order to do that. It benefits the artists and the community much more to build and encourage appreciation for the creative process—it ads value to the artwork and that’s good for everyone."

Take care, Stay true,

Brian Sherwin

Art In The News: Goya Painting Stolen!

A painting by Francisco de Goya was recently stolen near Scranton, Pennsylvania. Children with a Cart (1778) was in the process of being transported between museums when the theft occurred. The painting had been on display at the Guggenheim Museum in New York and was scheduled to be returned to the Toledo Museum of Art (the current owner of the painting.). There is a $50,000 reward for information that leads to the recovery of the painting. The painting was only insured for 1 million dollars.

Art Space Talk: Guy Denning

I recently interviewed artist Guy Denning. Mr. Denning, a member of Stuckism International, has been very involved in the arts throughout his career as a painter. In 1997 he founded the Neomodern group and went on to establish the Bristol Stuckists group in 2004. Denning recently exhibited work in the Triumph of Stuckism exhibition at the Liverpool John Moores University. (October 2006.) The exhibit was part of the Liverpool Biennial.

Mr. Denning is an artist who has a working knowledge of the physicality of paint. His expressive brushwork conveys a sense of raw emotion that can only be captured by an artist who has studied the manipulation of paint. His bold use of paint allows him to create images that I find to be psychologically striking. There is a certain 'cruel energy' about this work. An energy that reveals the plight of humankind.

Q. When did you first discover that art would be an important part of your adult life?

A. "I think I’d always had ideas that it would be around in my adult life, but it wasn’t until my rejection from art college when I was about twenty that I was determined to make it the foremost part of my career aspirations. The first sign of my bloody-minded determination in the face of rejection!"

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "My family owned a bakery in a small town in north Somerset. Consequently, certainly through the seventies until the ubiquitous supermarkets destroyed locally owned retailing, we were relatively well off.

My father had a love of the arts (I think it probably developed from an unfulfilled desire to do something formally recognized as creative) and my natural ability was fully encouraged. Also my maternal grandmother was a local schoolteacher and she had a huge influence on my development in terms of appreciation of literature and the arts generally.

I’ve always felt that I ‘belong’ to this area of the west country which has an enormous historical tradition with the labour movement. From an agricultural origin it became increasingly politicized through mining and then the railways. Though these industries had faded away by the time I was an adult there was still a strong socialist, communist and anarchist base in the area.

During the eighties, and the slash and burn politics of Thatcher, the area seemed to become a magnet for the traveler community and these people also informed me politically. You also have to bear in mind that I was probably on a permanent teenage guilt trip as many locals perceived my family as being particularly well-off (incorrectly – the business was collapsing).

Some of my earliest work that I felt happy with was fairly run of the mill politically informed stuff. Anti-war pieces in opposition to the Falklands affair, another concerning the gassing of the Kurds at Halabja and a piece about the Union Carbide explosion in Bhopal.

I can remember various tutors and older artists wagging their fingers and advising me to move away from that kind of subject matter – but I think the die was cast!"

Q. Did you pick up on other artist's techniques or did you always have your own style?

A. "I’m always accusing myself of stealing other people’s ideas - in all honesty everyone does it; currently I’m taking a great interest in Caravaggio (of all people!) and Balthus. It is both flattering and interesting though that you think I have my own style – though I do think that if you saw a bit more work you’d realize I’m not particularly original at all stylistically! It’s only paint on canvas after all."

Q. Why did you choose the medium(s) that you use?

A. "I was given my first set of oil paints when I was about ten or eleven. My father used to occasionally knock out little paintings of 1960’s sports cars but he obviously got bored and I ended up with all the kit. That was in the mid seventies and I’ve used them since. I’ve tried acrylics but didn’t like the feel of them and spent a few years in the nineties working with gouache which I quite enjoyed – but they were always coming a poor second place to oil paint."

Q. What’s the longest time you've ever spent on a piece?

A. "Some pieces hang around for ages waiting to be finished - there's a piece that I started on September 12th 2001 that I didn't finish until 2005. I’ve generally got several pieces on the go at any given time, that’s why work tends to pop up in groups on the web site.

Perhaps of any given idea I might start a dozen pieces simultaneously, as slight variations fall by the way I’ll perhaps be left with two or three finished paintings.

There was one occasion where I started and finished one large abstract in a day (this was when I was combining layers of gouache with finishing layers of oil glaze), but this has been the exception. I was so overjoyed at the outcome that I immediately took up another canvas and repeated the ‘formula’ to see if I could achieve the same buzz that the first painting gave me. Needless to say it didn’t – and I destroyed the second attempt. That’s the only time when I’ve had a feeling like that from my own work – a bizarre mix of elation and achievement."

Q. Do you work in a studio with other artists?

A. "No, I couldn’t work in an environment like that. Artist’s are a pain in the arse to work with – I prefer to paint alone, with music, wine and my pipe and do so at home."

Q. Do you think art has helped you to become the person you are today?

A. "Definitely – rejected, bitter, twisted, further depressed, paranoid, angry – then elated that I am capable of something people consider ‘special’ (whether I realize that challenge is another issue), fortunate in having something that has meant so much to me and determination to continue with it."

Q. What trends do you see in the 'art world'?

A. "I don’t think the trend for endless novelty regardless whatever in terms of content, will ever go away. Certainly not in the short term, there’s too much serious money tied up in too many corporate collections for that to happen.

I’ve always maintained that there would be no ‘death of painting’ – something that was briefly and ludicrously touted around in the early to mid nineties. There will always be room for the traditional media in the minds of the general public and mainstream collector, a fact borne out by Saatchi’s recent ‘Triumph of Painting’ show.

I’d like to think that there would be a move back to issues of craft, whether the medium is paint or video. If you could at least argue for a credible ability within the creator to actually ‘create’ competently it would remove a lot of the criticism that contemporary art attracts.

I would also like to see a reduction in the amount of artists who contract out the actual labour of their work – particularly those that contract out tasks like painting and sculpture. It seems to defeat the point of calling yourself an artist if you’re going to employ someone to actually do the work; I know what the ‘intellectual’ arguments are behind this and I don’t agree with them. I couldn’t hire a top class racing driver to win grand prix events for me – and then claim the prize as my own because I came up with the concept of ‘winning’ the races."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "There was an occasion where I hired a gallery to take some publicity shots of myself and the work. Because the minimum period of hire was 2 weeks it eventually turned into an exhibition.

As the date of the show approached many of the paintings were still in need of some slight finishing and none had seen the light of day outside of my studio, but despite this the manager of the gallery telephoned me to enquire about the subject matter of the work. She had been forewarned by another public gallery manager that my work at that time could potentially be considered offensive or pornographic.

Basically I just faced it out, ignored her requests to see the work in advance, took the work on the day of the hanging and showed them anyway – though the gallery insisted on putting up an A-board outside on the street to warn passing people that they might find some of the work offensive – accordingly I had more interest than I may otherwise have had.

There seemed to be a problem with a male artist painting explicitly sexualized female nudes, particularly in the politically correct obsessed mindset of the manager involved. Ironically the equally sexualized male nudes (some were even masturbating) did not present the same problem.
I did attempt to instigate a debate about her patronizing approach to the work which in her terms was either ‘misogynistic’ or ‘homoerotic’ depending on whether the work’s subject was male or female. The transgender and bisexual issues in some work were conveniently ignored and she hadn’t even heard of Camille Paglia so I walked away from the argument before I lost my temper."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Any rejection from a gallery, public or private, is hard - but more so when they won’t even take the time to see the work. I can honestly say that I wouldn’t care about not selling my work – provided that I had the opportunity to at least show it.

There was a period about six years ago when I was struggling (and failing) to get through the hoops put in your way to obtain public arts funding for a show in disused shop space. This tied up with the usual patronizing rejections from commercial galleries led me to destroy a huge amount of work in a bonfire one night. Another pointless gesture!"

Q. How has society influenced your art? Are there any social implications in your art?

A. "My subject matter does take heavily from my opinions on current affairs; I just wish that what goes on in the world affected the greater number of the population in a similar way.

I don’t think art can change the world – but I do think it can record a position that honestly reports on an individual’s challenge to the official line.

It is sometimes difficult to not produce directly referential work, particularly with regards to a war you disagree with, but I have tried to avoid it – even if the method is clumsy (using allegory)."

Q. Do you think that as a painter you views are taken seriously?

A. "On the subject of art I hope so – on anything else, I hope not. I’m only expressing opinions and I’m no expert in the other fields that I have an interest in.

It’s a shame that in the wider world, non-experts (generally creatures from that strange breed known as ‘celebrity’) get given air time to view half-baked opinion at the expense of the knowledgeable in all arenas from culture to psychology, war to moral philosophy.

If I had a motorbike that needed fixing I would take it to the appropriately experienced mechanic – not the local pub singer."

Q. In terms of your total career, what would you do differently if you were starting out again?

A. "Looking back now - if I could combine my general bolshiness and refusal to listen to tutors - then 3 years at a serious college would probably be the only thing I’d hanker after. But you can't go back - so there's no real point in thinking about it.

I used to be bitter about being excluded - now I can't be arsed (plus the fact I’m too busy painting). What happened in the past made me what I am now – and I’m fairly contented on that front. The only reason I’d want to go back in time would be to constructively use the time I wasted."

Q. How has creating art shaped you professionally and personally?

A. "Every day that I have to go to another day job has made me more determined to aim towards working at painting full time. On a personal basis it can give me a huge sense of hope in aspiring to achieve this, but it can also work the other way.

I do have a past medical history of depression – and the art doesn’t always help. My partner helped get me off a substantial volume of medication about ten years ago and that was extremely positive for me.
I now realize that the negative aspects of my personality are not a fault; they’re just part of what makes me who I am.

There’s also the strange situation of the positive responses an artist’s work gets from people which can lull the artist softly into a sense of perpetual un-fulfillment – well, it will if the artist is honest about their work.

I don’t think any of my work is a fair account of what I think I set out to achieve, which is probably difficult for people to understand – but that’s the way it is."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "There’s only one piece that I’ve previously gone into depth regarding an explanation – generally I want the work to be taken at face value without my explanation clubbing the viewer over the head with a ‘correct’ interpretation. The painting "process of erasure (the triumph of painting)" online here: http://tinyurl.com/yx2hyr this work involved painting over a previous painting with white paint.

Here’s the explanation that I had to send out to all the people that queried what I had done. The original painting was a piece I had considered fairly acceptable (in terms of what of my own work I am happy to leave as being acceptably 'finished') and certainly one of my personal favourites of the work I had done lately - and I rarely have anything finished that I'm happy to consider a 'favourite'. It was one of the few overtly readable political pieces of late - and accused by some of being just the usual 'right-on' angry artist fare.

It was a personal response to the continuingly complex 'Middle East problem' that seems to be endlessly pumped, via all media, into our living rooms - without any real depth of analysis. All we (the viewing public) are fit to know is the ongoing body count and the hierarchy of virtue in the reasons behind the violence depending on whether it was Israeli or Palestinian inspired.

No gallery that took the other paintings in the set would take this one (which annoyed me as I thought it was one of the strongest of the series) and I only showed it once in a theatre bar/restaurant space for a month.
The original text on the painted out piece is 'A hierarchy of suffering' - I try to keep it obvious when it's important! We don't want the punters having to think for their selves do we? At least that's the attitudes of our masters.

The choice of this particular painting for erasing WAS difficult - because it was an important piece to me. But the whole action was in response to the mainstream media's misreporting and collusion with UK and US government in supporting the ongoing state sanctioned terrorism.

Considering the subject of the original painting then, its choice was simple. Essentially the original painting remained unfinished until I had also included the whole reason for carrying it out in the first place. All I have done is finish the painting. And, in general, the public don't really care (about unknown contemporary artists or the reasons underlying the political tensions in Palestine) so why bother leaving a piece of visual polemic? Another good reason to have it painted out.

The art world's journos are generally just as bad - it's basically turned into the bastard child of Hello magazine and Modern Painters. Anything that engages with politics is mocked as being irrelevant or old-hat (unless of course it deals with establishment safe 'issues' such as the alienation of immigrants, 'wimmins' issues and is either publicly funded or sponsored).

Oh - the title of 'the triumph of painting' - I'm glad it managed to turn up for Saatchi (even if it was fashionably late). This was not a negation of painting, or a Rauschenbergian 'silencing the visual'. The silence I am painting is the audience's non-challenge of the news media. I'm celebrating painting. I'm actually doing the job properly and ensuring the piece is finished, even if in the process it becomes invisible to an unknowing audience. The painting out was done carefully and with attention (in a true Modernist fashion) to what the final textures and layerings look and feel like.

The choice of white paint was because it's like an 'anti-paint' if you like. Paint up a totally black canvas and it's been painted... totally black... an audience is happy to consider it finished - white paint doesn't do that. White paint always has the association of being the primer, the blank canvas - waiting to be started.

In painting the canvas white I simultaneously finished the work AND erased it - taking the canvas back to a point where it could be used again.

Now the problem lies in what to do with the canvas - originally I was going to burn it because I wanted to be sure that I wouldn't paint over it (always tempting when you're short of the money to buy new materials). But I think I'll leave it as it is, for now at least.It's opened up some new avenues to explore around the relationship between the anti-colour white and the art world.

A friend brought up the comparison with Malevich when he moved to the notion of suprematism - it's the ultimate colour an artist can use to indicate that work has been done but the piece has not been sullied by a mistake in the process. It's primer, topcoat, finishing and all. All in all I'm satisfied that I've done the best job I can do with the subject matter, the medium and my feelings for both."

I hope you have enjoyed my interview with Guy Denning. Feel free to critique or discuss his work.

Here are some sites that you may find of interest:

http://guydenning.org/

http://guydenning.org/neomodern/

http://www.stuckism.com/

http://www.student.livjm.ac.uk/lsaiwyli/TheTriumphOfStuckism/index.html
Take care, Stay true,

Brian Sherwin

Gallery Space Talk: The Frame Fatale Gallery

I recently interviewed Steven Krul about his gallery. Steven is the curator of the Frame Fatale Gallery. The Frame Fatale is a relatively new gallery. It has yet to establish a large base of exhibiting artists. Feel free to contact Mr. Krul if you are interested in exhibiting.

Q. You are the curator of the gallery. Can you tell our readers a little about yourself?

A. "I came to Los Angeles from Rhode Island back in 1996. After finishing film school I started shooting still photography while working office jobs in film/tv production. I opened up a shooting space called Studio 102 where I shared the space with other like minded, budgeted photographers. The space didn’t really work well as a gallery, so I set out to find a bigger, multi-use space that we could use to promote our work and the work of other artists. In January 2006 I found what is now the Frame Fatale Gallery at the Seeley Building in Glendale, CA."

Q. Are you an artist as well?

A. "I’m a photographer."



Q. Have you had past experience as a gallery curator?

A. "Not until fairly recently."

Q. What is your gallery 'about'? What kind of artists do you represent?

A. "The gallery is mainly here to support local up and coming artists, while also exhibiting established artists as well. As of now, Frame Fatale is not representing artists. It’s basically here to provide space and support to artists of pretty much any medium."

Q.What is the 'art scene' like in your area?

A. "Los Angeles has a pretty diverse art scene. There are styles from all over the world. From main stream to outrageous its all here. For some up and coming artists "the art scene" can be inaccessible and cliquey if that’s a word. We’re trying to make the scene more accessible to artists that might otherwise be overlooked or keep themselves under the radar…"



Q. Has the market been good for the artists who have exhibited at your gallery?

A. "It’s been great thus far for most of the artists we’ve shown."

Q. Do you have any links to the websites of the artists that have exhibited at your gallery?

A. "Cyndee Arroyo: www.13thhourstudios.com
Jhoneil Centeno: www.jhoneil.net
Chuck Hodi : www.chuckhodi.net
Steven Krul : www.skrulphoto.com "

Q. How often do you have exhibits?

A. "No set time period right now. Eventually we’d like to do monthly exhibits."

Q. What is your gallery address? How can artists and art lovers contact you?
A. "Frame Fatale Gallery
1800 S. Brand Blvd.
Suite 303
Glendale, CA 91204
323.610.5319
steve@framefatale.com"



Q. Do you have a website for the gallery?

A. www.framefatale.com

Q. In your opinion, what makes an art gallery a success?

A. "I feel a successful gallery stimulates the artists it shows as well as the local community creatively and economically."

I hope you have enjoyed learning more abou the Frame Fatale Gallery. Please email Mr. Krul for further information.

Take care, Stay True,

Brian Sherwin

Art In The News: The 2006 Art Market Boom

It has been a very good year for the art market. Insiders have stated that 2006 has been the best year for art sells in over a decade. Half a billion dollars' worth of art was sold last week at Christie's alone. It is doubtful that the market will decline anytime soon.

The art that exchanged hands last week helped New York to break the one billion dollar mark in art sells. This is the first time that such a high record has been achieved in a single season.

Insiders believe that the 2006 art market will continue to boom. Works by Jeff Koons, Damien Hirst, and Andy Warhol will be for sell next week at Christie's and Sotherby's post-war and contemporary art sale. This increase in sells is fueled by a young generation of wealthy buyers.

Emerging artists are also benefiting from the current art market. Many of the artists I've communicated with have noted an increase in the sell of their work during this year. These young artists may not earn 61 million dollars per painting, but they are making enough to be content. Let us hope that this interest in art continues in 2007 and beyond.

Have you sold a work of art recently? Tell us about it!

-B

Art Space Talk: Mila Sterling

I recently interviewed artist Mila Sterling. Sterling's portraits convey a strong sense of mood. When I view her portraits I can see the personality of her subjects trapped within the painting. Thus, her portraits have a very intimate quality about them. They reveal great insight into the human condition. I was delighted to discover her work.

The first aspect I noticed was her great skill for creating textured paintings. Her bold use of paint is marked by her strong sense of line. Together they form images that are a perfect example of what an artist can accomplish with the mere stroke of a brush.

Sterling utilizes her painterly technique in order to take full advantage of her talent as an expressive painter. However, the expressionistic quality of her work does not end with painting. Mila also creates interesting collages. (Example Below.)

Q. When did you first discover that art would be an important part of your adult life?

A. "I studied painting at UC Berkeley, and assumed it would be a part of my post-collegiate life, but it was on one of those Eurorail trips after gradutaion that I realized how important that part would be without the push of assignments and peers and professors. Specifically, the moment happened when I saw a Bacon triptych at the Tate (Three Studies for Figures at the Base of a Crucifixion) and felt viscerally excited with an intensity that surprised me. I had seen that painting (and many other works of art that we saw in the countries we passed through afterwards) in books, but seeing the pieces in person, quite simply, turned me on... and gave me a million ideas. It was unexpected. Although I had been doodling all of my life, it was only then I discovered it was to be my main focus. There was so much I HAD to do on my own, so much I still have to do."

Q. How has creating art shaped you professionally and personally?

A. "It's made me more disciplined and honest as a person. I haven't yet achieved the professional goals I have, but I have faith I'll get there."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Well, I think the cultural impact of being a Manhattan-bred, Los Angeles/San Francisco raised city girl is implicit in everything I do. My work has been interpreted in many different ways, but I don't have an overall social or political agenda."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are certain painters that have influenced the way I paint... at the top of the list are Bacon, Van Gogh, Degas and Goya. I've been to the Prado about 20 times and at each visit felt simultaneously inspired and depressed by Goya's pinturas negras. At times it felt like, why bother? It;s all there. Then I find another way.

I'm inspired mostly by artists today who find a way to incorporate their practice into real life and whose work is what I consider, for one reason or other, the 'real deal.' One example is the amazingly talented and prolific Elizabeth McGrath, whose style is completely different from mine, but whose work has had a real impact on me and who as a person inspires me to work harder."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "As I previously mentioned, I'm a city girl. I was born in Manhattan, grew up in Los Angeles, moved to the Bay Area for university. I studied fine art and English literature at Berkeley, moved to San Francisco for a few years and then moved back here. In 2003 I moved to Madrid for a year to see if I could do it really, without speaking Spanish, knowing anyone, having a job or a place to live. Everything fell into my hands and made me braver and more confident, which has definitely influenced my work. I'm from a family of artists (my mother a pianist, father an actor, grandmother an animator, etc.) so the family joke is there was never a question of paying for med school."

Q. How long have you been a working artist?

A. "Based on when I first sold a painting, it's been almost 13 years."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Mainly other artists and creative professionals. A celebrity here and there."

Q. Discuss one of your pieces.What were you thinking when you created it? What is your artistic process?

A. "I'm combining these two questions together. I often think in terms of producing a series, and I'll usually come up with an idea by accident. For example, I stumbled across a Frank Gehry structure while it was in the process of being built in downtown L.A. (now the Walt Disney Music Hall.) I thought it was one of the most beautiful, masculine and disturbing things I had ever seen. It seemed like a living or dead being, and I began to think of how urban structures can be seen as having their own cycle of gestation and decline. (Gehry himself, I found out later, wanted to design a building that looked like a fish with the Bilbao museum, which is similar in design to the Music Hall.) I took some photos off the carcass-like building and other buildings in town that were either in the process of being 'born' or 'dying' and used them as a base for my architextures series. I often work from photograph, alternately working directly from them and putting them away. I really like to see the sense of emotional depth I can get in a painting that doesn't come through in the photograph. The painting "emergence" in retrospect probably encapsulates what I was thinking about most successfully. My audience has seen it as many different things:¦ a ship, a crane, an abstract expression of movement, etc." (Image Below)

Q. Why did you choose the medium(s) that you use?

A. "Oils are like a language, so I always feel challenged and I'm constantly learning. I love the texture of canvas but am often drawn towards wood for its sense of indestructibility and utilitarianism. Also, practically, it's less expensive!"

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I have a BFA from Berkeley (I doubled in English Literature, but was more intensely involved in the art program). I originally intended to get an MFA and was accepted into the Slade School of Fine Art in London, my first choice. Sadly, I was unable to gather the funds to go. At this point in my life I'm on the fence as to whether to continue my education. I'm attracted to the idea of having a peer group of artists to bounce ideas off of, and I'm aware that having an MFA increases your opportunity to exhibit in reputable galleries. But I've also met many artists who have become burnt out and less productive after their master's, and I dontt want to lose my enthusiasm or optismism."

Q. Where can we see more of your art?

A. "Presently my work is either in my possession or in private collections. Almost all of it can be viewed on my website, www.milasterling.com."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. " I'm not presently represented by a gallery. I am hoping to have a
series ready for exhibit early next year in a downtown Los Angeles gallery and possibly showing the remainder of available pieces in the madrilena series in Echo Park. stay tuned."

Q. What galleries have you exhibited in?

A. "I've exhibited at Create:Fixate, Inshallah, Sushi Performance Art, the Art Collective Gallery, the Retiro, and unconventional art spaces like Scavenger's Paradise and Enrico's restaurant."

Q. Any tips for emerging artists?

A. "I was quite recently contacted by a student at the University of Pennsylvania who found me through the web. She had an assignment to interview an artist she liked, and one of the questions she asked was if I had any advice. This was my response: Don't self-censor, and work as much as you can. Try and be honest and not make something because you think it's cool... although there's nothing wrong with being cool, that won't help you grow your own voice. Don't be too concerned with being derivative but do try and add a different flair to a piece that's your own, even if it's unsuccessful. Stand behind what you set out to do but also listen to what everyone else has to say. And if you're a painter, always clean your brushes. My parents supported me until I graduated, and I found out the hard way that in the 'real world' when you have to pay for all the practical things in life, they are really fucking expensive."

Q.Has your work ever been censored? If so, how did you deal with it?

A. "My work has never been censored. If it was, obviously, I wouldn't support or exhibit in the organization that did, and would probably make a big stink about it."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "This year has been the toughest, actually. I haven't hit rock bottom, but I've had some major personal setbacks and health issues I've been dealing with that have weakened my creative output and drive. Just in the last month I've gotten back to working and it feels fantastic. It saddens me that it's been over a year since I've had an exhibit, but life sometimes interferes and you just have to draw from it."

Q. In one sentence... why do you create art?

A. "The artistic process satisfies my natural creative inclinations in a way nothing else does, although the proces can sometimes be tortuous, challenging and physically/emotionally demanding... but if you create something that you think is any good it's extremely rewarding and for me, it's an added bonus if anyone else gets something from it."

I hope you have enjoyed my interview with Mila Sterling. Remember to view her website: http://www.milasterling.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Brian Burris

I recently interviewed artist Brian Burris. Mr. Burris creates abstract paintings that capture the essence of his past struggles and pain. These paintings define the emotive aspects of the artist visually. In some of these images the raw emotion is very dominant. The viewer can sense the loss that went into the paintings creation.

One can ponder his or her own life struggles while observing the art of Mr. Burris. In my opinion, the paintings serve as a reminder that the plight of living is shared by all. We are connected by our collective loss.

Q. Do you have a myartspace.com account?

A. "Yes. bkburris. Brian Burris--artworks."

Q. When did you first discover that art would be an important part of your adult life?

A. "I began painting when I was sixteen years old: I knew then it would be an integral part of my life, a great part of what defines me. My art became commercially self-supporting in 2001, which in and of itself is a sort of milestone in an artist's evolution; when it becomes more than a divertissement."

Q. How has creating art shaped you professionally and personally?

A. "My art has become more personally expressive. In '99, six of my co-workers died in the Worcester warehouse fire (Worcester Mass.). A year later, my father died; a co-worker who was also a friend died, another co-worker died, and I worked separately a car accident with teen-age fatalities and a shooting in which the victim had twelve gunshot wounds, including one through-and-through the neck, clipping the jugular. Though not as a therapeutic tool (at least not consciously), I returned to painting after a seven-year hiatus."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My themes are universally relevant: loss/abandonment; failure to save(oneself, loved ones from pain);betrayal (by loved ones, parents, God); disassociation; repression; consciousness and the subconscious."

Q. What are your artistic influences? Has anyone inspired you?

A. "I had one friend whose father was (and still is) an artist, and that friend steered me into painting. And another friend with whom I've been collaborating for close to twenty years who kept me painting sporadically during my hiatus and still adds an element of departure from my own style and themes."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "In my youth I committed to the artist's lifestyle: very bohemian. I became disillusioned with the starving-artist lifestyle, a pseudo post-hippie morass (except for the fact that my fugue was post-eighties). I broke from the organic creative zen spirit--aleatory (i.e. governed by chance) lifestyle and joined the US Army Reserves (whose basic brainwashing, for me anyway, I found to be the antithesis of creative impulse--not that brainwashing is a bad thing); from there I worked for the Sheriff's Dept, finally finding my niche in a major metropolitan fire department where we do emergency medical response in addition to fire calls. I still have no desire to work to simply take my place in the for profit cog: if it's not life or death it is not significant."

Q. How long have you been a working artist?

A. "Twenty-two years. 1984 to 2006. I had a bit of a hiatus (as I mentioned above) in which I focused on corporeal things, though I still produced and collaborated on pieces during that time, these efforts number less than half-a-dozen."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "They seem to feel my artwork captures a message they themselves feel, both emotionally and metaphysically. So I would have to say my collectors feel a connection with the themes of disassociation and loss, as well a greater metaphysical connection."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "'In the Year of the Flood'. It's a classic example of my particular division field paintings, representative of the division of consciousness and the greater, dominant subconscious. The fields tend to deviate from the classic extreme and mean ratio, which is symbolic of the disintegration of conscious and subconscious compartmentalization. The whole work is usually unified by a distressed patina, again symbolic of psychic dissolution. On this particular piece there is a vertical 'slash' (also seen in 'no pleasures remain, veil of tears--not shown--etc), which represents repression of the subconscious while at the same time the in-road into consciousness that effort of repression makes."

Q. What is your artistic process?

A. "I refer to my style as 'process abstracts'. A fusion and evolution from abstract expressionism in the action school style segued into a process or layer painting execution with more emphasis on minimalism and field paintings."

Q. Why did you choose the medium(s) that you use?

A. "I fell into acrylics: they were what was available, and after twenty-plus years of using them and pushing past their characteristics to non-conventional finishes. I also employ various distressing techniques, both mechanical and chemical (enzymes, etc.) that react specifically with acrylic. Plus the drying times and acrylic's behavior under high viscosity work best with my particular style and methods."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "I have a degree--in Liberal Arts. I don't plan to attend art school and enjoy my status as 'self-taught'. The more you understand the world, the better you can express it in any venue."

Q. Where can we see more of your art?

A. "I show in and around the Worcester area with: ARTSWorcester and the Worcester Artists Group (WAG). I am curently showing at the Naked Art Gallery in Northampton Mass, have half-a-dozen pieces going into a new gallery space at Worcester Polytechnic Institute (WPI), and am contributing two pieces to an installation at Unum Provident in Worcester as well. And of course on the net. If you enter my name into a search engine it should pop up half-a-dozen or so sites which reference my work, the most notable of which being the Pascarelli Gallery at http://www.pascarelligallery.net/."

Q. Are you represented by a gallery?

A. "I was represented by the Gallery at Harlow Street, aka The Sprinkler Factory, in Worcester Mass up until this past September, when the building owner usurped the gallery operation from its proprietor for ten years, at which point myself and ninety percent of the other artists in this enclave of artist's studios decided to find our retreats elsewhere. Too bad: it was a fantastic venue. I am now represented solely by ARTSWorcester."

Q. Do you have any upcoming exhibits?

A. "The aforementioned WPI Arts & Humanities Gallery, Dec '06; Unum Provident collaborative show, Dec '06. Currently showing at the Naked Art Gallery, Northampton, through Dec 8, 2006, as well as currently showing in the Worcester Artists Group's Second Annual Juried show."

Q. What galleries have you exhibited in?

A. "The Gallery at Harlow Street, The Well, the Abattoir, The Worcester Artists Group, the Naked Art Gallery."

Q. What trends do you see in the 'art world'?

A. "At its least: Modern pop art with overt blatant and unsubtle message, art still seeks to shock les enfants, a parade of ridiculousness. At its best: subtleties that reflect the undercurrents of life itself, emotion rendered in amazing light.

I particularly enjoy the recent onslaught of stills-as-found art: stills from film--a recognition of film as art. Impressed with the Internet community of artists coming together in the different net forums (myartspace, myspace, others)."

Q. Any tips for emerging artists?

A. "Hmn. There are two ways to go about 'emerging'. One: go to a premier fine arts school, get pedigreed, and move to New York. Find a gallery and become part of its 'stable'. Find an obtrusive symbol of a societal quirk and render it in manifold variation. Sex and violence, commercialism and superficial sense of self, anger and repression.. Remember that your buying public is not only buying your work but the entire cult of you as an artist, your work and well as your tortured psyche, and the experience of the reception, the taste of the art world and the ambiance of the art scene. And remember: wine sells art.

Or: Find yourself a job that will support you so that your happiness doesn't hinge on selling your work, in which case you will never have to pander to popular opinion in order to perpetuate your art, or eat for that matter. This job will free you up to create. Keep in touch with the art world through trade journals and your local library. Maybe take an art history course. When you're producing, don't settle for half-good. Don't call a painting complete to preserve a portion which works in a painting which doesn't work overall. Invest in Gesso. When you have pieces you feel are ready to show, join an artist's co-op (or as many as you can). Show in their all-artists' shows. In the meantime, go to other artists' shows, become a contributing part of your local art scene. If the public is receptive to your work, other opportunities will present themselves. Network as much as your conscience will allow, and pray somebody takes up representing your work so you can just get back to painting and stop feeling like you're trying to sell yourself."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "No, my work hasn't been censored. If it were, I would attempt to find a piece that was more 'venue-appropriate'. Perhaps I will push that envelope soon since I've begun a series of nudes."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "I suppose the point of greatest success is also the most trying point, at which you can get carried away with all the positive attention and the ever-flowing demands of the social scene (which, as mentioned above, is key to getting your work out there). The creative process itself devours you: so recognizing that nadir, that perihelion, is vital towards your ability to live in the real world, as well as to still be able to create. That is the most difficult balance."

Q. In one sentence... why do you create art?

A. "Because it says what you can't say, and it doesn't matter if anyone listens."

Q. What can you tell our readers about the art scene in your area?

A. "My art scene is the Worcester area (Massachusetts), which has had an underground art scene for twenty years but which is just within the last two years really taking off with a shift in the demographic. I'm putting my work out west of here as well to Northampton Mass, aka 'Noho' because of its arts/lifestyle arts community and Amherst/Umass college demographic."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "We are mutually self-supporting: in our local art scenes and on the Internet. Get in touch with the other artists in your local scene and via the web, maintain these contacts, network. Showing your work is validation, otherwise your just playing with yourself in the basement. But remember it's the art itself that is the reward."

I hope you have enjoyed my interview with artist Brian Burris. Feel free to critique or discuss his work. Remember to do a search on the main site for bkburris. http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art In The News: Thomas Jefferson University Will Sell 'The Gross Clinic'

The Thomas Jefferson University has authorized the sale of Thomas Eakins' painting 'The Gross Clinic'. Painted in 1875, the piece was purchased for 200 dollars by the university in 1878. The painting has long been viewed as a symbol of art and science coming together.

The image is now worth a record 68 million dollars. An amount that The National Gallery of Art (Washington, D.C.) and the Crystal Bridges Museum of American Art Bentonville, Arkansas) have agreed to pay. The painting will be displayed by both institutions.

Local art museums and governmental institutions have 45 days to counter the bid. The sale has been arranged by Christie's in New York. Other paintings by the artist have sold for up to 10 million dollars.

The painting will not be exhibited in Philadelphia anytime soon if the sell is finalized. Public outcry is expected since 'The Gross Clinic' is considered by many to be a symbol of Philadelphia and the local science/art community.

Art Space Talk: Douglas Ljungkvist

I recently interviewed artist Douglas Ljungkvist. Mr. Ljungkvist's utilizes the use of line and texture in his black & white photography. In a sense, Douglas takes photos using natural settings to 'build' interesting forms. He uses light to make the visual experience all the more interesting. The viewer is allowed to discover a personal meaning in each photo.

When I view his photos I think about how we all run into barriers in our lives. It seems that many of his photos offer 'escape routes' in the sense that there is always areas of light to travel to, but there is also great darkness at every angle and objects that impede movement. Thus, when I view Mr. Ljungkvist's art I think about how our environment can become a cell.



Q. When did you first discover that art would be an important part of your adult life?

A. "It was actually only a couple of years ago. I was taking a photography class to prepare for a trip to Patagonia. I was pretty much hooked immediately and I didn't even make it to Patagonia. I have always been very visual and with digital photography technology pushing forward I found my perfect media. Meanwhile I have a twin sister who's a very well known illustrator, so maybe there is something to it genetically."

Q. How has creating art shaped you professionally and personally?

A. "It has taught me to look at things from different angles and to be more patient. It has also improved my problem solving skills. When setting up an image 90% of the decisions are made before you even look in the viewfinder. Unless you're just snap shooting or looking for the "decisive moment"."



Q. How has society influenced your art? Are there any social implications in your art?

A. "My goal is to make images that are ambiguous from an opinion perspective, that makes the viewer think of how they feel and what it means to them. So I don't really feel consciously influenced by society per se, but more from my environment and experiences."



Q. What are your artistic influences? Has anyone inspired you?

A. "Most of my inspiration comes from the old black & white photographers including Andrez Kertsez, Paul Strand, Bill Brandt, W. Eugene Smith. When it comes to color and more modern photography I enjoy Stephen Shore and Nan Goldin. Artistically I am mostly influenced by light. Light is so beautiful and can make the most ordinary item or scene come to life in a magical way. I especially like the pale late afternoon light in the winter. I am also influences by lines and texture."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Before taking up photography, I worked most of my career in Sales & Marketing in the travel business. I bring the same creativeness to my photography as I do in business."



Q. How long have you been a working artist?

A. "For about a year. In addition to my personal projects, I shoot Travel, Events, and Real Estate commercially."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I think my art probably appeals to people that like to go their own way, who enjoy thinking and have strong opinions. A bit of an acquired taste, like myself. I don't think I have mass appeal but hope to create a small but loyal following."



Q. Discuss one of your pieces. What were you thinking when you created it?

A. "I came across this church while walking around Brooklyn at dusk. I was drawn to the cross of the church that was attached to the facade. Rather than face the building, the cross was facing the perpendicular street. Religion is very much in discussion today especially when it comes to politics so I wanted to show it in a different way. I wanted people to wonder if I see religion as salvation and the light, or if I'm a non believer that think religion is the cause of more evil than good. How does it make you feel? You decide. I felt the scene would record best as a low-key image with the cross as a silhouette and add a red filter to darken the sky for added drama. I'm rather happy with the outcome."

Q. What is your artistic process?

A. "I'm somewhat of an intuitive photographer. I shoot scenes that appeal to me for various reasons and how I see them. My technical setup includes depth of field, lighting selection, and shutter speed. Then I decide if it's a color or black and white scene. Does it fit into an ongoing project, if so I make sure to shoot it in a consistent way. 90% of my image making takes place in the camera. I am not a fan of spending hours enhancing images in PhotoShop."



Q. Why did you choose the medium(s) that you use?

A. "I am all visual. I relate words, feelings, smells, tastes, everything visually. I learn visually not by reading and remembering and I'm a keen observer and love people watching. Digital photography offers me instant gratification that suits my personality."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "No art degree. I don't learn well in classrooms. I'm a self taught trial/error kind of guy. I think only so much can be taught when it comes to photography. I do like weekend workshops and I have taken some at ICP."



Q. Where can we see more of your art?

A. "I am always looking for places to show my art. My art can mostly be seen online and on my website http://www.douglasljungkvist.com"

Q. What trends do you see in the 'art world'?

A. "I see more and more people getting into art with the emergence of digital photography and video. I also think there will be more cross over art."



Q. Any tips for emerging artists?

A. "Shoot what you love, shoot what you know, and hopefully others will love it, too. You have to be true to yourself and belive in what you do. If you don't it will show in your work."

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Getting established in New York will always be tough. There have been times when I've had self doubt. But then I remember that I'm doing this first and foremost for myself."

Q. In one sentence... why do you create art?

A. "It's therapeutic and exciting to have a vision that comes out the way you hoped."

Q. What can you tell our readers about the art scene in your area?

A. "I live in New York which has the best art scene in the country. There are so many places for art shows and inspiration including MoMA, ICP, galleries in Chelsea and Williamsburg (Brooklyn). There is also more competition in New York than anywhere else. At the end of the day, art is business, and it can be challenging to find curators or art collectors that want to take chances."



Q. Is there anything else you would like to say about your art or the 'art world'?

A. "Mood. My images are about mood and feel. I like to break the "rules" and shoot how I see things. Some people get too caught up in - rule of thirds, leading lines, fore/middle/back ground etc. My motto is See, Feel, Capture!"



I hope you have enjoyed my interview with artist Douglas Ljungvist. Feel free to critique or discuss his art. You can further observe his art by doing a search for doogienj on the main site. http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kacie Nichols

I recently interviewed artist Kacie Nichols. Kacie often combines the female form (her own) with common items in a provocative manner. Her work seems to reflect the plight of many young women in our body driven society. The end result is a disturbing visual documentary of how women may question their identity or self-worth.

When I first viewed her work I felt 'hit in the gut', so to speak. Her ability to capture a sense of beauty mixed with danger is alarming. It seems that her work is a selfless art in that she offers herself in every piece. The viewer takes on an almost voyeuristic nature as he or she observes Kacie's photography.

Nichols can ask so many questions about society by using the form of her body alongside simple materials. I especially like how she combines her flesh with glass items. In my opinion, these images reveal how women may feel as if they are walking on glass each day in the quest for a body image that is accepted by others.

Q. When did you first discover that art would be an important part of your adult life?

A. "It was actually when I got to high school and was finally given the option of taking art classes. At that time I started to experiment with all mediums and finally found two that fit to me, photography and drawing (mostly with charcoal). I found that the feelings, thoughts, as well as observations of my world that I had kept bottled up could be released and given a new life in this way. Before this time, I had no idea of how to go about it. It sets me free and I no longer feel as if I am far too burdened to function."

Q. How long have you studied photography?

A. "I have never "studied" photography persay. However, I was given a 35mm camera when I was 14 by my father. He showed me how to load the film, wind it, and then what all the settings on the camera were used for. This took a couple of weeks to get the hang of, seeing as that particular camera had several settings to learn. Once I had all the basics embedded in my mind, I just went out into my world and started experimenting with it . . . simple as that."

Q. How has creating art with your photos shaped you personally?

A. "As I mentioned before it has allowed me to feel as if I can function better than I ever have before. This gives me the advantage of taking on the world with minimal fears in doing so. It has also allowed me to, for the most part, be more optimistic about living and breathing because most of my negative feelings have been released into art instead of continuously holding me down."

Q. Do you see it as a form of release? If so, how?

A. "Yes, just taking part in it makes the cares of the day melt away. It's such a wonderful thing because new cares will bind themselves to you at every turn. Without a way to tear them down, you are left basically helpless."

Q. You seem to be very comfortable with your body. What are you trying to express when you use the nude form?

A. "In almost all cases I am trying to pair the soft form of the female figure with a harsh idea. The contrast in this is beautiful and striking."

Q. You write poetry as well. Is there a connection between your poetry and photography?

A. "There would have to be, wouldn't there? I mean, both the poetry and the photography come from the same creature. The same thoughts and feelings go into both. I would love to sit down some day and pair each photograph with its own poem. There's something about having those expressive words side by side with a visual representation of itself that I find fascinating."

Q. How has society influenced your art? Are there any social implications in the images your take?

A. "A lot of times when I am creating my self-portraits, for example, the thoughts that are passing through my mind include those of society’s typical view of women. The way I feel women are viewed is that to be a "real" woman, one must fit this standard of a slender, perfectly made-up, and well-dressed beauty. I feel as if my self-portrait images capture this standard but at the same time evoke emotions in the viewer of how harsh and truly unbearable this standard is to hold to. If that makes sense . . ."

Q. What are your artistic influences? Has anyone inspired you?

A. "My artistic influence is simply this: life and all it comes with. Because of this, I have been inspired by most individuals that I have come into contact with. However, there is one that stands out from the rest just the slightest bit . . . A young man I encountered a couple of years ago. His name and the moments I remember of him are of no never mind to the public, but he changed the course of my life with his harshness and I say thank you to the arrogant poet."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I would prefer not to talk about my background and past experiences, it makes me uncomfortable. Just know that my past as well as current experiences are reflected in my work today."

Q. Discuss one of your pieces. What were you thinking when you took the photo?

A. "This photo is titled "Baneful Bust" (image above).When I created this photo I was thinking about how I was desperatelely striving to fit the ideal of a beautiful woman . . . Starving, spending money that could be used for better things to dress well, and using too much of my time putting on make-up or fixing my hair . . . But in the end decided to strip myself of all these things and attempt to destroy their hold on me. This destruction is symbolized by the knife in the photo. My artistic process simply consists of feeling an emotion and then capturing it through a lens while it still exists in me or in others. If it passes then it’s lost to me as well as others."

Q. Where can we see more of your art?

A. "I have Myspace page for my photography: http://www.myspace.com/godintheboxphotography I have just started work on an actual site . However, this excursion may take a while to complete seeing as I have little HTML experience."

Q. Has your work ever been censored? If so, how did you deal with it?

A. "When I showed my work at the local coffee shop, I could not show certain pieces because it was a family environment. Children were often coming in and out of the shop and it would have been inappropriate for some of my photographs to be out where children could view it. So, I cut those pieces from the showing and pulled it back together. I felt that this was a reasonable censorship. Other than that, posting my photographs on public profiles is problematic. Nudity must be censored and the like. I simply open the file with photoshop and cover, in most cases for my work, the nipples in my work as creatively as possible because I feel the "big black box" approach is distracting. In all instances, I try not to become angry about the situation."

Q. In one sentence... why do you create art?

A. "To release and capture a memory in time."

Q. Where can we find you on myartspace.com?

A." My account name for myartspace.com is GodintheBox."

Q. Is there anything else you would like to say about your art?

A. "Only that I hope for those who view it to see it with their own eyes and look at it with their own experiences in mind. I love to let others draw their own conclusions and interpretations from what I create and I dislike feeding them ideas of what they "should" see."

I hope you have enjoyed my interview with artist Kacie Nichols. Feel free to critique or discuss her work. You can see more of her art by doing a search for GodintheBox on the main site. http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art In The News: SOFA

http://www.sofaexpo.com/

The critically acclaimed International Exposition of Sculpture Objects and Functional Art (SOFA). This is the 13th year of the SOFA Exposition. The exposition starts Friday and will run through Sunday at Navy Pier’s Festival Hall. Over 100 international galleries and dealers will bring examples of contemporary, decorative and fine art.

Thirty-one lecture presentations have been scheduled for the event and there will be special exhibits by several international arts organizations.

SOFA CHICAGO 2006
November 10 - 12, Exhibition Hall,
Navy Pier,600 E. Grand Avenue, Chicago, IL

Art In The News: World Art Expo in Malacca

An international art expo will be held for 5 days in Malacca. The First Malaysia World Art-Tourism Expo 2006 is taking place at the Malacca International Trade Centre in Ayer Keroh. The expo will run until Monday.

Artists and art entrepreneurs from the China, Iran, Hong Kong, South Korea, Cuba, Indonesia, the Philippines, Britain, Myanmar, Italy, Singapore, Russia, the United States, and Thailand have come together to form the international art expo. In all, 150 international artist, 100 kiosks, and 3,000 works of art are on display until Monday.

Sponsers have declared that the expo is not just about art and commerce. They hope it will established a people-to-people network amongst visitors and particpants.

Art In The News: Controversial Art By Neil Moore Exhibited At The Nomi Art Gallery

Neil Moore, a controversial artist, is in the spotlight with his new body of work. He is currently exhibiting the pieces in the recently opened Nomi Art gallery. (November 11th to December 2nd). Mr. Moore has displayed his paintings to critical acclaim across Europe and the United States. However, he has had his share of controversy during his long career as an artist.

Mr. Moore's work, which often deals with gender issues, has been refused by galleries in the past due to their controversial nature. Curators often fear what families may think upon viewing Moore's art. They put Mr. Moore's integrity as an artist on the back-burner out of fear of public outcry.

The controversy over Moore's work stems from his manner of depicting the female form in his art. Many viewers have been offended by his use of the female figure. There has also been some concern and debate over the age-range of his subjects.

Luckily for Moore, the Nomi Art gallery desires art that is considered controversial art. They see themselves as an outlet for artists who have been 'attacked' for their artistic creations. Mr. Moore's art is exactly the type of art that the Nomi wants to exhibit.

Art In The News: Picasso Ownership Dispute

Julius Schoeps, a descendant of a former owner of a Picasso painting, recently sued to recover the canvas. The painting, ' Portrait of Angel Fernandes de Sota' was scheduled to be auctioned Wednesday. The lawsuit prompted Christie's officials to withdraw it from sale.

The painting, valued at more that 60 million dollars, was publicly withdrawn from the auction by Christie's and the Sir Andrew Lloyd Webber Art Foundation (Current owner of the painting) during a joint decision. However, a court decision may grant the auction of the painting if Schoeps suit is denied.

Julius Schoeps filed the lawsuit Wednesday in Manhattan's state Supreme Court. Mr. Schoeps claimed that his ancestor, a wealthy banker, was intimidated by members of the Nazi party and forced to sell the prized painting in the 1930s. Schoep demands ownership of the painting or compensation of $60 million from the Sir Andrew Lloyd Webber Art Foundation.

The Andrew Lloyd Webber Art Foundation had hoped to auction the painting (Which has been on the art market for 50 years.) in order to finance actors' scholarships and other theatrical endeavors. It seems that they may not be able to sell the painting anytime soon. There will certainly be further legal hassles over the ownership of this painting.

Art Space Talk: Carrie Ann Baade

The art of Carrie Ann Baade has quickly gained recognition in recent years. I remember viewing her work over two years ago. Her images, with their 'eye masks', stuck in my mind. Sadly, I forgot her name at the time. What can I say...sometimes the art remains in the mind while the name of who created it slips away. One thing is for certain, the art and name of Carrie Ann Baade will become familiar to many people in the 'art world'. I doubt I will forget her name anytime soon. She has a successful track record and continues to develop as an artist.

In my opinion, Baade's art is a perfect example of what a surrealistic painter can accomplish today. Carrie's paintings have been called "Imaginative Realism" due to her strong skills in traditional painting. Her body of work captures the essence of Master works while embracing the heart of surrealism. This mix of 'old and new' comes together to create images that are both beautiful and alarming at the same time.

There is a mysterious beauty about her work. In my opinion, the world she creates is one of harlequins and jesters cloaked by a shroud of danger that can be observed just beneath the surface. When viewed as a collection, Baade's paintings become a masquerade: Anger, fear, humor, sadness, humility, and joy all wear their respected mask. They beg for the viewer to peer beyond their guise. Will you be so bold as to take a look?

Brian Sherwin: Carrie, when did you first discover that art would be an important part of your adult life?

Carrie Ann Baade: Shortly after becoming conscious at age 2 1/2. I had been quite ill and in the hospital, so my first memories were of being ill, the next memory was of returning home and drawing "The Snail in the Rain"...I figure it is peculiar or at least precocsious for toddlers to title their works. I still have the drawing.

BS: Carrie, how has creating art shaped you professionally and personally?

CAB: Recently, I have gone through several huge life changes. I quit my job and my marriage so that I could paint full time. The result is the realization that I will sacrifice nearly everything to continue to paint. My only other skill is that I am a decent professor and I am still trying to make that work to actually have a living wage.

BS: Carrie, how has society influenced your art? Are there any social implications in your art?

CAB: I don't paint because I want to keep it. I paint to communicate. It is the desire to touch and connect with others that drives my work...however, there is a tendancy to be the sadder and funnier darkerside of life that I am attempting to illustrate.

BS: What are your artistic influences? Has anyone inspired you?

CAB: Judith Schaecter! Julie Heffernan, Colette Calacsione, Catherine de Monchaux, Liz McGrath, and Vermeer.

BS: Carrie, tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

CAB: My life is definitely embedded or encoded into my work. The more trauma the more content. There are very real things that I am not aloud to speak of in polite society, the more I translate them into elaborate images to spell out my rage, my dissatisfaction, my pain, my secrets, and my loves which may also be secrets. Usually I let myself work cathartically but only so long as there is something funny about it. Technically speaking, I studied classical realism in Italy at the Florence Academy of Art and after I left, I then did many reproductions of artists such as Vermeer, Canaletto, Watteau, Manet, Belinni, Signorelli, etc. This shaped my desire to use paint with a similar authority to these past masters.

BS: If you could pinpoint the characteristics of people who collect your art, what would they be?

CAB: All the people who collect my work (who are not friends) are lawyers. I like that somehow lawyers see the complexity and are intrigued by the subject matter.

BS: Do you have an upcoming exhibit? If so, where and when?

CAB: YES! 3 in NYC opening at the end of October! Strychnin Gallery on OCt 27th, Fuse Gallery OCt 28th, and KMFK Gallery.

BS: Carrie, where do you see your art in 10 years? What are your plans?

CAB: Provided I planted my seeds correctly, I hope to have 4 or 5 nice galleries who represent me. My work is getting larger (at one point they had shrunk to 7inches). It is really my life's goal to make a humble living through painting....this is one of the few professions that one can continue til they are a little ol lady....but that is more like my 50 year plan.

BS: Carrie, discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

CAB: "The Teachings of Lilith," (image above) 18 x 12 inches, oil on copper, 2006, currently showing at PAUL BOOTH (The Dark Lord of Tatoos)'s Strychnin Gallery in NYC. This image is about the connections between women, snakes, and the moon. Specifically, I am intrigued by early Rennaisance artists depiction of the sepent in the garden of Eden having the head or torso of a woman. Since the serpent is not mentioned being female in the Bible, why have male artists chosen to show the serpent being part woman? The most famous example is in Michealangelo's Sistine Chapel frescoe. For me, this painting suggests that there may be more of these temptresses in training going out into the world to offer free will to more individual who were before locked in the bliss of ignorance.

BS: Carrie, do you have a degree or do you plan to attend school for art?

CAB: I have a BFA from the School of the Art Institute of Chicago and a masters from the University of Delaware.

BS: Where can we see more of your art? Are you involved with other websites? Do you have a personal website?

CAB: My website www.carrieannbaade.com and I'm involved with www.surrealartforum.com.

BS: Carrie, are you represented by a gallery?

BAG: Rosenfeld Gallery in Philadelphia, Richard Rosenfeld is my second father. I hope to gain representation with galleries in a few other cities/countries so I may continue to paint full time. I have been working with Stychnin Gallery in Berlin, but I also work with Ann Nathan in Chicago, Roq La Rue in Seattle, and I will have work at Sandy Carson in Denver next fall. Currently, I have work at Strychnin Gallery, KFMK Gallery, and Fuse Gallery all in NYC.

BS: Carrie, how many pieces have you sold in your career?

CAB: Of the works on my site, 3/4s are sold, so perhaps 40 paintings. I have been selling because I have had low prices to get my work out there. Only recently, have I raised them a little to attempt to make a living wage.

BS: Carrie, in your own words... why do you create art?

CAB: I create to make the work that I want to see. I am largely unsatified with contemporary art and art of the past. I yearn to make work that is mystical but contains elements that speak to the human condiditon. I wouldn't want to live if I couldn't create. It is who I am. It is what I do. I create art because I was a terrible waitress.

BS: Do you have any tips for emerging artists?

CAB: Pretend that each letter of rejection means you get to go out to dinner. I have decided that I will have an exhibit of all my letters of rejection as soon as I have enough to cover a gallery. I am only 1/3 of the way there. Beyond that, my credo is: IGNORANCE AND BALLZ! I say ignorance because I don't ask questions. Never ask why you are doing this. Never question your ability. Never wonder if you would be richer or happier doing something else. Ballz is the momentum to keep doing it despite impossible odds.

BS: Carrie, has your work ever been censored? If so, how did you deal with it?

CAB: Yes, The Queen of Oblivion was not displayed in a public building because there were breasts in the image. I was gratful for the show so I complied and then my family laughed at how conservative and small minded society is.

BS: What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

CAB: Currently, I am pleasantly free falling with out a parachute. I could not have jumped from safe job and a safe existance with out the skills I have acquired and the painting I have done so far. I don't want to say I have seen the worst because there is always a new level bad one may fall through, only to find what they thought was hell was heaven by comparrison. This artists' living has dignity and I would not have dignity doing something that was not me. I know who I am, I know what I want, but how to make this practicle is nearly demoralising at times.


BS: Can we find your art on myartspace.com?

CAB: Do a search for CarrieAnnBaade on myartspace.com.

BS: Carrie, what can you tell our readers about the art scene in your area?

CAB: Philly is conservative, but it is a knowable art scene with possilbities. New York is so broad and expansive it is unknowable by comparison. I prefer to be a fish in a medium sized pond for now.

You can learn more about Carrie Ann Baade by visiting her website-- www.carrieannbaade.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Carrie is a member of the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: John F. Champoli

I recently discovered the art of John F. Champoli and decided to interview him about his paintings. Mr. Champoli creates paintings that appear to be full of texture. Strong marks come together to give form to each of his paintings. The vibrant colors, balanced by the darker, create a visual maze for the viewer. This New York artist channels a great deal of energy into his work.

Q. When did you first discover that art would be an important part of your adult life?

A. "Definately my senior year in college after I took my first painting class and then I changed my major that next week to Art. Before that I was a guitar major."

Q. How has creating art shaped you professionally and personally?

A. "Absolutely- It's like you find out who you really are and what you are meant to do in life- before that it is just a confusing mess of existential funk."

Q. How has society influenced your art? Are there any social implications in your art?

A. "In my curerent installation I am working on society and those around me have certainly influenced my art because it deals with quoting memorable sayings that I have encountered either in the world at large or in my own inner circle of friends and people that I socialize with."

Q. What are your artistic influences? Has anyone inspired you?

A. "My artistic influences are Vincent Van Gogh -enough said. He is the real deal and for me the greatest artist to ever live."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Not in my paintings of wild color but definately in my latest installation piece in which I have quotes on computers and other various technological media such as "If I have to explain my art to you, you are obviously not intelligent enough to buy it." W. Garcia and "The Art world is about Sex and Flourescent Lights" - Kelly Shiulaz"

Concerning my background I come from Queens, NY, raised by my mother and grandmother. I often saw the graffiti murals and "wild styles" in the close by neighborhoods to where I lived and was inspired and fascinated with the colors and the forms of these artists and there risk in that they could be arrested or fined for what they were doing but still did it.I got into some fights of course growing up in Queens, and never had much money but that is what makes me pour myself in my art. Like life - art takes passion and perseverance."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Usually doctors or old hippie types...haha or really really rich people...But I do sell smaller pieces to those who can't afford the bigger ones."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "The PInultymate PicNIc is the final painting in a series of wildly, colorful abstract paintings based on the Garden of Eden before the fall of mankind and it is my own image of what life was like in a totally Utopian society."

Q. What is your artistic process?

A. "This is confidential but I can say it involves large amounts of acrylic paint and painting with toothbrushes and the pages of Art Forum magazine."

Q. Why did you choose the medium(s) that you use?

A. "Because that's all I know and love."

Q. Do you have a degree or do you plan to attend school for art? If so, how has it helped your art career?

A. "Yes, I go to school - but it has not I believe helped my career in any way."

Q. Where can we see more of your art?

A. "In the NY Gallery guide or on myspace. www.myspace.com/johhny also in shows coming up in Valencia, Spain - Bejing, China - and Broadway Gallery in New York in May."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Yes, Patrick's Fine Art - 21 East 62nd Bewtween Madison and Fifth Avenues The exhibition is still currently up. Please contact the gallery for further details and appointments to see the paintings. PatArt21@aol.com"

Q.What trends do you see in the 'art world'?

A. "Conceptualism with little or no Aesthetic beauty"

Q. Any tips for emerging artists?

A."Buy a Chelsea Show, get a website, buy and add in Art Forum for your show and advertise your show in the Gallery Guide"- E. Svitic"

Q. What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

A. "Yes, right now I have hit it and am still sliding into finnancial ruin haha, but what can you do when you do you love."

Q. In one sentence... why do you create art?

A. "Because I have to to feel somewhat normal."

Q. Can we find your art on myartspace.com?

A. "johhny41781"

Q. What can you tell our readers about the art scene in your area?

A. "Ny is wild and money and cash is king- the galleries in NY only look at credentials not art and only care about who you know-"

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "My art is something personal and what I love to do - I will always do it regardless but the art world is a different creature... one of deceit and weapon of mass destruction."

I hope you have enjoyd this interview with John F. Champoli. Feel free to critique or discuss his art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Aaron Kraten

I recently interviewed artist Aaron Kraten about his paintings. This self-taught artist has been making waves with his expressive images. He has acquired a large online fan base and has sold many paintings in his relatively short career. Mr. Kraten continues to expand the direction of his art.

In my opinion, his art asks questions about our materialistic nature and the urge that some people have for the vices of the street. There is a great deal of social commentary within each painting.

I can 'see' people I've known through the years when I observe Mr. Kraten's art. His work captures the essence of their youthful abandonment. I pondered several issues upon viewing several paintings.

When I first observed his work I noticed his 'eye' for the details of our society. In a sense, his work reveals the underbelly of our economically charged lifestyles. I feel that his art reflects the anxieties of a youthful generation that is faced with an overabundance of options as to how to live... Pleasure is all around us and mistakes, as well as choices, will be made.

You can be observe Mr. Kraten's myartspace gallery by doing a search for Aaronkraten on the main site.

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today?

A. "i would say growing up in apartments and moving around alot effects my art"

Q. When did you first discover that art would be an important part of your adult life?

A. "when I was a kid"

Q. What was the toughest point in your career as an artist?

A. "doing shows in what seems like a gallery and it turnes out to be a rave or a club."

Q. Have you ever hit rock-bottom?

A. "when i lived at home in my teens it was rock bottom."

Q. How has creating art shaped you professionally and personally?

A. "making art and selling art has given me opertunity to publish works and be involved with other creative people , via art shows."

Q. What is your artistic process?

A. "mixed media on wood"

Q. Why did you choose the medium(s) that you use?

A. "I like using all sorts of things not just stuff found in art supply stores."
Q. Do you have an academic background in art?

A. "I'm self-taught. I grew up in Huntington Beach , CA and always enjoyed drawing. I carried around these small 100 page sketchbooks which I drew in often. I have drawn over 58 - 100 page sketchbooks and over 150 paintings."

Q. How has society influenced your art? Are there any social implications in your art?

A. "defently i am influenced by graffiti and skateboarding."

Q. What are your artistic influences?

A. "machanics , how people treat eachother socially plays a big part"

Q. Has anyone inspired you?

A. "Mark Gonzales is a big one, also berry Mcgee and early skataboard art."

Q. Could you tell us more about your influences?

A. "I guess things i think influence me are Graffiti Skateboarding Technology Love Fashond Urban environments video games punk music *early 80's late 70's*"

Q. How did you start your career as an artist?

A. "In 1999 I was working at a thrift store called Stateside. There I started experimenting with painting on Found objects.I started Displaying my work in the Thrift Store and Sold Quite a bit of Art off those walls. Soon after I Began Submitting my work to Gallerys and Museums locally. I show about 4 times a year and Post new work on my website often.


Q. How exactly has street art influenced your work?

A. "it is all around us , the expressions of street artists maybe it is a small sticker , a zeen , a piece, it is the words of the people."

Q. When were you first introduced to such work?

A. "I cant remember a time when i didnt notice this subculture."

Q. Some of your images deal with drug addiction. Do you see these pieces as a warning to addicts?

A. "these paintings repersents the attiction to different things such as , people, drugs, products, love, sadness"

Q. The majority of your art seems to deal with materialism... or our materialistic culture. Can you go into detail about this aspect of your art?

A. "I think my work more or less goes into the items that fill our lives and the attachments we have to material object as far as how it effects our daily lives. sort of the one mans junk is another mans treasure sort of thing."

Q. I also notice a theme of technology in some of your images. What view are you trying to express about technology?

A. "I am very interested in technology and feel that it plays a important roll in daily life."

Q.Where can we see more of your art?

A. " http://www.aaronkratenart.com "

Q. Do you have any upcoming exhibits?

"i have a show at thinkspace in Los Angeles in December"

THINK SPACE GALLERY
September 8th - October 8th
4210 Santa Monica Blvd , Los Angeles, CA 90029
http://www.thinkspacegallery.com/

Q. In one sentence... why do you create art?

A. "to see the windows to my mind."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "I love what I do. what could be better then that."

I hope you have enjoyed this interview with Aaron Kraten. Feel free to critique his work and be sure to visit his site.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Sydney Phillips Hardin

I had the absolute pleasure of meeting Sydney Phillips Hardin in person at the D.U.M.B.O. Open Studio Weekend last month, in Brooklyn, N.Y. Having traveled to the exhibition from Boston, she was displaying her work in a fabulous Open Truck which was set up to accommodate work outside the studios. I had seen her work on myartspace earlier and recognized her work with sheer delight. Thrilled with the opportunity to get to know her and her work better I asked for an interview. I will delay her answers no longer.


Q. Your work is enticing, using sexually explicit and symbolic images,
I'm very intrigued with your intent, can you explain this a bit to me?

A. It's my intent to create visual irony with my work. Every piece is inspired by images culled from mass media and advertising; at first glance, the tie that binds all of these images is their intended sex appeal. However, I only select imagery that marries eroticism with innocence in an effort to entice consumers; these are images that pitch a very specific--and dangerous--fantasy to men, women and children. Without exception, every one of the images from which I work is a visual non-sequitor; the product peddled having nothing to do with erotic innocence of the model. The mass media is, at best, reinforcing--and, at worst, creating--the pervasive cultural perception of women and young girls as vulnerable and disposable prey.
I re-present these images in an effort to elucidate the disturbing nature of these ads. By carefully constructing a world in which these girls exist divorced of their original advertising context, I hope that viewers are spurred to re-examine that which they consume without question on a daily basis.


Q. You refer to working from the context of the book: Lolita, by Vladimir Nabokous, in one of your descriptions on your myartspace gallery. Can you explain this connection a bit more?

A. I've read (and re-read) Lolita many times over the past couple of years, and I’ve always come away from it feeling inspired. Nabokov's Lolita is a fictional construction with its roots firmly planted in fact; a status not dissimilar to that of my work. That said, I recently re-read it, paying particular attention to Nabokov's method of critiquing materialism in its myriad forms. While re-reading Lolita, I also became fascinated by Marcel Duchamp's ready-mades— particularly the ready-made's status as a pedestrian object, robbed of its original intent and re-presented to the viewer. Nabokov's Humbert describes Lolita as, "she it was to whom ads were dedicated: the ideal consumer, the subject and object of every foul poster." I began to see Lolita as a sort of ready-made: a young girl robbed of her innocence—her context—by a man who wishes to re-present her as a prurient construct of his own desires. Lolita is a child re-presented as a nymphet. I am currently working to re-contextualize the nymphets that populate mass media fantasies, inserting them into my interpretations of Humbert's muddled and melancholic narrative (the series entitled "Lolita 1-4" is the beginning of this body of work).


Q. How does your work relate to the roles women have in society?

The pervasive de-valueing of women and young girls in our society is an increasingly rampant problem. Nowhere is this problem more obvious than in the mass media: in advertising, popular culture and even the evening news. Case in point: In a recent op-ed column in the New York Times, Bob Herbert critiqued the media's coverage of the recent school shootings in which young girls were the intended targets: "In the widespread coverage that followed these crimes, very little was made of the fact that only girls were targeted. Imagine if a gunman had gone into a school, separated the kids up on the basis of race or religion, and then shot only the black kids. Or only the white kids.
Or only the Jews." He's got a point: why aren't we outraged?

More and more, I see the exploitation of women beginning at ever more tender ages--we're inculcating young girls with the notion that to be infantilized is to be an object of desire and to be desired is to *be*. Quite honestly, I'm fed up with this role being shoved down my throat and I react with my art. Hackneyed or not, I do believe that silence is synonymous with surrender, and I don't speak as eloquently as I paint.


Q. When did you first discover that art would be an important part of you adult life?


A. Art has always been an integral part of my life. As a child, I had (and still have) an overactive imagination and a desire to create; it also helped to have an encouraging mother. By the time I hit puberty, I knew I wanted to pursue art seriously. In college, I got to know an artist who elucidated for me what it means to have art as an integral part of your adult life. I met this artist during a time when painting was rapidly becoming an obsession for me, taking precedent over food, sleep and--at times--sanity. One day, I ran into him with bags under my eyes and about 16 feet of canvas balanced precariously on my shoulder; this artist took one look at me and said, "Art is a virus and you've caught it. From now on, you won't have a choice, your life will always revolve around art." And, he was exactly right. Four years ago, I couldn't have imagined choosing art over sleep or food, but now it's a choice I make on a weekly basis. And I couldn't be happier.



Q. Is your work from past experiences or of true life situations close to you?

A. Oh, a little of column A, a little of column B. Past experiences have certainly made me more attuned to the exploitation of eroticized innocence as a ready-made fantasy. In the past, certain experiences left me feeling powerless over my then-nascent sexual identity. I'm certainly not alone; quite honestly, I don't know many girls who haven't become unwilling ready-mades at one point or another. I've undertaken this examination of mass media images in order to better understand--and regain control over--the situations in which I felt forced into serving as a ready-made in someone else's fantasy. At last count, it's a hell of a lot cheaper and more productive than years wasted in a therapist's office. And unlike the aforementioned scenario, I have a chance to reach others and raise questions in their minds about an issue that remains important to me.


Q. Do you have an interest in other mediums besides painting?

A. While I have worked in other media, I find painting to be the most direct and clear medium through which to communicate my current themes. I do draw, though I have to practically hold a gun to my own head to make myself finish a drawing, rather than to convert it--half finished--into paint. Perhaps, as my concept evolves, I will experiment with other media. For now, my current content and style simply beg for the slick immediacy of latex enamel paint.


Q. Do you see your work in different settings or visualize it as an
Installation?


A. I definitely visualize my work in different settings. I work very hard to ensure that each piece can stand on its own (though not always successfully). I tend to work in series; developing and refining an idea over the course of 5-10 paintings and then casting them aside to begin a new iteration of my chosen theme. That said, I am very interested in working more with the notion of a body of work as an installation; my current Lolita series is an attempt at just such an idea. Time will tell if I'm successful...


Q. Do you have an upcoming exhibit? If so, where and when?

A. I have an upcoming exhibit at The Arlington Center for the Arts, in Arlington, MA. The show is entitled "Little Women" and it's a group show, curated by Kate True, exploring the enduring power of girlhood as a subject matter. It will be up at The Arlington Center for the Arts from 11.11.06 -- 12.29.06. There will also be an artist’s panel discussion on December 10th, from 1-3 at the Center.


Q. Where can we find you on myartspace.com?


A. I can be found under "sydney"--I currently have three galleries posted and I hope to add more as soon as I document the work languishing in various nooks of my studio. You can also view all of my work, my artist's statements and my c.v. at my website: www.giantvagina.com.

Art In The News: The Venice Biennale Welcomes Tracey Emin

Photo: Simon Alekna

The British Council recently announced that Tracey Emin will represent Britain at the 52nd Venice Biennale in 2007. Emin will produce a new body of work for the British Pavilion. She will be the second female artist to represent the United Kingdom at the Venice Biennale with a solo exhibition.

Emin is known for her narrative work. One can assume that her new body of art will reveal further aspects of her personality.

Explore the following links for more information about Tracey Emin:

http://www.whitecube.com/artists/emin/

http://www.saatchi-gallery.co.uk/artists/tracey_emin.htm

http://www.tracey-emin.co.uk/tracey-emin-home.html

Art In The News: Is Hirst A Copycat?

[Damien Hirst’s disputed 2000 work Valium, top, and the 1984 drawing by computer graphics artist Robert Dixon]

We all know that artists are known for 'borrowing' images from time to time. However, some 'borrow' more from an image than they should. This seems to be the case with Damien Hirst from the viewpoint of Robert Dixon. Dixon charges Hirst with stealing one of his patterns.

Dixon recently went public with his accusations. He claims that Hirst copied 'True Daisy', which was published in the Penguin Dictionary of Curious And Interesting Geometry in 1991. The piece in question,'Valium' (2000) by Hirst, does look like 'True Daisy' (1984) by Dixon. What do you think? Does it matter if Hirst did 'borrow' the pattern? Mr. Dixon feels that it does matter.

Dixon claims that Hirst would have never created 'Valium' had he not observed 'True Daisy'. Both images share the same number of 'spots' and the same pattern of movement. Dixon claims that the chances of two artists creating similar images with the same amount of 'spots' is very slim. Dixon has since contacted Hirst demanding financial compensation and an acknowledgement of his artistic contribution. Hirst has yet to respond.

The conflict between Dixon and Hirst over 'True Daisy' is nothing new. Three years ago Dixon accused Hirst of copying the circular pattern for a children's coloring book. However, keep in mind that Hirst is no stranger to acts of plagiarism. In 2000 Hirst paid designer Norman Emms compensation after copying a toy that Emms had designed.

What do you think about these claims? Are they legitimate? Or do you think that Dixon is after something else? Is it possible that Hirst may have created 'Valium' with no prior knowledge of 'True Daisy'? Should Dixon be compensated? Should Hirst get a restraining order? Discuss. I want to read and respond to your opinions!

Take care, Stay true,

Brian Sherwin

Art In The News: Painting By Modigliani Exhibited For The First Time.

The Palazzo Incontro (Rome, Italy) is currently exhibiting a collection of paintings that have been stolen and returned to Italy. Stolen Art: The Return will be on exhibit through December 19, 2006.

The exhibition features over 100 stolen art works recovered by authorities in Italy. One of the highlights of the exhibit is Amedeo Modigliani's 'Girl with the Red Stockings'. The painting, which had been stolen from a private collection in Rome, has never been exhibited before.

The 'big steal' for viewers of art is the fact that the exhibition is free!

Information about the life of Amedeo Modigliani: http://en.wikipedia.org/wiki/Amedeo_Modigliani

Art Space Talk: Lidya Tchakerian

Lidya Tchakerian is an Armenian Lebanese artist currently living in the USA. Ms. Tchakerian creates paintings that are very expressive. She captures the essence of our collective anxieties and fears by utilizing her skill of bold brush strokes and color. When I observe her paintings I think about how her use of paint reveals raw, uninhibited emotion. In my opinion, Ms. Tchakerian displays the concerns that are shared throughout our civilization. The past, present, and future is mixed together in a chaotic swirl of brush strokes and color.

Q. When did you first discover that art would be an important part of your adult life?

A. "I always painted and made three dimensional objects as long as I can remember and been lucky having parents, family and society that supported and encouraged me all the way. It was natural thing to be an artist. It was meant to be."

Q. How has creating art shaped you professionally and personally?

A. "You are asking me who am I. I am who I am. Professionally and personally I am the same honest person with everybody, myself and my art. I feel the pain and the joy of beings, see the forms and colors around me, and feel the texture and importance of an object in the time of its existence, regardless of its useless functional existence in the society."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I work with and for the society to make the world a better place. "Dancing in Circle" is a piece of work that I created when I felt not accepted in a majority society. This work has been chosen to be one of the nine best "New Expressionist" International juried exhibition in A la Carte Gallery, Santa Fe, New Mexico. http://alacarte-sf.com/Dancing%20in%20Circle%20-%20Lidya%20Tchakerian.jpg

You can see at the upper right corner of the painting a grey fish, a big X and my signature, while in the middle of the work there are three fishes that made their circle with no implication of accepting new comers to their circle."

Q. What are your artistic influences? Has anyone inspired you?

A. "I always admired, Picasso’s intelligence of working in all styles, Joan Miro’s genius of titling his works in contrast meanings, Arshile Gorky’s’ biomorphic shapes, Wassily Kandinsky’s compositions, Willem De Kooning’s large composed eyes for his figures, Piet Mondrian’s horizontal and vertical structural lines, Nicolas de Stael’s large scaled spiritual art, Marc Shagall’s nostalgia to his native homeland, Salvador Dali’s obsessed love to Gala (his wife) and his art, Van Gogh’s obsession of art, Gauguin’s escape from bourgeois life to simple life of Tahiti."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Being an Armenian Lebanese artist living in USA, are the main influences of my art today. As a Descendent of the Armenian genocide and inheriting the violent graphical pictures of the victims, made me feel the pain of others and the ability to express feelings of beings artistically.

Living in diver’s cultural, beautiful country like Lebanon gives me consciousness of accepting new cultures. Witnessing the damage of the war and civil war breaks my heart and in reaction to all the pains of the victims, I’ve created a work of art called Qana 200cmX300cm http://images.artistportfolio.net/artists/5429/0/picture%20386.jpg

In USA where there are different forms of cultures, makes me open to all kind of arts understanding their influential cultural background. Living in different situations and cultures made me experimental in my art.
Putting different forms and textures that sometimes attract and other times repel.

It is like casting the iron into the flames of fire to shape into beautiful functional objects for others to appreciate, or like the graveyard of millions in an unknown time and place producing treasures (oil) to future cultures.

Enjoying the best of beauty and culture with the bitter of pain and misery gives my works mysterious character where beauty and pain blend in harmony."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "They are open cultural people who appreciate beauty, art and life of beings. I have done a painting on curtains for the main altar of the Cathedral of Armenian Chatholicosate of Cilicia. "The Resurrection of the Christ" commissioned by the diseased, His Holiness Karekin I Sarkissian Catholicos of All Armenians.

Architects, doctors, lecturers and artists are the most appreciative of my art. Children are the collectors of tomorrow, yes children although my art is difficult to understand I always see curiosity in their open eyes when they gaze into my art."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "I have an upcoming solo exhibition in April 2007 at Harvest Gallery Glendale www.harvestgallery.com"

Q. Where do you see your art in 10 years? What are your plans?

A. "I see my art becoming more conceptual, subjective abstract minimalist art being exhibited in major museums of the world, my plan is to work hard to achieve my goals."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. ""I Was Like You, You Will Become Like Me" are sequences of painted skeletons on large scaled canvases (twins), which invite the spectators to be involved with their title and be part of their existence.
These works are in homage to the victims of the coming third, forth, fifth…….. World wars if the world exists until then. The history of humanity repeats itself; there are wars, civil wars and genocides everywhere. And!!!!! For what reason!!! POWER?

The paintings ask to the viewer when they try to read their name. You who have the power look at me and call my name "I Was Like You, You Will Become Like Me". Is there anyone who can break the chain of the history and stop all wars? They respond one more time to the viewer! Remember my name for the times to come "I Was Like You, You Will Become Like Me.

One of these pieces (http://images.artwanted.com/large/77/29249_390277.jpg ) was showcased in the 2nd Biennial International Juried Exhibition by World Council for Arts & Culture in Herbst International Exhibition Hall, San Francisco, CA, 2005. http://worldcouncilforarts.org"

Q. What is your artistic process?

A. "The conscious and subconscious feelings of humanity and large scales of canvases moves and inspires me. I work spontaneously and constantly covering and layering the canvas with oil paint, blending art, culture and the history of humanity into new forms of existing identities.

Sometimes I use the color directly from the tube exploring its pure power and energy, other times using brush, hand and other objects that scratch and mark the painting in an instant moment of time, recording its existence in the history of art and time.

In the process I constantly discover new territory of expression, dimension, texture and identity.

Every one of my paintings has the beauty, mystery, misery and history of its own – which is the background and instant history of its existence. The history of art and humanity that is cruel to its heritages; the history of culture, wars and civil wars which leave behind contradictions and wounds; sculpt the conflict of existence, which in its case forms a new concept of culture developing divers forms of art.

Why make statements when the heartbeat, the conscious, the subconscious and existence of the artist create artwork, which is the existing reality of its creator, where they blend into one identity. Art itself is a manifesto of its existence."

Q. Why did you choose the medium(s) that you use?

"I work with oil painting because of its richness in texture and its sensibility of showing spontaneous brush strokes and objects that I use for texture.

I work with mixed media because of its unlimited choices of different Medias to explore and experiment for new textures and expressions."

Q. Do you have a degree or do you plan to attend school for art?

A. "I have Masters Degree in Fine Arts from ALBA (Academie Libanaise des Beaux-Art) Beirut, Lebanon and have been professor, lecturer in three different University, Academy, and College and I’ve been giving private lessons for more then a decade."

Q. Where can we see more of your art?

A."You can see some of my works at, http://www.naregatsi.org/lidya http://lidya.artistportfolio.net http://alacarte-sf.com/lidya_tchakerian.htm
A la Carte Gallery, Santa Fe, NM

http://www.santaclaritaartists.org/Webpage_Tchakerian.htm

http://www.absolutearts.com/portfolios/l/lidya/

http://www.artwanted.com/artist.cfm?artid=29249

http://www.bradcoopergallery.com/Exhibitions/2004/Juried_Exhibition/Artist/Tchakerian/21.html

Brad Cooper Gallery, Tampa, FL Gallery Z, Providence, Rhode Island Harvest Gallery, Glendale, CA"

Q. Are you represented by a gallery? If not, do you want to be?

A."Currently I am not represented by a Gallery, but I would like to be."

Q.Why do you create art?

A."It is the choice of life or death either you live or die. I chose to live. Life is too short. Learn to love and live in peace"

Q.Where can we find you on myartspace.com?

A."In myartspace.com gallery, under the name Lidya."

I hope that you have enjoyed this interview with Lidya Tchakerian. Feel free to critique her work. Be sure to check out her myartspace.com gallery by doing a search for Lidya on the site.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Vassilen Vasevski

Vassilen Vasevski is an artist from Bulgaria who presently instructs art at the Illinois Institute of Art in Chicago. I noted the soft quality of Mr. Vasevski's paintings when I discovered his art. The delicate blend of color and line combine to create a feeling of 'calm'. It is refreshing to observe paintings that offer this form of tranquillity.

Q. When did you first discover that art would be an important part of your adult life?

A. "Since age of seven or eight I went through all kinds of art schools until at 23 I ended up in the Academy of Fine Arts in Sofia, Bulgaria. At first art was just something I enjoyed doing, but later it began to make me feel different than my friends. Needles to say, my parents were supportive of my endeavors and even sometimes, in the early stages of my career, pushed me when it was necessary. I spent the years between 14 and 19 at the High School of Art in my hometown and as I recall that was the first time when I felt differently, maybe more serious towards art. I began also to consider myself as part of a new group of people-those whose lives were engaged solely into the process of making art. This understanding culminated to a higher level in my time in the Academy of Fine Arts."

Q. You are an instructor at the Illinois Institute of Art in Chicago. How has your profession changed your artistic direction?

A. "It’s been always difficult to joggle between art and everyday work. I mean, there isn’t probably an artist out there who hasn’t experienced such problems. But being a teacher, being an art teacher is something different. I enjoy working with students; they often give me inspiration and help me to get better orientation in the world today. Doing art is a solitary experience, the artist sometimes sinks so deep in himself that reaching out to young and genuine energy definitely is a break and revitalization. On the other side being an art teacher at the Illinois Institute of Art in Chicago made my discipline grow stronger. Also I began to pay more attention to details and to the overall composition having to teach a class of design fundamentals on a regular basis."

Q. Can you tell us a little about the art department you work for? I’ve often heard that it can be hard for an art instructor to create his or her work due to having tight work schedules. How do you find balance?

A. "The art department I work for is a cluster of professionals. I was very lucky to start among them. As far as the balance goes I couldn’t tell it is easy to find the crossing point, but my self-discipline helps. It’s also about the degree of devotion you have to your art."

Q. What can you tell me about the Chicago art scene?

A. "The Chicago art scene is a vibrant and diverse one. There are a few art districts where galleries are heavily concentrated, among them the River North Art District being at the top and the Buck town /Wicker Park Art District being my favorite one. In the last several years the month of October has been established as an official artists month. There were openings, art talks and tours everyday, and almost everywhere throughout the city. Let me add something else too. The popular understanding that the art scene here is second or third in the country is not a fact that you should count on anymore."

Q. How creating art has shaped you professionally and personally?

A. "Trough the art process I think that I know more about myself now. It was very surprising when I first discovered that art could explain the world and my own personality (feelings, desires, dreams) to me. After all these years of doing it I think I found the purpose of life, the answer to the question why am I here and what I suppose to do while I’m here. I also feel much more content now compared to let say, ten years ago. At the end art gives me sense of harmony and inner balance."

Q. How has society influenced your art? Are there any implications in your art?

A. "When I came to U.S. seven years ago I was introduced to some kind of "bigger picture of the world". Life has a much faster pace over here, you work more and achieve more. It is true that possibilities are limitless. To be honest, I felt lost in the beginning as I was thrown into an ocean. Later something "clicked" and synchronized me with the world here. Then slowly a different view with fewer details emerged, a view that somehow made me to concentrated on the real, meaningful things and themes. So, I think society influenced my art in a way that it became more unified and harmonious."

Q. What are your artistic influences? Has anyone inspired you?

A. "Art movements such as Impressionism, Surrealism, Expressionism has been inspiring for me through the years and the different periods of my life. I have loved many different artists too, but Modigliani is the one that stays in my personal scale of art still on the top."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I was born and raised in the traditions rich Bulgaria, East Europe. That’s a place of special energy and uniqueness. Over there the air literally is filled with history and culture. That’s why my first paintings derived from such themes that are somehow strange and unfamiliar to the American public. A crossroad of diverse religions, my country has given me the most important-the so-called "metaphysical"(or philosophical) approach toward life and world. Without it doing art would’ve been dry and not uplifting experience for me. Now I call my style "metaphysical romanticism" and account my country for providing me with the first part of it."

Q. If you pinpoint the characteristics of people who collect your art, what would they be?

A. "Mostly women are willing to buy a piece of my art. I guess this has to deal with the more emphasized feminine and sensible part of some paintings. There are collectors who buy art from me once in every few months. I love to sell art to people, who can connect with the painted subject on a deep inner level, people who will keep appreciating it long after the piece is hang on the wall of their home."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "In January 2007 I’ll participate in a show in Gallery 350 in Chicago. I also have plans that are not confirmed yet for New Orleans and Toronto, Canada. Chicago is of course, my primary destination, so I’ll keep pushing for a show in the River North Art District here."

Q. Discuss your work. What are you thinking when you create? What is your artistic process?

A. "I try to improvise on the canvas in terms of color choice. Often I get the idea from a small preliminary sketch, which is later developed and improved. Vangelis, my favorite composer, says that we are channels of cosmic energy when engaged in art, so we need to keep ourselves able to transfer these high fluids from one world to another. It may sound a little pretentious, but helps me to keep the focus on what I’m doing. Music plays an important role in the process of painting to me. It helps me to enter a territory or state of mind where I can found the best colors for my paintings."

Q. Why did you choose the mediums you use?

A. "Colors can express my ideas in the best possible way. They could scream or be gentle, subtle or bright, simply a magical tool to talk to people. Painting is a universal way of communication. In the last few years I’ve rediscovered the power of the drawing too. I use brush and black ink, that’s quite simple as technique, although so emotional as a message. But let me tell you, the good drawing, a drawing that really speaks, comes after years and years of dealing with composition and details."

Q. Where can we see more of your art?

A. "Mostly on the web (follow the links on my website www.vassi-art.com). I’ve just started a blog (http://dreamofart-vassi.blogspot.com) where new pieces of my art will be displayed on a regular basis. At the moment I don’t have a gallery representation."

Q. You have had over a dozen exhibitions during your career. Can you offer any advise to aspiring artists seeking gallery representation?

A. "Never stop to believe in yourself and your art. Try to accept the burdens of being an artist from the very beginning. Work and dream hard, and remember art will reward you sooner or later."

Q. Tell me about your educational background. How has it influenced your art?

A. "I’ve got trained in the classical art way of education. I mean, that was mostly drawing and painting realistically, but I was lucky to live in a time of changes. The 80-es in Bulgaria were turbulent time with lots of flying ideas, opening eyes and minds. There was some sense in the air that now we make our own history. The most important-the barriers for the artistic freedom and expression at this time started to break and fall."

Q. Why do you create art?

A. "It is some kind of ritual to me, a ritual of everyday magic. And I’m doing it to keep up with myself, to live my dreams and desires, to communicate."

Q. Care to tell our readers anything else about your art or career?

A. "Thank you for the opportunity of this interview and good luck to myartspace.com! In the Digital Age we live today the Beauty of Art and its transforming power are things we still need. This is how it has been trough the entire human history and it is my hope it will be in the future too."

I hope you enjoyed this interview with Vassilen Vasevski.

Take care, Stay true,

Brian Sherwin

Art In The News: Berlin Captures Top Art Spot in Germany

The annual Art Cologne, a six day long art fair which has been held in autumn for the last forty years, is having a hard time keeping up with art venues in Berlin. The annual Art Cologne opened today. However, starting next year it will take place in April. A move that will hopefully bring visitors back to Cologne galleries. Galleries, dealers, and artists are moving to Berlin in record numbers.

Cologne has had a history of being the German contemporary art capital and center of the German art market. However, since the 1990s there has been a decline in artistic life in Cologne. Berlin has since moved up to become the hub for the 'art world' in Germany.

This growth has to do with the cost of rent and the 'freshness' of art coming out of Berlin.The art community in Berlin has grown steadily through the years. Land that was once considered 'no-man's-land' has turned into a thriving enclave of artists and galleries.

It is estimated that there are over 400 art galleries in the city, twice as many as a decade ago. Meanwhile, Cologne art scene has dwindled down to 100 galleries. The numbers dwindle as more galleries move their operations to Berlin.

The low cost of rent (about $255 per square meter per month.) in Berlin is one reason why this growth has been solid. It has been estimated that there are over 6,000 artists in Berlin. The cheap studio rent has cultivated a thriving creative art scene. Researchers from Jones Lang LaSalle Inc. have been keeping an eye on these numbers as the art community in Berlin grows.

Cologne is an expensive place for emerging artist to live and work. Berlin simply offers younger artists a better chance at marketing their work. Established artists may stay in Cologne, but it seems that the 'new blood' will dominate the German 'art world' from Berlin.

http://www.artcologne.com/

Take care, Stay true,

Brian Sherwin