Art Space Talk: Drew Ernst

I recently interviewed artist Drew Ernst. Drew is a talented artist with a keen eye for realistic detail. His work deals with love, hate, joy, and sadness. The full spectrum of emotion is conveyed within the context of his art.

Mr. Ernst polished his painting skills through studying with accomplished artists including Sidney Goldman, Peter Paone, and Bo Bartlett. Drew was also a pupil of the accomplished artist and poet Martin J. Garhart.

This serious painter embraces the traditional techniques of painting. His high level of skill is obvious upon viewing his body of work.

Drew is currently painting full time and lives with his girlfriend Amy and his dog Pocket.

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

A. "In high school I knew.They let me leave at noon so I could go home and work independently on my art. I had self motivation art isn't something that someone else can make you good at,so I guess that was just something that was built into my head."

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

A. "Yes. Mostly politics and whatever is going on in the world my main gallery is in D.C. so it's great to have an underlying theme to the work in a place where the audience is up to the minute on current events."

Q. On average, how long does it take you create one painting?

A. "My large paintings take one to two months depending on the complexity on the image the large pieces range from 7ft-14ft."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "My biggest studio ritual is to turn on Internet radio through my stereo first thing with out that I would be crazy."

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

A. "Lawyers"

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

A. ""The Inside" Two people lying on the wood floor it's very cinematic viewing from above the figures make a kind of yin yang shape. It's a painting of breaking apart and coming back together, I think it's a painting people can relate to."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "I attended The Pennsylvania Academy of The Fine Arts (PAFA) the oldest art school in America.I went to PAFA because I knew I wanted to be a fine artist they only have three disciplines painting, printmaking, and sculpture. At PAFA you learn by doing you work all day every day on your craft its a place for self motivated people you get out of it what you put into to it. This is where I really learned how to draw and paint."

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

A. "Oil painting was a mysterious medium to me I came from a very small town nobody could teach oils to me so I learned watercolor first I waited until college to learn oils from people I admired."

Q.Where can we see more of your art?

A. "http://www.drewernstart.com/ , http://www.zenithgallery.com/ "

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

A. "Zenith gallery in D.C. I have a show there right now thru January"

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

A. "The toughest part was getting out of art school. I was creating work trying to find a gallery with no money and no outlet for my work. "

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

A. "I like to see what it's going to look like in the end."

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

A. "There is no art scene where I live at the moment in Ohio so I travel to D.C. & NY regularly."

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

A. "Maybe in some subconscious way."

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

A. "My work has a focus on large contemporary figurative oil paintings. Images just come into my head I paint them and try to make sense of them. The art world is great it allows me to do what I want and what I love."

I hope that you have enjoyed my interview with Drew Ernst. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Aleksandra Mir

I recently interviewed artist Aleksandra Mir. Aleksandra is an artist who after living in New York for 15 years recently moved to Palermo, Sicily. She was born in Poland in 1967 and grew up in Sweden. She holds a dual Swedish / American citizenship. This is an artist who has shown extensively internationally. She has held solo exhibitions at major galleries and museums around the world.

Mir's art is focused on faith in possibility, and those coincidences that make an expanding world a little smaller. She is known for challenging the boundaries of traditional artistic practice while conveying her vision.

Aleksandra's studio is society at large. In a sense, the world is her canvas. She is inspired by what she observes in society and dispatches those thoughts in a variety of creative ways. From publishing biographies of 'average' people to transforming a Dutch beach into a lunar surface and declaring herself the "first woman on the moon", Aleksandra confronts ‘what if?’ with great enthusiasm and direction.

Mir advocates new ideas of community by forming strong collaborative relationships and encouraging public interaction with her art. She approaches her artistic practice as a form of visionary experimentation in order to give critical analysis of, and positive alternatives to, authoritative superstructures.

Q. You have been featured in ARTnews and Art Forum. Is it stressful being covered by large publications or do you simply throw caution to the wind? Care to share any experiences you had?

A. "No it is not stressful. I like publishing and participate in what I can."

Q. You have an upcoming solo exhibit at The Power Plant. You will be showing 'Organized Movement - A video diary'. This will be your first project to be exhibited in Canada. Can you tell our readers about Organized Movement? What thoughts are behind this work?

A. "See: http://www.aleksandramir.info/projects/organized/organized.html "

Q. I remember reading about your project that was called HELLO (This was several years ago). Can you tell our readers about that project? What was your goal?

A. "See: http://www.aleksandramir.info/projects/hello/hello.html "

Q. What can you tell us about your print project The Meaning of Flowers? Would you like to share some of your experiences?

A."See: http://www.aleksandramir.info/projects/meaningflowers/meaning.html "

Q. You were featured in the USA Today exhibit at the Saatchi Gallery.
Can you tell our readers about that experience?

A. "The art collector Charles Saatchi bought my work from my London gallery greengrassi and put in a group show at the Royal Academy of Arts together with the work of other American artists of my generation."

Q. You have a background in mass media and communications, media arts, and social anthropology... how do they all tie together with the art you create? Do you find inspiration from those sources?

A. "They all help me to stay awake and not sink in too deeply with either one."

Q. Out of all of the exhibits you have been in which one do you think was the most important for you as an artist?

A. "Update, Copenhagen 96, an artist run month long event organized by Jes Brinch, Henrik Plenge Jakobsen, Jens Haaning, Christian Schmidt-Rasmussen, Michael Elmgreen, Ingar Dragset and other at the time Copenhagen based artists who were the first to produce my work in a public context.

They had invited over 100 participants through their own informal network to come to Denmark, co-exist and create work together. The formal artworks spilled over in live and direct negotiations about the validity of art,which spilled over into the forming of actual relationships which spilled over into more work being created.

I have since taken part in over 100 other shows, but no prestigious biennial or institutional exhibit has offered me anything close to the dynamic, freedom, risk or energy as that first one. More importantly, it set the moral tone for me and myself-initiated projects so it is in effect always present and continuosly affects the way I work."

Q. Beauty Free, Cold War Hot Stuff and Real Real Estate Flowers belong to a series of twenty huge drawings that you created with a team of sixteen assistants. Can you discuss this series and what it means to you? What about the process... how did these works come into being?

A. "See: http://www.aleksandramir.info/projects/sharpie/sharpie_01.html"

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

A. "When I was 11, I rewrote and directed a live version of 'the Muppet show' for and with my class in fifth grade, casting myself as Kermit. It was really hard to find green stockings for it, but when that part worked out,I had a sense of artistic fulfillment. Possibly for my first time, although I cannot fully remember."

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

A. "My friend Lisa Anne Auerbach and I have just deemed 2007 to be the year of the Death of Social Art Practice, so hopefully, the answer is: NO!"

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Not being hungry helps a lot. If I have assistants in the studio, the breaks and meals in between work hours become the highlights of the day. Music is always resolved democratically. I have had to learn to listen to and eat everything."

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

A. "See: http://www.aleksandramir.info/texts/pacemaker.html"

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

A. "I use whatever is inherent to the subject matter I am working with that day."

Q.Where can we see more of your art?

A. "My web site: http://www.aleksandramir.info/ and the following public collections:TATE Modern, London. Kunsthaus, Zurich. SMAK, Gent. Fondazione Sandretto Re Rebaudengo, Torino. Solomon. R. Guggenheim Museum, NYC. The Ellipse Foundation, Amsterdam. Centro Andaluz de Arte Contemporanea, Sevilla. Coleccion Valencia Arte Contemporanea, Valencia. La Baloise, Basel. ZIC Museum, Louisville. FRAC Aquitaine, Bordeaux."

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

A. "In the next episode of the sitcom 'art world' a group of Columbia grad students will go berserk in Manhattans Chelsea gallery district wrecking artworks, burning galleries, raping gallerinas and keeping art dealers hostage against huge amounts of ransom money.

In the episode after that, their arrests, court sentences and jail time will be dealt with.

In the following episode again, we will start seeing glimmers of redemption as the by now 30 year old former art students would have spent over a decade in various correction facilities, developing strange new strands of really interesting outsider art.

In the fourth episode the most talented of these born again artists will be offered to be in a big spectacular group exhibition at the new New Museum in New York called "Full Circle". It will be the most influential show of the decade setting the tone for the next generation."

Q. Any tips for emerging artists?

A. "Don't even think of getting involved with drugs. Limit your drinking. Only social smoke. Eat basic nutritious foods. Dress warm. Be honest. Be on time. Be generous. And with all this, stay angry."

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

A. "Yes. I wrote angry emails in response."

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

A. "True misery knows no bottom. You can always fall deeper and deeper and deeper and deeper and deeper and deeper and deeper and deeper and deeper and...."

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

A. "To keep myself out of actual trouble."

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

A. "My artists friends are spread out all over the world so there is no particular or fixed geographic location for the dialogues that I am involved with.

Some of us meet regularly on the road for an event somewhere, or we travel and visit each others homes.

I live in Palermo, Sicily now and I don't participate in any "scene" there at all, unless you count regular visits to the church, the beach and the market."

Q. How has politics entered your art?

A. "Facing the dilemma of paying tuition for an art education or not was my first political point of awareness connected to art. It felt like a very serious decision at the time that then would have life long political implications.

The question of a financial investment in relation to the factual outcome of an artwork is still a highly charged subject for me."

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

A. "The closest I get to religion is in that I try to seriously engage with and maintain certain originally religious traditions and rituals that I like. A lot of my work also has a celebratory aspect to it that perhaps can be seen as verging on ceremonial worship. I also need to have a lot of faith in good weather when dealing with big public and ephemeral events. But that's pretty much it."

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

A. "In the Fifth episode of the sitcom 'art world' we will see a whole generation of new Columbia grad students copying the 'Full Circle' masters again, and the story starts over."

Q. Care to tell us about any other upcoming exhibits that you are involved with?

A. "This year I am taking it easy. No exhibitions are planned. I am trying to learn how to cook traditional food, overcome my fear of driving and get to know people I already know even better. I am also studying the history of typography so I can involve a deeper level of awareness of type when incorporating it in my drawings. Maybe next year there will be some more concrete results in all these departments."

I hope that you have enjoyed my interview with Aleksandra Mir. I'd like to thank Aleksandra for doing this interview. She took time out of her schedule to fit it in (which is why some questions were answered with links to her website). Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Bill Lewis

I recently interviewed artist Bill Lewis. Mr. Lewis is a founder-member of The Medway Poets and the Stuckists art group. He studied art at Medway College, where he met Billy Childish. He later met Charles Thomson. All of them, with Miriam Carney, Sexon Ming, and Rob Early formed The Medway Poets group. The group turned out to be the foundation of the Stuckists movement.

Mr. Lewis has published six books of poetry and three of short stories. His writing is included in The Green Man (Viking Press), World Fantasy Award winner, as well as The Year's Best Fantasy and Horror (1997)and (1998). His work was also published in The Grandchildren of Albion, edited by Michael Horowitz. (On a side-note, Mr. Lewis helped edit 'Six Turkish Tales' (Hangman Books 1987) by Tracey Emin).

In 2005 he founded The Medway Delta Press. The first project was a limited edition set of 3 CDs entitled Voices From The Medway Delta, featuring work by Billy Childish, Sexton Ming, Chris Broderick, Bill Lewis, and other key names in the Medway scene. The Medway Delta Press has also published a DVD documentary by Carol Lynn on Stuckism.

Mr. Lewis gave up working visually for over fifteen years. However, in 1997 he started to produce prints and paintings again. His paintings are full of energy. They are marked by a strong use of color and an expressive use of the brush. The art he produces today is full of the intensity that was customary in his earlier work.

Q. You were one of the 12 founder members of the Stuckists art group. How did you meet Charles Thomson, Billy Childish, and the others?

A. "Charles Thomson Billy Childish and Sexton Ming and myself were members of the Medway Poets Group along with Rob Earl and Miriam Carney. We got together in 1977/78 and carried out poetry reading and performances in the Medway Towns and North Kent. Reading at the first Kent Literature Festival in Gravesend. We soon got a reputation as giving lively performances.

In 1981 we read (thanks to Richard Burns) at the Cambridge International Poetry Festival and in 1982, just as the group split up, ITV made a documentary about us and filmed our last performance.

Perhaps I should give you a very brief history of how we all got together. In 1977 I was a mature student doing a Foundation Course at the Medway College of Art and Design where I met Billy Childish. I was already in a poetry and performance group called the Outcrowd with my childhood friend Rob Earl and I invited Billy to read with us in Maidstone. Alan Denman who was a lecturer at the College started a cabaret evening at a local pub called The York which, by the way, was not just one of the roughest pubs in the Medway Towns but also in the whole of England. Also reading with us was Philip Absolon who though not a member of the Medway Poets often came to the venues and performed. Sexton Ming turned up one evening after hearing about us somewhere and asked if he could read. That's basically how we all got together. As you can see by the names I have mentioned, the core of the original Stuckist group came out of this time. Also worth mentioning is Sanchia Lewis (no relation) and Sheila Clarke who were both ex-girlfriends of Billy Childish. Sanchia certainly came to those evenings. At the end of that period Billy's then girlfriend Tracey Emin read with us and appears on the Medway Poets LP record.

Although not part of that group I should also mention Joe Machine who attended a poetry class I was teaching on the Isle of Sheppy in 1991 (I think). He was by far the best of my students on that class and we kept in touch. I think that the North Kent area and the Medway Towns is the birth place of Stuckism."

Q. You've been featured prominently in all the key Stuckist shows, including The Stuckists Punk Victorian held in 2004 at the Walker Art Gallery for the Liverpool Biennial. Care to share any of your experiences?
A. "I really don't know how to answer this question. All I can say is that I think that some of the shows were extremely good and others I didn't think were so good.

I think that the best of them probably was the 2004 Walker gallery show. It was good to see all that work gathered together in one place. What was most interesting was the diversity of painting styles but what held them together was the unflinching exploration of the themes. For example the confrontation of the human shadow and the individual approach to spirituality, sexuality and politics."

Q. Concerning the sincerity of Stuckism, you've said the following: "People are never sure if we are being ironic or not. We are not. We are coming from the heart.". Do you think people take Stuckism serious? How do you think assumptions can be changed?

A. "I think a percentage of the people viewing stuckism take it seriously. We have many supporters around the world but they are not often amongst the rich and the powerful and do not always have access to the media. Our detractors rely on the lie of objectivity. Objectivity is always used as an answer to any idea that challenges the status quo but objectivity doesn't exist. All art is subjective. The problem with irony is that everyone has been ironic for so long that they have to keep checking themselves to see if they are being ironic, they might be in danger of saying something that they actually mean. Then they have to backtrack on what they have said.

Assumptions about Stuckism can only be changed with a full and open dialogue with those who do not agree with us. At the moment they are free to make statements about us and we do not often have the means to challenge those statements or even show a different view. I think Charles Thomson has done some great work in publicising us but there is more to us than publicity stunts and I wish we had a better platform to show this. The problem is that people come to our exhibitions with pre-conceived ideas and prejudices."

Q. I'd like to take you back to 1975. You started a series of poetry readings called 'Outcrowd' with Rob Earl. Can you tell our readers a little about that? Did that work influence your future paintings?

A. "I have probably answered a lot of this in a previous part of the interview but I would like to say that those Outcrowd readings were important to me in the sense of them being a school for me to learn to perform my work. My poetry has always been the first art form for me but then I often get to a point where the things that I want to express will not work in words and I have to paint them. When I say have to paint I really mean I have to paint otherwise I start to feel sick. The writing and the painting are not separate but compliment each other and are a process by which my psyche is completed. See it as an electrical circuit that has to be completed. At the outcrowd readings I realised that the reading out of a poem (sometimes singing it) is as important as writing it because the audience give it a power which is ... I was going to say magical and I think that is the only word that will do. Poetry and painting both started in the caves of our ancestors as a magical and spiritual experience. There is a famous cave painting of a dancing Shaman wearing antlers and with the eyes of an owl. I think looking at that picture that it was probably painted on that wall by that Shaman, I can't prove it but I bet he was singing a spell or a prayer as he did it. It's a strange and almost supernatural feeling when you perform a poem and the audience connects with it."

Q. In 1977 you attended MedWay College of Art and Design on a year Foundation Art course, where you met Billy Childish. What was that experience like?

A. "I can remember meeting Billy on the first day of college. I have to say though I didn't really mix socially with many of the students, including Billy, we met at a few parties and we had some good conversations. I think we respected each other. We really got to know each other better after I left. By that time those of us that were serious about our work were out there doing it. It is odd how those artists who have that approach would some how congregate together without realising it. Meeting Billy, Philip Absolon and a few other people were the only good things (for me) that came out of college. I never saw a paintbrush the whole time I was there and the reason I went there was because I wanted someone to show me how to paint properly."

Q. In 1979 you joined up with Childish, Charles Thomson, Sexton Ming, Rob Earl, and Miriam Carney to found The Medway Poets poetry group. Can you tell us about that experience? How did working with so many creative minds influence/inspire you?

A. "We obviously influenced each other but I couldn't give you any definite examples. I think we all respected each other's work enough to give honest criticism. Billy and Sexton were probably the closest to each other at the time and I can see Sexton's off beat humour creeping into some of Billy's work and vice versa. We were all better at performing than we were writing at the time. We were learning our craft. Our writing I believe came to maturity after the group had finished working together."

Q. I read that you knew Tracey Emin and that you helped edit her short stories for her first book, Six Turkish Tales (Hangman Books 1987). What can you tell our readers about that period in your life?

A. "There is not much to say about this except that I typed up the stories for her, I made some editorial suggestions and handed them back to Billy who was publishing them Hangman Books. I think Tracey has a lot of talent but I am not sure how interested she is in literature. For me, I suppose, literature is almost a religion. We all need an editor, I have one, his name is Michael O'Connor.

I used to see a lot of Billy and Tracey at that time. Tracey was living in Rochester in a flat near the castle. In the flat above her lived Eugene Doyen (the film maker and photographer). Billy had been going out with Tracey since he and Sanchia had split up which must have been around 1982. I remember going there quite often and having tea.

There are certain places in Medway that we often used to meet socially, perhaps certain cafes such as Grutts (named after a poem by Ivor Cutler) some people called this the poets cafe (Without an accent over the e!) that was a great place. There were masks hanging on the wall, some by tribal some carved by Billy Childish and paintings by Sexton and Micky Hampshire (of the Milkshakes). I would often find Billy in there playing chess or working on a poem in one of those brown covered notebooks of his. Another place was the house at 107 Rochester Street. Sexton had illuminated the walls with paintings of strange creatures from his unconscious mind ! The new owners I believe painted over them. Sometimes I'd meet up with Billy and Tracey and we would go into the Rose and Crown. I used this in one of my pieces of writing."

Q. You've published six books of poetry and three of short stories. Where does your art and poetry meet? Are they one in the same? Or do you go about each with a different angle?

A. "I think I covered this in an earlier answer. One thing about the painting I will say is that the paintings are like magic mirrors for me. I often find things in them months or years after I have painted them that explain something about myself. Although some of the imagery that I use is a mystery even to me."

Q. In 2005 you founded The Medway Delta Press. The first project was a limited edition set of 3 CDs entitled Voices From The Medway Delta, featuring work by Billy Childish, Sexton Ming, Chris Broderick, and other key names in the Medway scene. Can you tell us about The Medway Delta Press? What do you see for it in the future?

A. "We want to celebrate Medway as a unique and special area.I know that every town has artists and musicians and writers living in it. What is different about Medway is that there is a unique sound. When I say sound I am not just talking about the music but in the voices of the writers as well. Medway is being regenerated at the moment and it looks as if we are going to become a new city I believe that artists of all kinds will play a central part in that regeneration and that the Medway Delta Press can help lead the way ... this probably sounds pretentious but as I am always telling my writing students: Be as pretentious as you can and then try and live up to it!!"

Q. What is your opinion about conceptual art?

A. "A lot of the stuff that calls itself conceptual art isn't. The concepts are often there but not the art. I think what we are doing is conceptual art, our paintings are full of concepts, the difference is we paint them. I see Stuckism/Remodernism as an experiment rather than an attack. We have gone back to the beginning of Modernism and started again, trying not to take the Post-Modernist route. Who knows, we may end up doing the same things as the Brit Artists ... but I don't think so. It is an exciting experiment and you are all welcome to take part in it ... we are not elitist!"

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

A. "When I was five years old. My teacher, Miss Wenn, asked me what I was going to do when I grew up and I said "be an artist"."

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

A. "Probably only in the way I paint and that's because I am not formally trained so some people would say I am a bad painter simply because of that. One of the things that we have tried to do in Remodernism is to make people re-evaluate what is and is not a good painting. Art is not an exercise in formalism it is a message from the heart.

I do think that it is a mistake to moralise in your work but every person who has a conscious, whether they are an artist or not, should tackle those things that need to be addressed in their lives."

Q. On average, how long does it take you create one painting?

A. "It is impossible to say .. some take weeks a couple have taken years."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I like to listen to music when I paint. Usually classical music or French Chanson."

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

A. "There is a lot of mythological imagery and symbolism in my work and so they are usually people are interested in those things."

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

A. "Notes on "Kissing The Minotaur" (image above).

Carl Jung said there are only three ways of dealing with the Shadow. Two of them are disastrous. One is to deny it exists which leaves it unchecked, to grow and become powerful. The Shadow ends up by casting us instead of the other way around. The second way is to project it onto other people in the way that the Nazi’s did with the Jews and thereby demonizing them. These two ways leads in the end to genocide. The third and only correct way is to embrace the Shadow; to make friends with the Shadow. Theseus is a failed hero because he killed the Shadow which explains why he abandons Ariadne (his much needed feminine side) on the Isle of Naxos. In my painting Theseus is redeemed by embracing instead of murdering his own dark side, therefore taming the beast within him in an act of love."

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

A. "I use acrylic paint because it is water based and I am messy painter and my wife gets cross when paint is dropped on the floor and this is easier to clean !!!

I like to work in layers and then use scouring pads (the sort you use for washing up) to rub some of the colour off so the colour underneath shines through. I always paint the entire canvas with Titanium White then apply the lighter colours because I like my paintings to have an inner glow."

Q.Where can we see more of your art?

A. "Wikipedia has some and I intend to set up a website in due course to feature more of it. There is some on the stuckist website but they are earlier paintings and I do not like them as they do not represent what I am doing now."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I am not represented by a gallery and there is nothing in the pipeline .... but I am open to offers !! There is a possible exhibition in France and one in Germany but nothing definite yet."

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

A. "It seems as if the art establishment has discovered painting again. Of course a lot of that had to do with Stuckism although they will never credit us with it !"

Q. Any tips for emerging artists?

A. "Yeah, paint what matters to you and don't shy away from exploring the dark side, it is the only way through to the light."

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

A. "Once that I can remember. A painting of an angel was removed from a exhibition in Medway because the Council thought it might upset people with strong religious ideas. How could I deal with it? I had to accept it, they were running the show .. the other 10 paintings stayed and I think that they were probably more controversial if anything but too subtle for my censors to pick up on it."

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

A. "It is a constant struggle. I think my work is probably of least interest to gallery owners than most of the other Stuckists but it is what I do so I can't stop."

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

A. "I have to."

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

A. "As I have said before Medway has a brilliant and unique art scene but it is often overlooked by those who have the resources to help it nevertheless it flourishes."

Q. Has politics ever entered your art?

A. "More so with my writing, for instance in 1989 I carried out a series of poetry readings in Nicaragua in support of the revolution and against the illegal covert war carried out by the United States. Also I have read at demonstrations outside of the Papal Nuncio and the US embassy in London on behalf of Native American Rights and against the war in Iraq (both of them!). Also throughout the 1980's I read in support of Human Rights in Chile, one of my poems, The Red Guitar, dedicated to the murdered songwriter Victor Jara was published in Chile Fights. My poems have been translated into Spanish and broadcast on a rebel radio station in El Salvador. In 1987 I organised a Medway Poets Reunion Tour on behalf of Amnesty International."

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

A. "Religion no, spirituality yes. I believe as a European, like every European, I have a Christian and Pagan component in my cultural identity. I am not a lover of organised religion. I think that Christianity is a great myth ... and as Gandhi said "we should try it sometime".

When I say myth I mean something that is true because all myths are true. I have little time for facts as all facts have a political bias to them whereas myths are eternal.

I teach courses on mythology having studied it for a good half of my life. The work of Joseph Campbell has been a major influence on me and also the writings of the American theologian and prophet Matthew Fox."

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

A. "My art is very personal and it is something that I need to do for me. In saying that I am a human being and all human beings share the same biology and spirit so I hope that what is useful to me may also be useful to those who read my poems, stories or look at my poems."
I hope that you have enjoyed my interview with Bill Lewis. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lyuba Zahova

I recently interviewed artist Lyuba Zahova. Lyuba is a painter from Bulgaria. In September 2006, Lyuba Zahova represented Bulgaria at the international art festival in Monastir, Tunisia. She has concentrated on a painterly technique and is interested in the physicality of paint. She utilizes this skill to create modern compositions.

Lyuba has stated that art for her is a way of living, a fight for a better world; overcoming the impossible; a protest against the negativism; a search for beauty and perfection; lifting up to the truth of God, to achieve understanding and harmony between the people. Thus, she is interested in creating paintings that are focused on the purity of painting itself. She is interested in the process of painting.

Lyuba has exhibited since 1980. She has also work as an art instructor and director of a fine art gallery in Shabla, Bulgaria. In 2005 she published her first book, 'Born Near the Lighthouse', which featured her poetry and paintings.

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

A. "Since I was a child, I was delighted by the books with colorful illustrations. I was copying the drawings and dreamt of becoming an artist. I’ve never given up my dream. The thirst for beauty flows in my veins. I’ve been working towards it my entire adult life. The art became my way of life, I breathe through it."

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

A. "The art has fully shaped my personality. It gives me power to live and move on. It trained my personal discipline and proactive attitude towards reality. It has shaped my view of life and worldly philosophy. It has made me a perfectionist."

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

A. "Two thirds of my life had passed during communism. It is normal my art to have social traces. Not accidentally, the dominant color in my first paintings is red. This represents my protest against social iniquity."

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

A. "I had studied art from the Russian painters. In my early works I was strongly influenced by the landscapes of Isaac Levitan, Valentin Serov, Ivan Shishkin. I have continued with the impressionists, I like Paul Cezanne, Vinsent Van Gogh, Paul Gauguine. From the Bulgarian fine art I’ve drawn experience from the Great painter Vladimir Dimitrov – The Master. I appreciate the contemporary Bulgarian fine art, especially the artist Dimitar Kazakov."

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 on the Black sea coast in Shabla, Bulgaria, on 27th of February 1952. My father was a farmer and an extremely diligent man. My mother was a very skillful craftswoman. Both of them died in their early 60-ties. I still remember the private land confiscation in 1956 and the police gun on my father’s temple. Since that time I feel that gun on my temple too. I had also buried two of my sisters who were unable to adapt to the harsh reality. To me, God has given the power to hold on. My entire life is a fight against iniquity and this is seen in my early works."

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

A. "Till 1989 I worked as a fine art teacher and director of the Fine art gallery in my home town Shabla. From 1990 till 1992 I’ve been painting in Germany where I found many connoisseurs for my art. After the democracy break in Bulgaria, I came back to my country but the art market was ruined down completely. This was the hardest time in my career. It is just now with the development of the economy and before our entry in the European Union, that the art market is opening slowly. Only the well-off people or collectors are buying art in my country. I think art is not affordable for the average person. To understand and buy a real art you should be above the materialistic world."

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

A. "“Touch” created November 2006
The painting “Touch” is an illustration of the poem “Late Love Dates” for the talented Bulgarian poet Plamen Lakerov. I’ve created it while listening to the music of Jean Michel Jarre. It shows the love pain and searches of the ‘Other’ beyond oneself. The love is a break in our earthly world and therefore brings resistance and pain. Only the God’s beauty and love aren’t an illusion, because they belong to the world of freedom. This is how the pain reaching the sky transforms into music. In the painting the gaps in the time and the heart are represented as strings. And you can hear the cosmic music! And the sidereal moment is the ‘Touch’."

Q. What is your artistic process?

A. "The process of creating an artwork is very spontaneous with me and depends on the feeling I wake up in the morning. I will stand in front of the canvas only if I am in good condition. I’m painting with inspiration, stroke and huge internal power. The purity inside the artist is very important in order to freely recreate the truth."

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

A. "My means of expression are determined by my temperament and character. I have to be real and actual in my works so my message can reach the people. I am a dynamic person and I’m
frequently changing my working style. I’ve been through several periods using different means of expression and this change is a feature of my self evolution."

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. "The academic training gave me the theoretic foundation, but in actual fact I am very self-dependent. I have worked out my own style with hard work. The artist should be always actual so he can respond to the current events in time in his own way, he has to be an individualist."

Q. Where can we see more of your art?

A. "In my working studio and of course on my web site at http://www.artabus.com/lyubazahova"

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I do not have a special gallery to represent me. My daughter Zornitsa is my manager and is dealing with all my public appearances and sales online. I am planning another solo exhibition in the beginning of next year."

Q. What galleries have you exhibited in?

A. "My paintings have been exhibited in various galleries - private and public in Dobrich, Varna, and Sofia, Bulgaria, the castle of Augustusburg, Germany.

In 1990 I had my first solo exhibition in Schwalmtal, Germany.
In September 2006, after my participation in the International Plastic Arts festival in Monastir, Tunisia.

The technology evolution of our time has made it possible for me to exhibit my paintings at many online art galleries and be a part of the World Wide Web in real time."

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

A. "The tendencies in the world art are positive, but quite drained out. They are connected with the technological evolution, a reason to run to extremes. For me the art is vivid and of use when it derives from life. Especially vital is the African art, where people are closer to God."

Q. Any tips for emerging artists?

A. "Apart from the theoretic and practical knowledge, the young artists have to develop their values on solid life philosophy. They have to fight for a better world."

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

A. "There was a censorship in Bulgaria during communism. It happened to me. Artists who were not members of the communist party were condemned. To have a talent was not enough. The regime needed people without any personality to support it."

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

A. "The most difficult time in my career were the years from 1992 till 2004 when my country was through transformation which affected many artists. There us no demand for art when the nation is hungry. As you can see I’ve waited a long time to come up again…"

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

A. "I create art because I love!"

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

A. "Yes, just type my name in the site’s search engine!"

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

A. "The Bulgarian fine art has a reach history of original artists like Zaharij Zograf, Nikolay Pavlovich, Nikola Marinov, Nikola Petrov, Vladimir Dimitrov – The Master, Tsanko Lavrenov, Ivan Milev, Dechko Uzunov, Zlatyu Boyadzhiev, Stoyan Venev.

The contemporary Bulgarian art is on a world level – Bulgaria has very talented artists."

Q. Has politics ever entered your art?

A. "After the launch of democracy in Bulgaria, politics no longer influence my art. Anyway I stay an artist with a proactive civil position."

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

A. "The art for me, is an expression of feelings, a fight for a better world and overcoming the impossibilitie. A protest against negativism and a search for beauty and perfection, lifting up to the truth of God in order to achieve understanding and harmony between mankind.

My name means Love and this is my message to the world!"

I hope that you have enjoyed my interview with Lyuba Zahova. Feel free to critique or discuss her art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: David Vedoe

I recently interviewed artist David Vedoe. Mr. Vedoe works in a number of mediums and styles. He is best known for his Architectural Art, Animal Art, Still Life, and Abstract Art. He is a serious artist who infuses his work with a personal energy.

Mr. Vedoe has gained much acclaim for his architectural and still life paintings. He utilizes traditional oil painting techniques combined with a more contemporary approach to lighting of the objects and to the colors used.

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

A: "Both my parents are artists, so I grew up with art as an integrated part of my early life, I always had access to an abundance of art materials.

I am born and raised in Copenhagen, Denmark. I went to a private school that focused on the artistic side in children - I still vividly remember the taste of Green Finger Paint! Art was what I did at home, so I probably had other artistic endeavors with the materials in class...that is how it got in my blood.

At twelve I began visiting art museums by myself and began building and painting scale models in plastic with little tableaux/scenes with trees and houses. I was really into it and exhibited them with adults that were semi professional and all pro model builders and in shops that sold those model kits.

I never much liked the limited choices of models - it was mostly all this military/soldier/army/air force paraphernalia, but it sharpened my skills and kept me away from most trouble. Art as an important and practical part of my work began when I was studying architecture in Copenhagen, Denmark From 1978 to 1986."

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

A: "Art is a reflection of life and society seen through the mind of the artist. Yes, I engage in my work via the inspiration from my daily life. Some aspects of my art is a serious response life in general, other aspects to scenarios concerning the way we house our selves I.E.: Architecture, yet other aspects are silly/goofy responses to life as in a humorously twisted image of an animal - I love to paint dogs!"

Q. On average, how long does it take you to create one painting?

A: "The answer must be somewhat a non answer: it depends on the size and complexity of the painting in question, I paint sizes from Miniatures to Murals, so the time involved varies widely. I can paint a miniature with so much detail and in oil paint with washes that it takes over a week to finish......I also do a lot of pencil sketches with oil washes on paper that are done in a day or so. Many of my larger complex images take months to finish, one has thirty people in it."

Q. Where can we see more of your art?

A: "I maintain a studio/showroom in Copenhagen, Denmark staffed by my mother, who is herself a great painter and one of my students as well. Then I have a studio showroom here at the house in Taos, New Mexico. But for fast access look up: art-architecture.blogspot.com You will find a variety of my art there. Fine Art, Architectural Art, Animal Art, Abstract Art and various sketches. Enjoy! For Still Life paintings see: www.gotaos.com/varoe"

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A: "That would be Classical Music. Especially Baroque and Medieval Music inspires me as I paint. I play classical improvisations on the piano as a meditation form if I get stuck as I paint or just to relax and reflect on the process and choose colors. I don't read music well, so it used to amuse people that I had a big Color Chart on my piano where the written music normally sit.

The best motivation I know of is called commission work.......Highly glorious and a paycheck as a huge incentive at the end for well executed work. It is an amazingly rewarding feeling to collaborate on and to lend ones talent, expertise and skills to fulfill someone else's vision. It sharpens my own people skills and gives great insight to other peoples ideas and values. I learn much about art from this."

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

A: "Pinpointing is not quite possible, but the people that are attracted to my art are often the types that reflect on life and are still interested in educating themselves, young as old, and have an affinity for analyzing and understanding their surroundings. Active minds. They come from many different walks of life. Fortunately I have met so many of the people that buy and collect my art. It is important to know that the art is ending up in someone’s life and to get the feed back from what impact a piece of art have on their life."

Q. Discuss one of your pieces.

A: "Lets take "Adobe Mansion" (image above). (Adobe is the mud-clay and straw brick that is an ancient building material here in the South West region.)This is an imaginative habitat in a setting combined of many places I have seen, a bit of a dream house/studio/show space to puts around in and create art in.

Imagine sitting in the botanical tower for breakfast on a cold, but sunny, winter day and soak up the rays before going in to the easel and start the days work of researching, sketching, painting and dealing with art???

Most of the thinking actually happens before I paint - when the concept of the painting is put together in a series of concept sketches and brainstorms and tests of areas that need tweaking/adjusting before the paint is applied.

During the painting process color is of essence and achieving a balance that supports the image and the subject matter. Lights and shadows are important. There is actually about 15 people in this painting, they get my attention so they appear as they belong there in the final artworks ambiance with a presencethat explains the architecture of the building.

Applying the paint can afford this meditative state of timeless bliss, that I strive to achieve.That is the one special value of a piece of art I create that I can not really sell, but hopefully that part of the process is visible in the finished piece of art..... Let me see, what I am aiming at here is that there is many layers of value in an art piece.

In addition to the monetary value, there is a value in feeling the satisfaction from knowing that other people derive pleasure from viewing, deciphering, studying and being elevated by a piece of art. Art is a way of sharing values, weather it is Romantic Art or the portrayal of an artistic romance with color, light and some amorphous emotion in a non figurative, non linear moment.

A real successful piece of art for me is when the owners and viewers come back and say: "This piece keeps inspiring me, it looks different during the light changes of a day and I keep seeing new aspects of the image".

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A: "I have a Masters Degree in Architecture from The Royal Danish Academy of Fine Arts in Copenhagen, Denmark. Studying architecture involves: drawing/seeing - understanding size/scale/volume/texture - understanding the context of an object (whether a person in a painting or a building on a lot or in an architectural illustration/painting).

I began studying restoration of old buildings which included courses of croquis drawing, perspective drawing classes, and courses in visual communication, all knowledge that I use and adapt in today's work.

Later I studied and designed various scales of buildings within architectural formats from small pavilions, smaller family dwellings, studio/house/gallery combinations over Alternative Health Centers to Landscape Interpretation and Town Planning.

I always made a great deal out of the drawings adding all sorts of media: Mixed Media, Color Pencil, Water Color, Pastel & Oil Pastel.I ended up selling some of my art to one of my architecture professors that also paints.

My final project for my masters degree was a 3 story studio, house and gallery for a painter/sculptor. I already then knew that I was to pursue painting as one of the main components of my career.

I am basically auto didactic or self taught as a painter. Any good education will teach the student a process for further learning that can be applied for the rest of that students life, with modifications according to topic(s)."

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

A: "Curiosity! They are out there.....I Paint in Oil, Acrylic, Pastel, Oil Pastel & Mixed Media. Mostly I begin with some sort of pencil/pen drawing, then my favorites are: Oil on board/paper/canvas/walls.Oil paint is the ultimate for changing everything from color, light and shadow to viscosity. Virtually limitless possibilities.

Acrylics are also a lot of fun, dries faster, smells less are less expensive and are great for under painting in an oil painting. I also love Splatter painting as a contrast to the more precise techniques of visualization - Wahoo! - it is highly liberating and affords accidental, non logical or non controlled imagery. It is a totally different process from the other art forms I do."

Q. Where can we see more of your art?

A: "I maintain a studio/showroom in Copenhagen, Denmark staffed by my mother, who is herself a great painter and one of my students as well. Then I have a studio showroom here at the house in Taos, New Mexico. But for fast access look up: art-architecture.blogspot.comYou will find a variety of my art there. Fine Art, Architectural Art, Animal Art, Abstract Art and various sketches. Enjoy!"

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

A: "I used to own and operate several galleries here in Taos. But mostly I sell directly to collectors and do commission works or site specific artwork that is created on location. I would be happy to find good Gallery representation. So do not hesitate to contact me dear gallery owners.

I have five portfolios with photos of artwork, in many categories, that I show people to pinpoint new commission works and projects for illustration, design and visualization. It would be interesting to show my Art - Architecture in a cross disciplinary forum.

Interest in architecture is on the rise with all the hoopla about new Starchitects and a multitude of new museums and large public facilities being built around the globe. I have chosen to focus much of my art where the disciplines of art and architecture meet."

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

A: "There is a partial list on my web site for galleries in Denmark. Link: art-architecture.blogspot.comHere In Taos I have shown at: Casa Feliz Fine Art, Vedoe Fine Art, Philip Bareiss Gallery, Lumina Gallery, Walden Fine Art, Alexandra Stevens Fine Art, Art Lab Tally Richards Gallery and Wade Gallery. Schaumburg Gallery in Fort Worth, TX. Plus a number of private showings at peoples homes/offices and studio showings around the states. Link: art-architecture.blogspot.com"

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

A: "Unfortunately viewers/consumers of art are bombarded with multitudes of low grade art, boring crap concocted on someone's kitchen table. (The place of origin is obviously truly unimportant ) - Art is about discrimination, between what is important and essential and what is not!......."I hope for tha day when people PAY for an art fix on their IPod's and MP3'S ........." Just kidding."

Q. Any tips for emerging artists?

A: "Finish works of art to your very best and unique ability. Why else bother??? Then do some introspection to evaluate if you NEED to do art for a living or you can live and just get a good fix by creating art for yourself and as gifts for friends and family, or as a purely private action not intended for any kind of exhibition. That will keep your mind at peace. If you chose to be a professional artist then do it full throttle, learn the whole trade. Financially successful artists are the ones that also master the commercial side of the trade."

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

A: "Any submittal to juried shows are a form of censorship....If I am not selected - I have only one way to deal with that:Get better, keep at it, get even......(with the required level)....then above and the doors will open."

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

A: "My abstract/non figurative art sold as hot cakes in Denmark in 1982 - I painted over 50 abstract/non figurative pieces and sold over 35 of them in five weeks. That was great. But then I chose to rush back to participate in a show in Taos.....It turned out to be a big dud, - so folks: If you have something that works for selling your art then analyze/understand why, perfect it, nourish it, and respect and enjoy it - for it might else go away!

It was not rock bottom - but it really pissed me off, since it was my own fault. Allow me to add a highlight to contrast that ordeal: Once I pushed myself to doing abstract/nonfigurative art: (which scared me shitless....it is terrifying to actually paint something that you don't know what it is.....but then you get used to it and see it as a new medium for expression on a non verbal intuitive dream level.).

In two years I painted over a hundred paintings varying from 10" x 10" to 5FT x 7FT mostly on paper and on panels, and many of them on top of my architectural sketches, illustrations, renderings and drawings! I actually sold most of my work that I had done as an architecture student, now recycled in to Fine Art."

Q. In one sentence... why do you create art?A: Art is the Spice, the Aroma, the Touch, the Music and the Vision for my Spirit, my Soul, my Life.

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

A: "Taos, New Mexico is an old art colony established in the beginning of last century - tons of fascinating history - tons of artists and galleries - between 60 to 100 galleries in a small beautiful town consisting of Native American, Hispanic, Anglo communities all nestled at the foot of Taos Mountain and built around Taos Pueblo, the longest continually inhabited dwelling in the world!!!

An art piece in its self built entirely of Adobe bricks, it has no running water and no electricity. See the link above for a painted image. As an artist or art aficionado you will love Taos! However for most artists it is not an easy task to solely make money here by producing art.

Most artist here have two or three jobs. One old hippie, a rather cynical jeweler/artist here once 'pain-ter-staken-ly' described it: "Taos is just a Shit hole with a View!!!" Obviously most people here do not agree with him........"

Q. Has politics ever entered your art?

A: "Well, let's see:....I have made political statements regarding Architecture/Planning and Zoning/Building Codes etc. Mostly as offering a slightly off angle to the subject or focusing on an idea from a different angle than the politically correct one. Then again I have tons of politically incorrect/controversial satirical sketches of various subject matter, these are not really made for public consumption......maybe one day I will find a forum for those....

In general I aim at art as to help heighten and enlighten the human spirit.....there is enough drudgery and despair and ugly suffering out there in the "Real World" - so as to aspire to create a 'sacred' space within humanity, sharing a potential feast of the senses is what art offers at its best.

Most young artists' art, saturated in political issues, created from a point of rebellion; they highlight the unjust, the wrong, the unappealing till they find a balance within themselves, and their art changes to be more of a celebration of life. The political issues fall to the back burner as life becomes more joyful.

Lately, I try to keep art as my 'sacred' space untainted by the particular profanity of politics."

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

A: "The answer is yes. I am not religious. Most religion boils down to old dogma, stifled in tradition....All tradition must have been the Avant Garde at one point in time!

Art is not separated from deep issues or high lofty Ideology, Philosophy, Ethics, Morality, Sexuality OR Religion, - it embraces it. Art is an Examination of Reality - Fantasy - Anything presented in an appealing (not necessarily pretty) or dramatic (not necessarily traumatic) conceptual format. So yes, I have used imagery and concepts normally associated with religion in my artwork.

Faith is a binding and dividing link between the dichotomy of established religion and secular rational objectivism. I Choose to have faith inrational objectivism.

Creating art is a spiritual activity - a self educational tool to understand this world, our own little worlds, and how they meet and interact, where there is friction, happiness, stagnation or progress. Spiritual activity in this context to be understood as of or relating to the mind or intellect."

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

A: "Oh yes, but I rest my case for now. May Art be in your life!"

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Jesse Reno

I recently interviewed artist Jesse Reno. Jesse is a painter who is interested in capturing the essence of truth with his work. This truth is expressed through symbols that reveal the inner struggle of the artist and his views of society. In a sense, Mr. Reno offers himself to the viewer. However, his work is open to interpretation.

Mr. Reno observes each mark upon the canvas as a form of thought. Thus, each layer of paint is a collection of thoughts that reveal the self-introspection and visualization of Jesse. Thus, his paintings can be 'read' as if they are pages from a diary.

This bold self-exploration gives his work an authentic voice. I observe his work as a form of bare-bones communication in that he cuts to the core of the human condition. He achieves this end by utilizing symbols and embracing the virtue of primitivism.

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

A. "Art has been my obsession as long as i could hold a pencil.. ive always seen images in abstraction and tried to draw or create what i saw.. id say since i was about 5 drawing has been my most dominate activity.. i would draw all day in school i would rush to finish my tests just so i could draw on the back.. so aware or not id say art has been at the center of my life since i was 5.."

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

A. "Creating art has shaped me completely.. my entire life changed when i began painting full time it was at this time i really began to understand living.. im always painting to find out what im really feeling.. i follow the stories i tell my self and let them guide my life.. looking inward for who i really am and what im really trying to accomplish.. this has given me a great sense of self and direction.. ive gained confidence in my choices and my self.."

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

A. "Society influences everything.. i try to let it influence my art only in subject not in creation or implications.. i tell stories about life dreams and the things i see and feel.. so in this way there are many ideas and images that come as a side effect of society.."

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

A. "My biggest influence is the art left behind by primitive and indigenus people.. there inward quest for creation and understanding is at the basis of all my work.. outside of this my biggest single inspiration has been one of my best friends christopher giordani who really pushed me to begin painting.. with out his motivation and push i would have probably never taken my art seriously.. chris is a self taught mixed media painter/ artist.."

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

A. "Before i ever dreamed of being a painter i wanted to be an archeologist and study ancient cultures.. this is at the center of my creative process and the images with in it.. the stories in my paintings all come from my life and experience. they are reflections of my thoughts and feelings which find me through long hours of random intensions and reflection.. the end result is a layered vision of what i experience and what i must do to meet my goals.. they are illustrations of my understanding of the world that surrounds me and the world i seek to see and exist in.. this has been my never ending daydream as long as i can remember.."

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

A. "I can not pinpoint the characteristics of the people who collect my work they seem to be all over the map.. ive sold to 16 year old punk rock kids, college professors, micro surgeons, kerry king of the black metal band slayer, and rosie odonell tv personality in the same week.. if you can find the connection id love hear it myself.. it seems the only thing they all share is a feeling they get from my work.. its seems there biggest consistant coment i get is a feeling they get when they look at my work.."

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

A. "Shaman (image above)– we must make our own rainbows.. i was thinking about shamans, totem poles the connection of man to nature, mans connection to himself.. our quest for happiness and purpose.. looking beyond ourselves, to what you know but can not see. This is essential to maintaining the energy to reach your potential.. i thought of the incredible inspiration we must have felt when we thought of animals as gods and ourselves as a part of nature.. great mountains and powerful winds the intensity of fire.. i imagined the shaman on an inner quest for understanding, and all the proverbs that tell us to seek our own happiness. I thought of my own happiness that comes fom painting and my own quest for self understanding.. i thought of how good it feels to be able to pull yourself from negativity thru creation.. like making your own rainbows.."

Q. What is your artistic process?

A. "My artistic process is to create with spontanieous and random intentions until i see things that excite me.. i refine, and paint over the images constantly, working on 7 to 10 painitngs at any given time.. the idea is to let go of ideas and see those waiting for me.. letting ideas and passing thoughts guide me through creating and editting the images i see.. never being afraid to destroy what is not final or true.. by pushing through layers of imagery and retelling the ongoing story of passing thoughts i find in the end what is most important to me.. the truth behind my actions, intentions, and desires.. the things that make me happy and sad.. it is only then that i can follow my path and hope to know and attain my goals."

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

A. "I choose my materials and mediums based on tactical feel, and for the visual appearance.."

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

A. "I am completely self taught and have no intention of attending school.. i feel this has helped my career in many ways.. by finding my own methods and reasons for creation i have attained a high level of confidence in myself and in my work.. with no schooling to offer me direction on how to be a full time artist i have used many alternative methods for selling and promoting my art, and have avoided many of the hang ups ive seen in other artists.."

Q. Where can we see more of your art?

A. "You can see over 800 examples of my work on my website - http://www.jessereno.com my work can also be seen in galleries, books, magazines, skateboards, and walls both nationally and internationally.."

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

A. "I am still a self represented artist booking and managing my own schedule and shows.. i have a few close gallery relationships and am represented by a handful of galleries."

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

A. "Im really focused on my own work, when i engage in the art community i try to look at work individually rather than as a part of a bigger whole.. im pretty to myself and seek individual interactions rather than mass interpritations..."

Q. Any tips for emerging artists?

A. "My best advice is paint every day.. paint for yourself.. paint over whatever you dont like.. if you paint seven paintings a week for 3 years you will make serious progress.. once you have emassed paintings you are proud of be sure to show them.. you can not succeed unless you push yourself.. any time your are turned down for a show search until you get one, this way you are never let down..."

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

A. "I create to find the ideas that will guide me to my goals..."

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

A. "If you do not paint long enough you will not learn the right lesson, yet the truth will be waiting..."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Fred Carpenter

I recently interviewed artist Fred Carpenter. Mr. Carpenter is interested in figurative realism. Fred's paintings are narrative in that they tell the story of modern urban life as seen through his eyes.

Mr. Carpenter strives to communicate about hope, self-identity, and community with his paintings. He has stated that his work translates his existence- a Polaroid of his soul. Through self-exploration he has created a body of work that is personal and unique.

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

A. "I think the term "important" has two parts here – spiritual and economic. I always knew that I would need to make art my whole life — the question was more how to survive from day to day doing so. The discovery was more of an evolution – gradually realizing that I’d have to forego the dreams of being cash rich for a life filled with the rewards of doing what I was born to do."

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

A. "Making art is a constant affirmation of being truly alive. I mean "alive" as opposed to "zombie" which is what most people get accustomed to working in a cubicle for a big company. Being alive and working alive is a powerful thing – it’s about being connected to things and interacting with people through a creative presence that can only be enabled by BEING creative. Making art gives me the strength to dive into situations that might otherwise be intimidating."

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

A. "Living in Brooklyn, New York, it’s hard to filter out the influence. It’s always there, in your face, like it or not. My work it about the world around me. The imagery in my paintings is drawn from internet, street photography, subway sketching and a long time of city dwelling. I prefer to not approach the imagery with a specific message — I hope to leave that up to the viewer."

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

A. "As for painters I’m into Francis Bacon, Lucien Freud, Eric Fischl, Jenny Seville and Neo Rauch. I love the insanity of Paul McCarthy and the social commentary of William Pope.L. I’d love to own a Rauschenberg or anything Basquiat ever did. It’s all so wonderful. I think the trick is not so much to know when to take it all in, but when to shut some of it out so you can hear your own voice coming out."

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 aspect of my background is being a graphic designer for so long. The discipline of design is very much a business function, so I got pretty good at finding ways to be creative within the confines of business imagery and typography. I think typography and calligraphy are distinct aspects of my background that are reflected in my work. It comes out in interesting ways."

Q. How long have you been a working artist?

A. "Since 1979 or so I guess. That’s when I started doing work for a magazine and got serious about art school."

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

A. "People that like my work are not what you would call professional "collectors" – it’s more the average man on the street that is fascinated by seeing something out of the ordinary. My recent work is also very accessible and not terribly elitist. I think that’s important."

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

A. ""King of Bedford Avenue" (image above) was painted shortly after I started living in the Bed Sty section of Brooklyn. The street scene is from a photo I took around the block and various other shots of weekend partiers at Coney Island. As always, internet images of cars burning in the middle east seems to make its way into the compositions. There is always a palpable edge of desperation on the streets here, so I thought the super bright colors turned that into a bit of irony – I love irony in all its forms."

Q. What is your artistic process?

A. "I’ve come to realize that most of the artists that I admire worked with photography, except Lucien Freud, but then, he’s Lucien Freud. I love working with photos because I can instantly collage a strange combination of junk on my photo wall and let my brain do the mixing. I’m into painting directly on the canvas without preparation or carefully worked out sketches. I think this keeps things loose enough to feel alive – and invariably produces some unpredictable results. Fortunately, I’m comfortable with this style of work because I did so much figure and life drawing."

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

A. "Oil painting is about as traditional old school as it gets. I love it because I’m connected to all my favorite painters and because it never fails to surprise me. It’s also relentlessly challenging. I don’t want my work to be about materials. I want it to be about connecting with other people."

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 B.F.A from Parsons here in NY. I’m thinking of applying for the MFA program at Hunter College for next year. It seems like it would be an exciting thing to do — I’m just 20 years older than most of the students that would be there. We’ll see what happens."

Q. Where can we see more of your art?

A. "My website had most of the new work and show announcements: http://www.fredericcarpenter.com "

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

A. "I’m at the L’asso Gallery / Restaurant in the Lower East Side (NY C) December 7th. They’re located at 192 Mott Street – from 6 to 11 pm or so. I’ll have three or four new paintings showing."

Q. What galleries have you exhibited in?

A. "The best show was called "Excavation 507" at the now defunct Anthem Gallery in SOHO. I also had a solo show at Dam, Stuhltrager Gallery in Williamsburg, Brooklyn."

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

A. "I see a very confused, market-driven ecosystem of artists and gallerists and collectors all basically cluster-stumping each other to get at the cash. Only a small percentage of artists that truly deserve recognition and cash really get it, so you have to decide where your priorities are. My goal is not to be an "art-star" — I’m trying to figure out how to keep painting for another thirty-five years."

Q. Any tips for emerging artists?

A. "Don’t get caught up in trying to be a "star" and get discovered before you’ve found something solid inside yourself that will keep you making art for another 50 years. I’ve seen too many young painters hit the wall after they’ve done thirty paintings with their special style-technique. Hitting that wall is just the first phase of getting on to the REAL stuff. Make as much art as possible. Hit the wall as hard as you can. Get drunk, think about it and keep going."

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

A. "I guess certain galleries must have decided I wasn’t "right" for their taste. It’s not for everyone. Neither am I. I don’t care about the censors – they’re just silly roadblocks that are easily overturned."

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

A. "I’ve been turned down for quite a few residencies that I’ve applied for. I’ve come to the conclusion that it’s a "who you know" sort of thing, so I’ve stopped applying. It’s been disappointing. Other than that, my art has always been what saved me from the insane crap that was happening for other reasons. I’ve seen quite a bit of the rocks on the bottom. I know if I’m making art, I’m alive and doing ok."

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

A. "It makes me feel like the best human I’ve ever been."

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

A. "Brooklyn, NY is probably the most concentrated group of painters and artists in the US. There might be more in Berlin by now, I’m not sure. Although there are tons or painters, sculptors, photographers, performance artists and so on, it’s kind of classist, in that the hot, name artists only associate with others of their same caliber. On the other hand, I emailed a very famous artist here one time and got a wonderful, page long response. The point is, it’s still important to be here for me. I’m getting more show opportunities and getting the work out there."

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

A. "I’d like to thank the great spirit for letting me get this far and hope that I will be allowed another twenty or thirty years of making art. The art world will take care of itself, so I’m not worried about it."

I hope that you have enjoyed my interview with Fred Carpenter. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Jacob Burmood

I recently interviewed artist Jacob Burmood. Jacob is a recent graduate of Missouri State University, with a Bachelor of Fine Arts Degree and emphasis in sculpture. He is presently pursuing a career as a studio artist.

Mr. Burmood is currently working in clay, in both sculpture and pottery, because of its plasticity, durability, and surface quality. He has knowledge of Raku (meaning happiness), an ancient Japanese style of firing pottery.

Raku is originally associated with the traditional tea ceremony, the process of raku firing reveals the Zen esthetic of natural and accidental beauty. No two pots are ever the same. Jacob is interested in this natural and dynamic method of creating pottery.

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

A. "Society has shown me how things are connected. Creating art has shown me abstract ideals in human relationships."

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

A. "My influences include Henry Moore, Jackson Pollock, and the Art Noveau movement. I am drawn to the Futurists sense of movement and Constantine Brancusi's philosophy of it."

Q. On average, how long does it take you create one piece?

A. "One month."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I like listening to music that sounds like the forms I create."

Q. Discuss your art. What is your artistic process?

A. "Like anything, it changes. I go through phases of techniques. Currently, I am creating simple, organic forms, and then drawing undulent lines on them. I then carve out the areas between the lines and the lines become edges."

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

A. "I am currently working in clay because of its plasticity, durability, and surface quality."

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 Bachelor of Fine Art with an emphasis in sculpture from Missouri State University."

Q. How influential was the school where you studied? What can you tell us about the art department that you attended?

A. "Very infuential. The faculty, for the most part, was superb."

Q. What galleries have you exhibited in?

A. "Studio 405, Phorm, Good Girl, Springfield Art Museum, Waverly."

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

A. "Yes. I had a somewhat sexual piece cut in two by a highschool art teacher. I dealt with it by going to college."

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

A. "Any time the creative flow seems to stagnate it is the worst let down. Thinking of quitting is rock-bottom, continuing to create is breakthrough."

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

A. "It fosters the imagination."

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

A. "Springfield Missouri is a blossoming area for the arts."

Q. Has politics ever entered your art?

A. "I try not to let it."

I hope that you have enjoyed my interview with Jacob Burmood. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: TOKYO19

I recently interviewed the artist known as TOKYO19. TOKYO19 received the Judge Award in the SOHO FESTA Mitaka Theme Competition in 2006. His work is inspired by Rinpa, a traditional Japanese painting style, as well as other aspects of Japanese culture. This mixing of traditional and contemporary methods is an interesting combination. The end result is a body of work that demands a second view.

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

A. "Art has always been an essential part of my life ever since I can remember. I loved doing something creative as a kid such as playing with LEGO or creating my own toys using stuffs I found around me. I also liked designing machines/robots/gadgets on a piece of paper."

Q. On average, how long does it take you to create one painting?

A. "It really depends on the work or my mood. Sometimes I spend around a few days for one piece and sometimes I spend around a few hours."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I listen to my favorite music, which keeps changing quite rapidly. Lately I've been listening to a British band called MUSE. I also started giving titles/names to my sketchbooks. The sketchbook that I am currently working with is called Tokyo Ecstasy."

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

A. "HOTOKE- This is something that I created for a competition but I never sent it because I forgot. Hotoke means Buddha. It also indicates the deceased in Japanese. Basically this is a new Rinpa style. Rinpa is an old Japanese painting style. It was active around 1600-1800 and was famous for using gold/yellow colours for backgrounds and dynamic compositions. In this illustration, I have simplified the Rinpa style. It is a style that I am currently working on and it is nowhere near perfect but many people seem to like this pic."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "Last year I got into Glasgow School of Art in Scotland. I am currently taking a year out. I will be studying Product Design, which is completely different from what I am doing right now. Before that I did a course in Edinburgh Telford College for a year."

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

A. "I use a pigment liner from STAEDTLER. I love it because I can add very small details in my works."

Q. Where can we see more of your art?

A. "I have my own website, where I upload my works once in a while. I also have an account in ArtWanted.com. My website: www.tokyo19.com ArtWanted: www.ArtWanted.com/tokyo19"

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

A. "I am not represented by a galley. I am currently looking for a gallery that would represent me."

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

A. "I have started my own gallery at my website, where artists can exhibit their works online. It has just started running this month and some part is still under development. I have got a few people, who are interested in exhibiting their works. (www.tokyo19.com) I also entered a competition in Japan. (SOHO FESTA in MITAKA THEME COMPETITION) My work, which received Judge Award was exhibited in Tokyo (November 17th- 18th) along with other selected works."

Q. Any tips for emerging artists?

A. "Don't stop what you enjoy."

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

A. "To challenge myself."

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

A. "I am currently based in UK. There are so many talented young artists who have the right skills and qualifications to be successful but some of them never get noticed. Also the city council keeps removing the graffiti, which is so bad."

Q. Has politics ever entered your art?

A. "When I was 16, I created a painting, which had a strong anti-war message. It was in 2003, when the war in Iraq started. Since then, politics have not really entered my art for some reason. I am now trying a new method to protest, which is writing a very surreal picture book. I can honestly say that writing a picture book will NEVER cause the ending of all wars in the world. But at least it will make some people think."

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

A. "Some of my latest works have inspirations from Buddhism statues. I just think they are so beautiful."

I hope that you have enjoyed my interview with TOKYO19. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Cecilia Ferreira

I recently interviewed artist Cecilia Ferreira. Cecilia is an emerging artist from South Africa. She now resides in Lisbon (Portugal) where she creates art using a variety of mediums. She is skilled in photography, digital art, printmaking, painting, chalk board art, drawing... you name it and Cecilia has most likely experimented with it.

Cecilia's art is darkly expressive.This is an artist who is interested in the human psyche and condition. Her work is a reflection of the darker side of society. However, she observes this as a positive aspect of her life. Thus, she captures a sense of tragic beauty within then context of her work while at the same time revealing the animalistic nature of humankind.

The viewer is forced to confront his or her emotional flaws and the flaws of society in general. Her work can be raw in its depiction of this depravity . However, it can also be playful... dangerously playful.

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

A. "I discovered that art would be a part of my adult and childhood life at the age of five. My dad does political cartoons and I used to watch him draw. I used to see ink splashes in the dark just after bedtime as a young child, and they used to move in roller coaster patterns until I fell asleep. I didn't discover that art plays an important role: art discovered me and I have been freaked out by it ever since."

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

A. "Everything I see and everything that is sensed by me is my art. My art is a direct reflection of my affair with reality (society) . We are chained to society; confined to it. We are jack in the box idiots who are trapped in matchboxes called urban blocks, parking lots and shopping malls. All my work reflects somehow how society has fucked us up in one way or the other. In the end it's all about being alive. What would we do without that intensely inflamed feeling of being alive? Be alone, I guess."

Q. On average, how long does it take you create one painting?

A. "It is usually a very quick thing, creation. It is explosion for me, not a thought-out, elongated plan of sorts. I usually never take longer than a day on a painting or drawing. Photo's, photo alterations and digital art is usually instant, like in ten minutes type of thing. They are quick thrusts of subconscious matter, as if it being vomit of brain matter and emotion. Many times I almost have no real recollection of thought and of how the creation took place, as if I am possessed or a channel, a simple mediocre medium for something intense trying to reach the eyes of those who are willing to look. I feel relieved after every creation."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "They way the sun rises, the sound of cats fucking in the alley below, the sound of expresso cups clinging nervously, the introverted morning mist, breathing: life gets me in the mood for working.

Having eyes gets me out of bed at 5:30 in the morning. I don't sleep much, because I cannot sleep with my eyes open. In the times when creation was forced by studying I used to smoke endless joints of Swazi weed to get me in the mood. I have grown up slightly and life in itself trips me out lately.

There is so much beauty in the world it becomes ugly. Like a trip that just got too intense and the beauty becomes a frantic realization of life."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "After high school I attended a private art school in observatory, Cape Town. My art gained more from living there than it actually did from going to art school. I left the school and returned to my home town, Port Elizabeth, and did a three year course in Fine Art at the Techinicon.

I am not an academic. I have no thought. I am filled with opinions with no back up. Emotion has always overshadowed rational thought.

Studying fucked up so many things. The longest break I have ever taken from my art was straight after tertiary studies. I did not pick up a brush for a year. I had to recover from the way it sucked on me, like a parasite. I have wished before that I never studied art. But I am a believer in destiny, so, what the fuck…it is all a means to an end. I just sometime think what my art could have been based on pure emotional interpretation, without that voice of knowledge whispering in my ear, telling me about visual etiquette and what beauty is supposed to or not supposed to look like."

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

A. "Because at the time I felt like feeling it."

Q.Where can we see more of your art?

A. "www.artwanted.com/ratinha
This site sucks. It keeps removing my work because it is daring and has nudity. It feels a little like school being there. I am working on a website of my own, but it's going slowly. Soon there will be a http://www.cecilia/.... For now my blogs will have to do. www.blogger.com/profile/25058650 Here I have some self portraiture which I upload and then think: "O damn, I better remove that one." But I never do.

I also have an online diary here, which is filled with thoughts and images about life. It is all about communicating and creating and having a ball of a time doing it. The internet is the modern day sketch pad, filled with doodles and electric lines connecting us."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "None, Zero. It's mad. My work is in storage. I am not represented by a gallery.

I have no upcoming exhibitions. I guess I am waiting for something to knock on my door. It is a fateful characteristic of an introvert, this patiently waiting-thing.

I am using the internet as a main gallery. I have some work in a few mags online like:

www.artpoetryfiction.com

www.bhag.net

www.undergroundvoices.com

www.enfusemagazine.com "

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

A. "The "trend" in the art world is the inevitable surrender to technological means. It is beautiful. How I used to be seduced by technology, but as a fine artist I kept my artistic talent strapped to the chastity belt of pastel on paper and oil on canvas. I lost this virginity the minute I realized I would never loose from succumbing to this vast and penetrating invasion of the times: I could only gain from it.

Trends are those vital parts that make development tick."

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

A. "My work is censored on a site where I have it now. It is awesome. I love being censored, it make me feel my art achieved something at that very moment. The only sad thing about it is the work of art not reaching as many eyes as it should have. The eyes of the viewer should be that sensor that drops that moral veil or not."

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

A. "I am at rock bottom, because I am not making a full time career out of my art yet. Creatively I am soaring…professionally, I am sniffing my way on the bottom like a stray."

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

A. "Art created me."

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

A. " Lisbon. Don't have a lot of time to check out scenes here. There is a lot of art here, amazing art."

Q. Has politics ever entered your art?

A. "Politics enter everything, whether it has been invited to do so or not."

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

A. "Yes."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kritzia Caban

I recently interviewed artist Kritzia Caban. Kritzia is intrigued by the grotesque and odd. Her work is a grab-bag of shocking and sarcastic themes. Kritzia has stated that her goal is to "achieve a reaction" from her viewers. She does not care if this reaction is negative or positive as long as the viewer takes a second glance. I have taken several! I can't wait to observe where she will go next with her art.

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

A. "Since it was the only thing I really could do living in a pretty crappy urban neighborhood. I was quite the sheltered little Spaniard. My parents wanted so badly for me to be safe so they shoved a bunch of coloring books, crayons and food at me to keep me home and happy. I would pour my heart out into my sketchbooks and ever since I could remember."

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

A. "Society influences my art almost as much as my life experiences (which is a lot) I think I’m overly affected by what is going on in my immediate surroundings as well as in the media. I’m obsessed with the way people react and relate to the world around them. My obsession with people and their actions may have stemmed from being a bit sheltered when I was younger and not quite knowing how I "should" act or react to anything. I have a lot to say about the way people are portrayed in the media, the distance the internet and the computer has helped to foster, disconnected families, hunger, animal abuse, poverty and more. My goal is to present those issues that are important to me by showing them in my own personal context."

Q. On average, how long does it take you create one painting?

A. "It really depends on my mood and what’s going on in my life. Lately I’ve been finishing one painting every 3-4 weeks."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Well I always have my sketchbook by my side. Whenever I get an idea in my head I grab my sketchbook and write down my thoughts or illustrate them. When I paint I make reference to my original ideas so that I can see how far I’ve deviated form the original. Music helps sometimes. My best motivations are my ideas."

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


A. "Wow, I wish I could say anyone has collected my art. I’ve just recently had the time to take my art more seriously so I haven’t really sold anything just yet. I would assume that they would need to have a really good sense of humor or be pretty twisted. I don’t make my art for any particular audience so I’m not sure who would even want it."

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

A. "Let’s talk about my piece with the puke and Barbies (image above). I’ll say now that every piece that I do is related to how I feel in some way. I’m not very good with words so this piece has allowed me to say a lot without saying anything. I feel pretty strongly about body image and beauty. With this piece I constantly asked myself the question "What is beauty?" I’ve always had a warped sense of what is beautiful and I really wanted to have my confusion be vented out onto the canvas. I guess you could say I was sort of releasing pent up frustrations about ideal beauty with art and the body by "puking" onto the canvas."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist?

A. "I’m getting ready to student teach right now. I will be finishing up school in the spring of 2007 with a degree in art education. I ideally would have liked to seek a degree in just fine arts but being that I need money, teaching was my best option. My parents wouldn’t have been too supportive of me just being an artist. I’m happy that I’ve taken this path but unsure of where to go now. I’d love to be a teacher and work on my skills while trying to teach but I can’t say that I’m not afraid that becoming a teacher will put a damper on my main goal of pursuing my art more seriously."

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

A. "It isn’t the greatest art department in the world but it definitely has its gems. There are two teachers in particular, Sean Gallagher and Jenny Knaus, that really helped me to focus and work on my techniques before rushing into the many ideas I have. There was no real art community at my school. I wish there was more opportunity to share with other artists and collaborate but I might have been expecting too much."

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

A. "Well I had lost all hope in my ability to draw after a terrible experience with a teacher who told me I should reconsider what I’m doing in art. After going through a whole semester of wallowing in self pity I decided to get my required painting class out of the way. My teacher Jenny Knaus was the most inspiring and motivational woman I have ever met. She helped me see what my strengths were but didn’t allow me to let my weaknesses escape unnoticed. She sort of nurtured me back to health with oil paint. Ever since then I stuck to oils until I accidentally ingested Turpenoid. I’ve been using acrylics for the most part since that incident."

Q.Where can we see more of your art?

A. "Aside from my Myspace you can check out my website, www.geocities.com/kahlan_cypher@sbcglobal.net which is currently under construction or vote for me on kritziacaban.artfaceoff.com"

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

A. "I just recently showed some of my work at the senior art educators’ exhibition at Central Connecticut State University in New Britain . I’ve really just started considering showing in galleries so I’m up for anything. There is a possibility that I will be showing at East West in NY for the winter of ’07."

Q. Any tips for emerging artists?

A. "Make art for yourself and no one else. Love and accept your mistakes or they’ll come to haunt you in your work. No one’s perfect. Stop trying to be."

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

A. "Not yet but I’m sure there are plenty of people who would prefer not to see my work at all."

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

A. "Right now is probably the best but toughest part of my career as an artist. I’m torn between pursuing my education and wanting to take my art seriously. I’m also seriously torn between being the starving artist and working a boring old job with a full stomach with no time to make art. Until this year I’ve been shunned for the way I do my art and I’m just starting to learn how to have faith in what I’m trying to do."

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

A. "Art is my therapy and without it I would get sick and die."

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

A. "Well I’m from CT. It’s pretty boring down here. The best shows I’ve attended have been at the gallery at my college. The good thing is that NY is not too far off and whenever I have free time all I have to do is hop on the train to find some interesting art."

Q. Has politics ever entered your art?

A. "Not yet. I am so self absorbed that I haven’t had the time to stop

thinking about what’s going on in my head to take the time to think about what’s going on in a bunch of politicians’ heads."

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

A. "My confusion about faith and my lack thereof is always an issue in my own head and I believe that all my work says something about how I feel just not so directly. If I could explain it I would but for now there are my paintings."

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

A. "Thanks so much to all the people who have recently shown an interest in my work. I’ve really just put myself out there as hard as I could without expecting so many people to accept and applaud what I’m trying to do."
I hope that you have enjoyed my interview with Kritzia Caban. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kerry Shea

I recently interviewed artist Kerry Shea. Kerry has spent years experimenting with her clay sculptures. She strives to convey raw emotion with her work. This is an artist who is interested in pushing the boundaries of traditional expression while revealing that "imperfection" can be most intriguing.

Kerry has discovered the power of clay as a vehicle to comment on the human condition. Her dedication to clay has allowed her to reveal a vast range of emotions within the context of her work. Kerry feels that capturing honest emotions in clay furthers an understanding of what it means to be human.

Q. Can you tell our readers about your artistic process? Does your background play a part in your artistic process?

A. "My hands have always been guided by a powerful quest to interpret and reconfigure reality. The arts were an important outlet for expression since I can recall. Pushing the boundaries while exploring traditional media during my formal education uncovered an enduring fascination for quirky personalities. Growing up with a mentally ill sibling I came to realize the arts would be absolutely essential for my own emotional health. The mind/body connection cannot be refuted: visualization techniques allowed my escape into my imaginary world when facing surreal odds."

Q. What medium(s) have you used?

A. "Within the visual arts field, my creations have ranged from wood, clay sculpture, painting, printmaking, photography and jewelry design."

Q. Discuss your art. What thoughts are behind your work?

A. "While sculpting my ceramic figures, the subconscious and intuition share the role of revealing lifes joys and challenges. Each vision seems to require a different medium or mixed media which I've recently added collaged clay, glass, metal, stones with other found objects."

Q. You've worked with clay for six years. Why did you decide to focus on clay sculpting?

A. "Focusing on clay sculpting for the past six years came about in an unexpected way: When my child was diagnosed with a rare disease she endured many hospitalizations requiring endless hours of painful procedures. Being the primary caregiver, I sought the most forgiving medium for her to focus her energy on: clay. Malleable, soft, and great for pounding out frustrations, she bloomed. And while her disease remains, her friends call her Sunshine. Her physicians also attribute the ongoing art therapy to her incredibly optimistic outlook.

All of my art is an evolving narration of interactions within our society. The social implications stem from my personal experiences but become universal as each viewer carries a history within. Often I've questioned whether creating works which often are not considered beautiful, but instead frankly show the dark side of life are valuable. Then I began receiving emails from abuse survivors who expressed their gratitude for creating an open forum. Once, a woman said my work felt as if it wrapped around her like a warm quilt. . . At that point, I knew my life was saved for a purpose. Capturing honest emotions in clay furthers an understanding of what it means to be human."

Q. What do you hope people see in your work?

A. "I would say creating and teaching art are the perfect combination of my enduring love for people. By sharing what I've learned and honestly expressing a diverse range of emotions I hope to show others struggling that there is a healthy way to cope."

Q. Can you discuss one of your pieces and explain the thoughts behind it?

A. "Personally, as a childhood and domestic abuse survivor the creative process literally saved my life. Being able to speak through my clay about society's violence, natural disasters, mental illness, and interpersonal relationships helps me cope when the pain is unbearable. LIFE TRACKS (image above) is one example of a woman's struggle to overcome a painful history. The tracks show how she progresses and regresses throughout her healing. The butterfly represents freedom from abuse."

Q. Are you represented by a gallery?

A. " I have to spend more time caring for my family's medical needs than creating art. Since the creative process restores my energy I've not had the opportunity to look for gallery representation."

Q. Where have you exhibited in the past?

A. "Amsterdam Whitney Gallery (Chelsea, New York, NY),

WI Academy's Steenbock Gallery."

Q. Where can we see more of your art. Do you have a website?

A. "I'm hoping to find someone willing to barter a sculpture for creating my own website. My work may be viewed on these group sites:

www.sanesociety.org/en/shea

www.artworldchicago.com/sheakerry

www.portalwisconsin.org."

Q. Do you have a degree? If so, where did you study?

A. "I graduated from Edgewood College, cum laude, with a bachelor of science degree in art education."

I hope you have enjoyed my interview with Kerry Shea. I would like to personally thank Kerry for taking the time to do this interview... best of luck to your family!

Take care, Stay true,

Brian Sherwin

Art Space Talk: Amanda Greive

I recently interviewed artist Amanda Greive. Amanda is a painter who displays amazing talent considering that she has only painted for three years. Though young, she is quickly making a name for herself in central Illinois.

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

A. "I had never had an interest in art until about 3 years ago. I can't explain why, but I decided to try my hand at painting and derived so much pleasure from it, I just couldn't stop."

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

A. "Creating art has taught me to be more patient in every aspect of my life. It has also helped to quelch anxieties and stress from other parts of my life."

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

A. "I am influenced by the Italian renaissance painters and the Dutch Masters of the 17th century."

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 experiences are definitely reflected in my paintings. Because I believe art is a window to the artist's soul, my subjects tend to be objects and ideas that I know very well or are sentimental to me in one way or another. My family is also often a subject in my art."

Q. How long have you been a working artist?

A. "Almost 2 years."

Q. On average, how long does it take you create one piece?

A. "It takes a little over a month, sometimes longer."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I don't have any rituals, but I do prefer to paint in the dining room in our house and I like to have complete silence when I paint."

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

A. "I chose to work with oils because of their flexibility and long open time. I also feel like they have a richness that is second to none."

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 masters degree in epidemiology, but decided to go back to school for an art degree. Going back to school has helped my art career because it exposed me to so many different styles of painting and helped me to realize how important a foundation in art history is to my life as an artist."

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

A. "I attend Lincoln Land Community College, and the art department and faculty are wonderful in that they foster the many different artistic style that students present and they really encourage the students to pursue their artistic interests."

Q. Where can we see more of your art?

A. "Some of my art is available for viewing at the "Eclectic" artist coop in Jacksonville, IL. I am also in the process of constructing a website that will present all of my work."

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

A. "I am not currently represented by a gallery, but it looks like I will have 2 shows coming up in the Spring of 2007, one at On the Wall in Jacksonville (Illinois) in April and the other at a gallery in Springfield (Illinois)for which a date and details have not been ironed out yet."

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

A. "I create art because it is such a part of who I am that I couldn't imagine not creating it."

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

A. "Religion and faith do play a part in my paintings."

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

A. "Yes, my cultural background and my upbringing play a large part in my painting."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Ella Guru

I recently interviewed artist Ella Guru. Ella has had great creative success as a visual artist and musician. She was number one in the Indie charts with the group Voodoo Queens in 1993 and has also had success as a member of the Deptford Beach Babes, The Tasty Ones', and the Tropics of Cancer. Ella is able to transfer the same energy she has as a musician into her visual art. The end result is an eclectic blend of visual art that involves everything from reflections of the 'underground scene' to geese.

In 1999, she was one of the twelve founder members of the pro-painting Stuckists art group (London) and took part in demonstrations against the Turner Prize outside Tate Britain. She started the Stuckist web site, which has been key to spreading the movement worldwide.

She was a featured artist in the Stuckists' landmark show The Stuckists Punk Victorian at the Walker Art Gallery during the 2004 Liverpool Biennial. Her work has been shown in the Museum of Pop Culture, London, as well as in Germany, the United States, Australia, and Amsterdam.

Ella is known for her alternative "underground" life style and 'gender bending' paintings. She used to frequent fetish clubs as a dominatrix, and has a penchant for transvestites. The subject matter of her work often features such subjects, including many paintings of men and women wearing 1960s style beehive wigs. Although the content is frequently unorthodox, she paints in a "traditional" style.

Q. You were a founding member of the original Stuckist group. How did you meet Charles Thomson, Billy Childish, and the others?

A. "I met Billy around 1990, used to go and see his bands. I met Sexton Ming in 1996 (and married Ming in 2001). I met Charles through Sexton, at a Headcoats gig."

Q. I read that you started the Stuckist website. How many people
frequent the site? Do you have any idea how many Stuckists there are at this time? Can you give us a link?

A. http://www.stuckism.com

Q. You took part in The Stuckists Punk Victorian exhibit. What was that experience like? Do you see other ground-breaking exhibits revolving around Stuckism in the future?

A. "I was giving birth during the private view. So I didn’t really get the full impact. I went up to do a talk, with the baby, and I saw the show then. It was amazing. To walk past Rembrandt and then see my own paintings. Like a dream come true. I hope to see more, sure. We just had one in the West End in London, not so big as the Walker but still something new. A private gallery and sparsely hung, not salon style. A good change."

Q. You were a member of the Voodoo Queens. In 1993 you were number one in the Indie charts. Has your music influenced your painting?

A. "Sure. I like to paint night life scenes. "Saturday night at the Windmill, Brixton" is of my band the Deptford Beach Babes playing a gig with another band called Naked Ruby. I’ve done a couple of paintings of Jane from Naked Ruby, she’s been a recent muse (image above).
http://www.ellaguru.org.uk/ella.php?type=6"

Q.What are your opinions about conceptual art?

A. "Most is crap. But not all. I’ve seen some good conceptual art from Israelis and Palestinians, specifically showing together. I don’t know why that is, that you have to be at war to make good conceptual art, but I would say pretty much all British conceptual art is crap. Lights turning on and off, unmade beds, bags of rubbish – I mean, how many times now have cleaners thrown art out cos they think it’s rubbish? It’s sooooo boring."

Q.Have you noticed an increased interest in figurative art in the last few years? Do you think this interest is directly linked to the efforts of Stuckism?

A. "yes and yes."

Q. You are married to Stuckist artist Sexton Ming. Have the two of you ever worked on art together? I would assume that there is a trade-off of artistic influence in your home.

A. "Yes. There is a section on my website called collaborations (image above and first image below.) with Sexton. Have a look. Thy are very popular and have sold better than either of our individual works. http://www.ellaguru.org.uk/ella.php?type=2"

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

A. "The first time I can remember drawing non-stop like a maniac was on a 5 hour flight to Seattle when I was 4. I did first my oil painting when I was about 10. but to say that art would be ‘an important part of my adult life’, I have no idea when that was. I always wanted to ‘be an artist’, and spent very many years in miserable restaurant jobs. Art college is a bubble; it’s no preparation for the real world. The internet really saved a lot of creative people. Instead of slinging burgers we can now sit in front of computers."

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

A. "Lucien Freud. Francis Bacon. Caravaggio. Van Gogh. Cindy Sherman. Andy Warhol. Frido Kahlo. Mary Harnet (friend I’ve collaborated with over the years). Edvard Munch. Pedro Almodavar. John 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 grew up in horrible suburban Ohio, was bullied at school, and then went to vocational school to get away from the regular school that I hated. I studied commercial art and took lots of acid. Got a part scholarship to Art College where I took more acid and painted a lot and then got put down for painting and not doing conceptual art (so you see my "Stuckist" roots go back a long way.)

I went to London in 1987 – that is where the gender thing first started. Not being able to tell who was male or female; getting into drag queens, dressing up and so on. Went to New York for a bit, and back to Ohio for another stint – finished my degree at a University which was more stimulating than art college.

Art College was all inbred, you had to follow a style and idea. The University had visiting artists, plus it was a lot more interesting to hang around with all sorts of people, not just artists. I did my degree in fine art and photography; we had some wild times driving around this conservative town in drag and taking pictures.

Then I went to Florida to be a stripper and then back to London – by 1990 recession had kicked in and work was scarce. So the stripping continued, as did involvement in the fetish scene. Then I went to Africa. God this is long, so, maybe to cut it short, I’ll fast forward to 1996 when I met Sexton Ming and the drag thing started up again. That was a big influence on my work. But the past also influences me; 2 recent paintings of girls with snakes on their heads are of me and my friend and fellow stripper Elinor in 1990 (http://www.ellaguru.org.uk/ella_display.php?pid=385) . I also painted my aunt in male drag in the 1940s, from an old photo. (http://www.ellaguru.org.uk/ella_display.php?pid=383) I’m always interested in gender bending. Though ,interestingly, since the birth of my daughter I have painted more women. Still some guys in drag, too, and the women are always dressed up in some way, too. But it wasn’t a conscious decision; I just felt like painting more women."

Q. How long have you been a working artist?

A. "Since 1985 though I sold my first painting in 2000."

Q. On average, how long does it take you create one piece?

A. "These days, about 1-2 months."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I watch documentaries on tv or listen to radio 4. or talk with Sexton. Listen to the Tigerlillies."

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

A. "They like drag queens."

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

A. "OK let’s take the new one (image above). Its not on my website yet cos its too dark to take a photo of it. But it’ll be up soon. I went out to a club looking for inspiration. I know that sounds contrived. It used to be I’d go out and have fun and then by chance a picture would become a painting. But now that I have a baby, I don’t have much time or energy. So any night out is potential material.

In this case there was no one image from the night, so I made a collage of the night, like I did in "Saturday night at the Windmill Brixton." (http://www.ellaguru.org.uk/ella_display.php?pid=350) I made a montage of several people I saw that night, and positioned them in a way that I thought looked good. In the foreground was the friend I went out with that night. The guy with the pig’s nose wasn’t with us; I just thought he looked great. And the still life in the foreground is something I often do. I always paint the still life from life – I set up drinks and bottles. I’ve only just finished this painting, not even 100% sure of the title yet."

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

A. "Tradition. I painted with house paint for awhile but I like the more permanent and stable nature of oil."

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. "Bachelor of Arts degree. Not helped my career one bit. Unless enabling me to spend 5 years being self indulgent and making art counts."

Q. Where can we see more of your art?

A. www.ellaguru.org.uk

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

A. "Quiet at the moment, though I do have some paintings and prints at the Modern Artists Gallery in Whitchurch-on-Thames. Just been in several shows, London, Liverpool and Hove. Still have some paintings up at 43 Molton Street, Tesco Disco (see www.stuckism.com)."

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

A. http://www.stuckism.com

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

A. "Because I can."

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

A. "There’s an interesting gallery in Gillespie Road http://www.96gillespie.com/. Also the Aquarium has a new gallery in Farringdon. http://www.theaquariumonline.co.uk That’s all north London, UK."

Q. Has politics ever entered your art?

A. "I wouldn’t say I really do political paintings, more like documenting a political event - I did some paintings of anti-war demonstrations in London (image above). And I organised an anti-war show at the London Stuckist gallery in 2003. http://www.ellaguru.org.uk/ella.php?type=7 "

I hope that you have enjoyed my interview with Ella Guru. Feel free to critique or discuss her art.

Take care, Stay true,

Brian Sherwin

Art Space Talk: David Anthony Magitis

I recently interviewed artist David Anthony Magitis. Mr. Magitis creates art using an airbrush, watercolors, and is known for his digital art.This international award winning artist is known for his dark surrealistic style. David's art is brutally honest. His images reveal the darker side of human nature.

The work I observed seemed to take on an almost animalistic nature in the manner in which the human condition was conveyed. Viewers of his work may think David is more of a butcher than an artist. However, just beyond the surface of his work, beyond the captured bloodshed, is a certain social truth that we must not deny.

Mr. Magitis has done work for several authors, such as M.J Hewitt, Johm Lawson, and Peggy Jo Shumate.

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

A. "I guess it was when I couldn't stop. From an early age art has been the most important part of my life. Nothing else seems to come first."

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

A. "My work doesn't really represent who I am on the outside. Im a normal person to many with a quiet and shy personality. I do often suffer bouts of anxiety and depression maybe that shows in my work. Professionally my work has opened many doors for me."

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

A. "Most of the time I'm stuck in my own little world. I often depict the darker side of the human condition. It's my constant reminder that all is not right within the world."

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

A. "Early days Dali was a big influence I was in total ore of his works, mainly his sketches not his well known oil works. Giger's airbrush work and the surrealist movment."

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

A. "Born and breed in the U.K good education including college and university. I dont belive that any of my past experiences have had any reflection in my work."

Q. How long have you been a working artist?

A. "Seems like forever, I guess it was about 1999 -2000 when I got really serious prior to that I was doing little bits whilst working as a night security officer".

Q. On average, how long does it take you create one piece?

A. "Not long, 2 days is my most time spent. I get bored easily so like to complete within a day."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Sort of, I love to listen to music or the T.V whilst working. My smoking also increases and a beer often helps. I do all my pencil and watercolor work lying on the floor, unfortunatly airbrush requires an upright position."

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

A. "I have to say most of my collectors are very down to earth people. I have more female collectors than male."

Q. What is your artistic process?

A. "Get all of my materials together and go for it!"

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

A. "Airbrush for the speed. Watercolor again for speed. And digital if I cannot be arsed. I'll use anything as long as it doesn't bog me down."

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 Graphic Design. It helps when I do book covers. Other than that I binned the graphic industry the day I graduated."

Q. Where can we see more of your art?

A. "All over the worldwide web. It amazes me where my work turns up."

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

A. "Not currently, exhibits are not my cup of tea, at least not over here. There are not many exhibits here where my work will fit in."

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

A. "Ive exhibited with the RAW artist festival in London, the Night Gallery in the U.S (collectors exhibit) and I have a permanent artwork showcased at the Beijing Natural Culture centre. (Dont ask very weird!)"

Q. Any tips for emerging artists?

A. "If I can do it anyone can."

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

A. "All the time. That's just the way it is."

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

A. "Im often floating along the bottom. I do tend to miss the rocks though."

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

A. "I have to, it's like breathing for me."

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

A. "It is dead here in the U.K for my kind of work."

Q. Has politics ever entered your art?

A. "I once painted Bush, Sadam and Bin laden holding each others penis."

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

A. "My art is my world, welcome...."

I hope that you have enjoyed my interview with David Anthony Magitis. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Vasil Tsenev

I recently interviewed artist Vasil Tsenev. The interview was rather short due to the language barrier between us. However, I was able to gain some insight into the inner workings of this young artist.

Mr. Tsenev is a firm believer in the need for 'personal technique' in painting. He feels that every painter should try and discover a new manner of expression in order for said artist to have an authentic voice. This philosophy seems to be vital to his approach to painting.

Mr. Tsenev is an experimental painter. He works with various materials and has 'discovered' a way to utilize cinnamon in his paintings. He works on paper with materials that allow the cinnamon to 'cling' to the surface without flaking off. Mr. Tsenev calls his work Fine Cinnamon Art and claims to be the founder of this 'unique technique'.

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

A. "When I found out that I can earn money while having a lot of fun."

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

A. "Not at all, it just makes me happy, and that is good for everybody."

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

A. "Absolutely not, I am not a priest."

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

A. "There are no influences, I am looking for something new."

Q. On average, how long does it take you create one piece?

A. "The difficult thing is to find your own style and technique and to be good in it, to find your strengths, the rest comes easy. It could be one minute and it could be one year. It depends how I feel in my soul."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "It is different every time. I know when I should not work.

Q. Discuss your art. What are you thinking when you create it?

A. "Everyone of them has its own personality. They are different like all the people on earth, and they have also a soul like we do. They also want to tell us something"

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

A. "Because they do a good job. I love CINNAMON."

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

A. "I intend to start a school for artists in Vienna."

Q. Where can we see more of your art?

A. www.artwanted.com/vascoo

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "At the moment I am busy with other things like my University for business and the job, so I have no time for that."

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

A. "I am open to everything, it makes me happy that there are so many people loving art, so I have no fear."

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

A. "I don't like the word career when we are talking about art, but anyway, they are a lot of such situations, and a lot that will follow in the future. We must stay strong and not give up. That's it."

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

A. "For the women it is easy, they can have babies ( most of them ), I want to give something to the world that is also beautiful."

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

A. "Only one for now. vasco"

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

A. "I am happy to be in Vienna, because this city is full of culture and I feel free among this atmosphere."

Q. Has politics ever entered your art?

A. "Maybe one day. If I become a wellknown person I will try to change something in the politicion's heads!!"

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

A. "It should be forbidden for people using religion, like a subject, for their art."

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

A. "It is my personality in centrum, it is me.

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

A. "I am just happy that I discoverd this world, and now I become a part of it. It is just great."

I hope that you have enjoyed my interview with Vasil Tsenev. Feel free to critique or discuss his work. Also, remember to keep an eye out for his gallery on myartspace.com. Simply do a search for Vasco on the main site to find it. http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Eric 'Rev. Eirik' Mirabel

I recently interviewed artist Eric Mirabel aka Rev. Eirik. Mr. Mirabel creates acrylic paintings that involve a great deal of texture work. Due to this he works on wood surfaces (To avoid cracking.). Symbolism plays an important role in his paintings. They are personal... yet at the same time they allow the viewer to create his or her own story around the meaning of the image. In a sense, his work is a confession.

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

A. "I would say that the realization of the arts being a part of me till my days end would be at an early age; I discovered that I loved art too much to want to do anything else."

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

A. "I find myself to be calmer and also more responsive to peoples needs, I’m not so dismissive and an irritable as I usually am. I’ve come to the exception of having fans, friends, and clients that love me and my work I find it is a gentle slap in the face that puts me in my place. I used to have this elitist attitude and I feel it’s gone now, or so I hope."

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

A. "Yes, as it should any artist, I quote Dali when I say "Those who do not want to imitate anything produce nothing."

I fabricate my personal worlds from the one I already know.

Whether the world I create is pleasant or a thing of horrors, they are always an exaggerated version of what already exist."

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

A. "In no particular order: Dali, H.R.Giger, Gustav Klimt The cartoonist from the old school Playboy Mags, Patrick Nagel, Alfonse Mucha, Author Rackham, StarWars, Creature Features, Heavy Metal Magazine, KISS, Frank Herberts DUNE, M.C. Escher, Andrew Warhala, Godzilla, Hitler, Communist propaganda, Nivek Ogre, Blade Runner, Jean Paul Gaultier, Architeuthis .

Pain
Love
Lust
Hate
Abstinence
Loneliness
Guilt
Bliss

There are many influences, some are human some are machine."

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

A. "Well my background isn’t much to boast about, but I know there is a reflection or refraction of my past in my work.

My past was not the best, so things are usually altered with selective memory and at times minimized for our protection."

Q. How long have you been a working artist?

A. "I’m not sure I have so many ups and downs off and ons, so about 5 years."

Q. On average, how long does it take you create one piece?

A. "Well, it depends on the subject of the piece, the size, and how much I am in love with the nature of the project.

I would say that on average it takes me 3 weeks to 2 months."


Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "My usual rituals usually start with morning tea. Then what ever it takes to get into gear. It all depends on the mood the time and how exited I am about the piece.

Once I’m in gear I’ll put on some tunes or a movie. I usually listen to or watch things that can put me in the world I’m trying to create. So, I listen to many types of music and watch almost any kind of movie, what ever it takes to emulate the idea or bring out the emotion of this that I am trying to create.

For those who want to know what’s usually on my music menu- TOOL, Dead Can Dance, David Bowie, The London Suede, Skinny Puppy, Patsy Cline, Einsturzende Neubauten, Goldfrapp, Joan Morrissey, Queen, Johnny Cash, Laibach, Pink Floyd, Pulp, Prince, The White Stripes, Combichrist, Tom Jones, Turbo Negro, Nick Cave, The Legendary Pink Dots…..The list go on kids.

Movies… Well for someone in my lifestyle there is the "Power 3": Brazil , Dune, and Blade Runner.

Then the list of movies fits anywhere in between The Tales of Grimly Hospital to Bridget Jones Diary.

As long as I have the need to start or finish a piece, I’m in the mood, and those days will always start with tea."

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

A. "I know that 89% of my collectors are white males.
Fetish, BDSM, Gothic, Sci-Fi world like my stuff, gay people love my Face/Portraits. I have collectors that are older men with families; there is one collector that is a director of lesbian films…My collectors are all across the board really, there are a few people I’ve never seen or met so who knows."

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

A. "I guess I’ll talk about the painting I currently use as my Myspace avatar. .(the pic above)

Title: Bad Kitty, who or what have you been in. a.k.a Kitten.

2003, this was the year I decided that I had to leave behind the girl that I was in love with for 3+ years; I had to let go for reasons that where good.(I’ll bore you some other day with this story), Well, I was pretty messed up. Lucky I had my friend Ashes living with me and she was did a great job at keeping my head level and keeping my heart from falling completely to the floor.

I felt that if I can’t have this person in my life in the manner that I wished it, I needed to change things so it’s ok to be free of her. This painting was the first step of my transition. I painted the pain away.

The Symbolism:

a. The overwhelming white of the back ground, this white represents how much I was absorbed into this person; I never got a clear view, a clear picture of what was going, or what was happening. I was drowning in her and I needed saving.

b. The girl, her name is Kitten; she isn’t the person that broke me, just a representation. Here Kitten portrays the body the flesh that I fell for, you see she looks serene, tranquil, and innocent, the gravity of the girl invokes thoughts or feelings. You have to look and see at least once.

c. The kitten outfit, it’s the wolf in sheep’s clothing thing.

d. The blood, well that’s my blood, for years she has feasted on my insides and all that were left of me when I came to my senses was my hollowed body.

The feelings:

When I was painting Kitten, it was my self help piece, the washing of my hands piece. I meant a lot that I got it done to free myself. Now today, it’s just another one of my painting.

A Kitten posing at the end of a sinister act. There are many copies of this piece the other times I painted her; there was no emotional reoccurrence, just the joy of painting. I believe I am cleansed. The rise of the phoenix:
Kitten gave birth to the "Kitty Litter" series and the new me."

Q. What is your artistic process?

A. "I work in many ways, my favorite is to work off photographs, I find it more convenient. A photo shoot of one person or even a pic I find off of Myspace that I borrow with permission. I look for special gestures and poses. I’m currently looking for that one muse to match that everything girl that I usually paint.

I also doodle at times, sometimes I produce an image that I like and I work from there.

There is also the drawing session, I’ll sit with a pencil and what ever paper I find and just draw till I’m happy with the image."


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

A. "I use acrylics and I paint on wood. I use wood as the platform cause the texturing I do demands it, all my canvas paintings have cracked the paint layers are so thick.

The style of my paintings works best with acrylics.
I’m also not too fond of the smell of oils."

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, no degree, I would go back to school, but I wouldn’t take art classes, I would take fashion classes, I want to make shoes and boots."

Q. Where can we see more of your art?

A. "I am currently rebuilding my websites so they are down, but you could look in "I warn you though it needs updating):

http://eirikofphenoms.deviantart.com/

And soon on MYARTSPACE.COM."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "No, not really, The Pendulum is new and it’s mostly a club and special events place. There are more parties than art shows there.

I am working on a few shows for 2007, aside from getting my ass into galleries I am putting together a group show for the month of July, August, or September.

My earliest show should be in Feb., we still haven’t solidified a date, and it’s a 2 person show, with Tiffany Star and me at the Pendulum."

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

"Made to Match Closed
The Works http://www.workssanjose.org/

Art SF http://www.artsf.org/
735 Harrisson Closed
The Pendulum http://thetentacleparadox.com/BlackRabbitProductions/BlackRabbit- PastEvents.htm"

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

A. "It almost seems that every young artist wants to be featured in Juxtapose magazine. So there are many clones…. Cookie cutters are for cookie dough kids."

Q. Any tips for emerging artists?

A. "Don’t compromise yourself."

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

A. "Yes, at a show during college, there was a new Dean and she refused to show my work. I guess the dean didn’t think a four breasted four armed self-cruci-fiction piece wasn’t art. Man I have a pic of that piece someplace."

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

A. "There was a point when I got into drugs and all the work I created was total crap, but this crap made very good kindling.
I think that drug thing was the lowest; I’m here now well, at least till cremation."

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

A. "The devils in the details and I have OCD."

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

A. "I represent San Jose CA and San Francisco CA .

San Jose is pretty damn impressive, although the scene here is not as big as SF. I’ve got to say that I’m pleased, there is a variety of great artist here. If you come to San Jose and look hard enough, you will find the gems. Start your search at Anno Domini http://www.galleryad.com/

SF is a revolving door for art students. I have met so many talented people from all over the world here. It seems that many art students start here cause of the 3 arts schools, CCA, AI, and AAU, and I will add SF State to that list too.

The schools and the city of San Francisco attract some real powerful and interesting artist. The quality and quantity of talents that gather here can give a growing artist a real feel of what they are getting into, there is so much to see and do it’s pretty intense; it’s sometimes really overwhelming.

Oh and yeah Juxtaposes home base is here too so, yeah, fun times."

Q. Has politics ever entered your art?

A. "As a child it did, only due to angst. I had my political phase, I made many enemies.

Now I trust political art to those who have the fight in them."

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

A. "Yeah, I was raised Catholic and now I’m a practicing Purest, and I would think that my work is shaped by trying not to represent anything Christian, Jewish, or Muslim."

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

A. "No, I don’t think so. I try to create things neutral of cultural background, race, heritage, and religion."

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

A. "Enjoy it while it last."

I hope that you have enjoyed my interview with Eric Mirabel. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: James Zar

I recently interviewed artist James Zar. Mr. Zar, also referred to as the 'Still Life Magician', has been an established artist for decades. He has befriended celebrities and star athletes... a far cry from his humble roots in a hard-working fishing community. However, James still embraces his roots with honor and respect. He shares the same integrity for his work that those who influenced him had shown when he was young. This strong work ethic can be observed in his images, artistic practice, and interactions with people who are interested in his work.

Mr. Zar creates paintings that allow the viewer to travel to another world. A place full of vibrant color and lively beings. His work is marked by a bold use of color, mastery of composition, and playful spirituality. They offer the viewer the perfect visual escape from a long day at work.

Zar has been involved with major movie studios where he worked professionally and became friends with Arnold Schwarzenegger and Sylvester Stallone. He also befriended Frank Sinatra, Jack Palance, Don Rickles and Hal Holbrook. His paintings have been displayed in their private collections. Mr. Zar has remained humble even though he has had great success with his art.


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

James Zar: Early childhood. I would draw constantly; it was how I digested my life experiences.

BS: James, how has society influenced your art? Are there any social implications in your art?

JZ: In my opinion our society does not inspire high levels of art; it promotes trendy intellectual or decorative tricks for selling purposes. It seems to me that the art with enormous energy, passion and insight stands outside the agenda of our modern society which is to make money, be famous, be exclusive, and to dominate and exploit the masses…the masses being you and I.

A sane society would support the natural gifts of each individual, build an exchange value system for the development of those gifts, and enjoy a rich abundance based upon man’s innermost desire to fulfill his/her greatest potential. My artwork has only social implications if it points to this kind of society, not the one where we are now forced to live."

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

JZ: I was born in San Pedro: a fishing, longshoring, harbor area of California which produced strong men and women of predominantly middle class income who had great work ethics. I have fashioned my work ethic after theirs.

BS: James, care to talk about your early career?

JZ: I went to Pasadena Playhouse to study acting where I was introduced, by my acting director, to the great artist, Keith Finch, who became my primary teacher and mentor. I also attended the San Francisco Art Institute.

After leaving the San Francisco Art Institute, where they were into more abstract work and I was more interested in classical art, I ended it up as a commercial sports illustrator – go figure. Some of my work was featured on the covers of NFL game day programs and my portrait of Al Davis (owner of the Oakland Raiders) hangs in the Canton Ohio Hall of Fame museum."

BS: James, you've met some very famous people during your career. What has that been like?

JZ: It was always interesting. Most of the celebrities I met were actors, singers, writers or athletes - in other words creative people like myself. Since I was an All-City football player in 1959, studied acting in the early 60’s, (wished I could sing but can’t carry a tune) I had a few things in common with the celebrities I met. We were just people excited about what we were engaged in. Artists and athletes are my species; we speak the same language, and have the same inner drives and aspirations."


BS: James, I've read that you did art for movies. What movies did you work on?

JZ: I worked on Jim Buck (a movie written by Yabo Yablonski, starring Jack Palance, Rod Steiger, Ann Turkell and Bo Swensen). The main character (Mr. Palance) was supposed to be an artist and my paintings were used as his work. I also did promotional work for Sylvester Stallone. I took my wife and kids to meet him; he was very gracious and wonderful with the kids. He loves art. I did preliminary work for Arnold Schwarzenneger’s Conan the Barbarian. Arnold and I go way back; my wife and I have had a lot of fun with him. A large painting of mine hangs in Governor Schwarzenneger’s office in Sacramento.

BS: How long have you been a working artist?

JZ: I’ve been a working artist for forty years, or more.

BS: Do you have any studio rituals? Do you listen to certain types of music while working? What helps you get in the mood for working?

JZ: I wake up at 4 a.m., and then I meditate for about forty minutes. My wife and I walk for another forty minutes, then return home for that second cup of coffee. I lift weights, then have breakfast during which I end up thinking about my art and what I hope to accomplish that day.

After about twenty minutes of journaling I’m ready for work (it’s usually around 8:30). I used to listen to music, mellow jazz for the most part, but now, in my later years I seek silence so that I might better listen to my inner senses while working.

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

JZ: The classical still life paintings that I love to do, really appeals to people of all walks of life. The dream, or meditation art that I do, usually appeals to other creative people such as psychologists, actors, musicians, architects, writers, or professional people with a strong spiritual inclination.


BS: Discuss one of your pieces...

JZ: "Title of painting "OUT ON A LIMB" 24"X48" – oil on panel.

Out on a Limb (image above) relates to the farthest branches of conscious awareness. To me these meditation paintings of mine are not some silly flights of fancy, but actual signposts pointing to those multidimensional realities that escape our everyday root assumptions about what is really happening in the universe.

For example the dancing relationship of atoms and molecules that organize complex organisms are represented by the figures caught in inspiration and dancing postures.

The ancient architecture of past civilizations represents a mind based upon the marriage of intellect and intuition. All of my meditation paintings point to that vast pure identity that underlies all realities.

BS: James, can you go into detail about your artistic process?

JZ: I get an idea, draw each element out separately and work on each one. I move the elements around until the composition pleases me; it must have a flow and elicit an emotional response in me. I then draw my subject matter as a whole onto a masonite panel (treated with gesso and sanded to a smooth surface). I fix the drawing onto the board with an adhesive spray, give the panel a brown or blue half tone finish mixed with Liquin or boiled linseed oil. After that I start painting into the piece. This process took me years to develop, according to my vision of what a great painting should look and feel like. The deeper one goes into one’s art the more power and energy the art gives back to the artist.

At this point, I should say that I never inflicted my process or vision upon my son, Chet Zar, as he was growing up and developing his own artistic vision; I believe each person is a natural genius because life itself is a genius. I only answered his questions about technique when he asked me. I love his paintings and I am thrilled by his unique insight. I’m so proud of him; he is a great artist and a great human being.

BS: Why did you choose the mediums that you use?

JZ: Oil paint best suits my form of expression because of the way it flows. Plus, I love the way it smells.

BS: James, do you have a degree? If so how has it helped your art career?

JZ: I have a lifetime teaching certificate for adult education, but I am consumed with the development of my own art, so I avoid teaching. I don’t hold art schools in high esteem. Usually serious artists must wash their brains out from what someone in school has imposed on him/her. Other artists can help you enormously along the way. But generally it is a long, drawn-out process of self discovery. Trial and error, trial and error.

BS: James, where can we see more of your art?

JZ: If anyone wants to see the full scope of my work and the different aspects, they can go to my website http://www.jameszar.com/

BS: James, what trends do you see in the art world?

JZ: Besides the buying and selling of autographs of dead masters which began in the 60’s there seems to be a new-art-trend-a-week going on. But I feel a slow growing movement toward realism or representational art, exploring universal religious experiences.

You must understand that trends are a social marketing tool, and I feel that the serious dynamic art that radiates the soul of life itself will always be marginal, until the world becomes more enlightened and the world’s primary purpose is the expression of the celebration of peace, power and the sacredness of the individual soul. The highest form of art is still the meditative mind that finds itself with everything it see and feels; this is pure identity, creative joy forever.

BS: James, do you have any advice for emerging artists?

JZ: You’d better have a sense of humor; it can get pretty hairy out there. Besides, it’s seldom that one becomes rich and famous in this vocation – although it is possible. It is most important to be true to your vision, your passion about the subject matter that you’re drawn to. And remember most art critics and gallery owners do not necessarily appreciate good art. Also, just because the other guy is selling doesn’t mean that your work isn’t as important and vital to this planet. You must have faith in yourself and love for your art; after all you are involved in a noble occupation.


BS: James, what was the toughest point in your career as an artist? Have you ever hit rock bottom?

JZ: The toughest point in my career? Last week - just kidding. Actually it was an ongoing period of almost two decades. I felt I wasn’t good enough; there was something that lacked mastery, or the power, that I thirsted for. It was a very painful time. But I did pick myself up.

I worked on what I felt was lacking and today I can say I’m pleased with what my art represents…which I feel is power, beauty and a mystical wonder. I can say without equivocation that I really love my work!

The other rock bottom is common to most artists: lack of money. Well, this is an up and down thing that will drive you crazy. Flush today, frantic tomorrow.

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

JZ: No choice, I was born to do this.

You can learn more about James Zar by visiting his website-- http://www.jameszar.com/. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. I'd like to thank Chet Zar for introducing me to his father. A big thanks also goes to James wife for her help during the interview process. Thanks Judy!

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lorenzo Castello

I recently interviewed artist Lorenzo Castello. Mr. Castello is best known for his strong charcoal drawings (some art critics refer to them as 'charcoal paintings') and his portraiture done in oil (he has painted for royalty.). These works are created with a great knowledge of expressionism and traditional methods of artistic practice.

Mr. Castello has strong technical ability and utilizes his cultural ties with the traditional Italian renaissance. He creates images that capture emotion and space, forms and shapes, lights and shadows. In a sense, he conveys a world of magical realism through his drawings and paintings.

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

A. "I, like many other artist, had the will to draw and paint since I was a child and I had the presumption to think that I could do the same works the greatest masters did. Now I know I was wrong. In order to live I had to choose a different career rather than art and painting was relegated to a role of my hobby foe a long time.

I am painting now since 1992 regularly full time professionally and I discovered that I may consider myself a painter when I realized that what I do and think all the time is art.

If I feel all the time the need to paint well then I am a painter."

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

A. "Well I feel different from most of my other friends and ex collegues in my previous employement (banker). I feel blessed to have that ability,but I am very conscious that I am not any better than others for that and that I have still a lot of things to learn both from art and from life."

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

A. "Well, yes. When I was employed as a banker I had to stay quiet about my art.

Employers from financial sectors are always suspicious about artist, you know those peaple with head in the clouds, with strange friends, ...drinks..., drugs..., unreliables...

At the beginning my art was oriented more towards subjects that could please the majority of the well-to-do lots. I did many landscapes, flowers, religious subjects, and portraits.

I won a commission for an altarpiece in Genova Italy in 1992 and later a portrait to Sir Eddy George, Governor of The Bank of England. In a way my boss helped me to be accepted as an artist and banker."

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

A. "Caravaggio, Titian, Michelangelo, the french impressionists, Klimt and Schiele."

Q. How long have you been a working artist?

A. "Since 1992 although initially only part time."

Q. On average, how long does it take you create one piece?

A. "Average for a 20"by20" oil... one week."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I always listen to music, classic music or country music mostly.
I have this urge to paint all the time. I do not need extra help to get in the mood."

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

A. "Art lovers. My works are never very cheap to buy. They are not expensive either but you need to love my works to part willingly from your money.

In this way I am always sure that my works are well accepted."

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

A. "Well, let us take one of my girls (sample above). One of the many... does not matter which one. They are almost always staring at you in the eyes.

Most are naked and are usually not in a provoking posture.
You look at them in the eyes and your mind is captured.
They are naked but that does not matter, you enter their mind. Your thoughts are travelling in their thoughts."

Q. What is your artistic process?

A. "First a blank canvas, then a brush and a very liquid oil paint, a life model or less often a vivid memory and here we go."

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

A. "I tried all the others before oil but I prefer oil because I do better works with it than with the others."

Q. Where can we see more of your art?

A. "National Gallery of Dublin, Saint Mark Church in Genoa, National Museum of Cairo, Italian Chamber of Commerce London. WWW.yessy.com/nainnarart, www.lorenzocastello.com"

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

A. "Il Sorpasso Art Gallery, 16012 Busalla (Genova) http://www.ilsorpasso.org/
Arte Fiera di Genova 22 February 2007, Paddington Centre, London, 29 March 2007."

Q. What galleries have you exhibited in?

A. "Portrait National Gallery of London, Porte Ouverte Sexieme Paris, Galleria San Donato Genova, Arte Padova Padova."

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

A. "Well, it is too easy to fake good paintings with the modern help that is available.

It seem to me that the saing Big is beautiful could be adopted for art as BIG IS ART.

If you do a good work of small proportion nobody will care of it but if you enlange the same work at gigantic level well that will be art. I think this is sad."

Q. Any tips for emerging artists?

A. "Do your work and carry on. You will become a good artist but nobody will notice you.

Do something outrageous and you will get the headlines and ... if you are good, the fame."

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

A. "For my pleasure."


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

A. "Yes (I am trying just now to set up my gallery page)"

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

A. "Italy is so picturesque that there is no need to describe it.
Suffolk is less wild and exciting but still is fascinating."

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

A. "I think so. I am a free spirit. I do not believe because I have to. I think reason is much better than faith."

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

A. "Yes"

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

A. "The 'art world' has been used and abused.

If you believe everything is art you are negating art.

I was so respectful of the word "art" that even now I feel unconfortable when I have to call myself an artist."

I hope that you have enjoyed my interview with Lorenzo Castello. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Michele Mattiuz

I recently interviewed artist Michele Mattiuz. Known as 'Booga' (A name that she signs all of her work with.), Michele creates images that are highly emotive. These works are filled with angst. The emotive quality of her work is heightened by her expressive prowess. I expect to see great works coming from the studio of this young artist.

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

A. "Art has always been a major part of my life, I can’t recall ever being without it in some way. It becoming an important part of my life was never a conscious decision. There was no decision to make, this is it and that’s how it will be."

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

A. "It gives me focus and emotional release. It’s helped me stay sane."

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

A. "My art is a product of my experiences and surroundings, the way that I have lived my life. Many things have happened. Death, sorrow and betrayal are common themes in my life and in my art. It would take weeks to describe it all.. if I even could."

Q. On average, how long does it take you create one piece?

A. "The masks take me about a month from start to finish. My paintings take anywhere from a couple days to a month. Depends on how into it I am. Some I never finish if I lose the feeling."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "In order for me to really paint, I need to dwell in my thoughts. I listen to sad music, really loud and sing. I paint to the rhythm of the music. It helps me zone out.. I sometimes don’t remember painting when I’m done. I need to put myself in an emotionally unstable state… feel the pain and sorrow.. sometimes cry."

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

A. "Separated. Separated (image above and next two below.) was created on the spur of the moment. it was not planned or thought out. I just sat down with a palette knife and painted. I was feeling lost.. separated from myself, my friends.. family.. from everything.

I cried a lot while painting that piece. I finished it within two days. Certain elements in this piece represent other struggles... the emphasis on the elbow signifies my frustration with my x-boyfriends drug abuse… something that haunts me to this day."

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

A. "I started with oils, but oils are really difficult to get off my skin. When I am finished painting, I am completely covered in paint. I like the soft, dirty texture acrylics seem to have and the fast dry time. I work really fast… the texture of the paint is a nice compliment to the subject matter of my work."

Q. Where can we see more of your art?

A. "myspace.com/thunc thunc.com, digestivedesign.com."


Q. Any tips for emerging artists?

A. "Do what you want, what makes you happy. Always challenge yourself but have fun with it."

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

A. "Yes, well, I guess. Some of my art was removed from a show before the grand opening because it was too creepy and dark. I was upset because I had created the pieces specifically for the show, but it was sort-of a compliment."

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

A. "I prefer dwelling at the bottom. I like the people here and how it feels."

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

A. "In Columbus, OH there is a large variety of artists. The phrase "cluster fuck" comes to mind. The art scene is over-saturated… nothing seems to be happening. I like the underground scene, but its usually run by a bunch of stoners, so things don’t happen as often as I would like to see them..."


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

A. "Not really, but people seem to think it does. I was raised strict Catholic. Church twice a week strict, but the religion didn’t really affect me as much as being forced to do something I didn’t want to. . something I didn’t really believe in. My life was controlled and overly sheltered, which explains my chaotic lifestyle. I like to experience a lot of different things.. I feel I missed out on a lot as a child."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Edith Suchodrew

I recently interviewed artist Edith Suchodrew. Edith has exhibited throughout the world and has been featured in prestigious magazines such as 'Art in America'. She is known for her portraits and figurative allegories on tragic and humanistic themes.

Edith has devoted herself to artistic creation. In the past she worked in a more tradition manner. She has created many etchings and oil paintings, but is now utilizing computer graphics and animation as a means of expanding her expressive abilities. She shared some of these works for this interview.

Suchodrew refers to her new pieces as "computergraphic paintings," and indeed they possess a chromatic richness and a fluidity that is far more painterly than one is used to encountering in digital art.

For Suchodrew, the computer appears to be a tool for extending her imagistic capabilities rather than a departure from her previous work, judging from the compositions on permanent view in the year-round salon exhibition at World Fine Art Gallery

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

A. "As a 7 - year-old I won the competition on the subject "space".

After 5 years of general school I was accepted into the art school at the Academy of the arts in Riga after a competition …

At 20 years of age I already took part in exhibitions. In the same year was also my first single organized exhibition... and so on and so on..."

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 in Eupatoria, but was raised in Riga , USSR , behind the iron curtain. There I used to live with my father, my brother and sister and my mother - Doris Suchodrew (Poet and Diploma Biologist - Physiologist), my entire life until to the departure to Germany in 1991.

My mother with her family, as a child (1940-1941) wished to emigrate to America . The family lived in Riga , Latvia and they had got the papers for the emigration, but our history was changed. With the invasion of the Soviets in 1940 - a long and sad ordeal began.

My mother, grandmother and grandfather came to Siberia . On the 14th June 1941 - at night - they were deported and forced to do hard labour work in Siberia and high north till 1945. Afterwards, they returned to their homecity Riga . But the dream about freedom did not die out.
Now I am free ! My pictures can be seen by the whole world !

In my artistic life I have developed a deep interest for different Cultures of the World and have created a great cycle of bigformatic water - colours under the title: "On the traces for ancient cultures."

Works from me, are in the ownership of Museums and private collectors in many countries. I, Edith Suchodrew, have exhibited my oils, watercolors, and graphic works throughout the World, winning numerous prizes and prestigious awards. So, as you can tell, the freedom to do this is important to me."

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

A. "I want to describe my picture "Phenomenon" (image above) in some words. Art is told heavily with words, it’s far better to see it on your own.

It is a Computer graphic painting. Mystical and fascinating at the same time. It looks very magical and beautiful. The colours and the composition embrace the power of the Heavens and other worldly places.
Eyes observe us and everything that surrounds us. Mystical shapes romp and we are eyewitnesses to something unreal. The origins of which can't be grasped by words. Perhaps it is a new planet?! Maybe a new life?! The spectator must decide for himself!"



Q. How long have you been a working artist?

A. "Since my first exhibition in 1974 in Riga. I've had 63 individual exhibitions. All this from a former graduate of the Academy of Arts in the Latvian capital... 32 years of artistic creation. My pictures have been exhibited from Latvia to Sweden , from Canada to Panama , in several countries of Europe and Overseas."

Q. What do you hope people see in your work?

A. "I am glad, if my art makes people thoughtful and lucky. I expect each person to have different thoughts about the same picture."


Q. Where can we see more of your art?

A. "My Internet Site : http://www.edithsuchodrew.de/ .

Galleries : physically and online throughout the world .

If you enter my name " suchodrew " on the web , You'll find my art works exhibited at different galleries around the world. From Europe to America to Australia .

The books : Art Addiction 100 Contemporary Artists ; " Famous " - 120 Contemporary Artists - from World of Art Publishing / Stockholm, Sweden / London, England.

Reviews in the Art Magazin : 2000, 2001 WORLD of ART - contemporary art magazine . Gallery & Studio - February , March 2006 / New York . ARTisSpectrum - Magazine - October 2006 / New York . NY Arts Magazine / New York , USA … et cetera"

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

A. "Yes, I am represented by a gallery, the World Fine Art Gallery in New York , USA , where I am a Permanent Artist, and in the gallery "Il Quadro" in Aachen , Germany , I am represented as well.

In 2007 I have several upcoming exhibitions: in New York in January in World Fine Art Gallery. I am very glad for this exhibition."

Q. Any tips for emerging artists?

A. "Hold your head highly! Go your way and don’t stray away from it."

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

A. "At the end of the 80’s I was not included in exhibitions in Latvia as a Jewish woman, because it was said that, "those were our (Latvian exhibition) and not your (Jewish exhibition)". Fate wanted differently! And now I live in freedom!

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

A. "Art is my entire life and my calling."

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

A. "Yes, Yes, of course ! edithsuchodrew.

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

A. "Aachen is a city with interesting museums and art life. For example : Ludwig Forum for international art .

The first presentation of the recent American Pop scene in Aachen 1969 by Professor Peter Ludwig was a true impact. It leads to the establishment of the " New gallery - collection Ludwig ". Soon the museum Ludwig in Cologne opened its gates. It was promoted as the flagship of the collection and highlighted classical authors.

The programmer of the " New gallery " and later "Ludwig Forum for international art " was directly connected with the often bold development steps of the collection Ludwig. Aachen became a lively place full of contemporary art.

I have painted portraits if art collectors from Aachen. I organized many of my exhibitions here in Aachen . Here you can see pictures at my site: www.edithsuchodrew.de/9.html ."

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

A. "In my last artistic period I engaged myself with my roots. I am pleased that my pictures went around the world !

And yet, I am in search of sponsors for my new artistic activity and my dreams. Mr. Sherwin, I am glad to have had this conversation with you. It gives me great hope!

Life. Freedom. Art."



I hope that you have enjoyed my interview with Edith Suchodrew. Feel free to critique or discuss her art. You can see more of her art by doing a search for edithsuchodrew on the main site: http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Peter Schwartz

I recently interview artist Peter Schwartz. Mr. Schwartz is a poet, painter, author, editor, publisher, essayist, playwright, humorist, and musician. As you can tell, he has an abundance of creative energy. This energy is reflected in his paintings.

Digital painting is a form of meditation for Schwartz. The outside world is blocked while his creative energy flows. In a sense, he permits his movements to dictate the direction of the painting. His hand moves wildly with the brush as the painting takes form. Peter's body of work is marked by this frantic energy.



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

A. "I would say when my formal education began. I studied fiction in college quite intensely. There was fierce competition to get into an Advanced Fiction class taught by none other than famous author, Rick Moody. During that time I also worked on a short book of poetry for my senior project. After school I believed that poetry was the more pure form and set out to become a master of that craft. If nothing more I have found a unique voice in a realm where personally I see a lot of imitation and echoes. The same way that poetry seemed the next evolution from fiction, painting is the next step from poetry for me. Not limited by words, I can say so much; the brush doesn't fight back at me like the pen. A "wrong" word needs to be erased, a "wrong" line can be added to or totally painted over."



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

A. "I used to think that art was some abstract thing I did hidden in my room. But of course, art is the ultimate method of self-exploration. Through art I have taught myself to see potential everywhere, to assess and make decisions with an absolutely cold eye, to value the Other for its own sake regardless of my desires, to be open and stay as far away from having any identity as possible, in short, to love and have passion for my life, whatever it may bring."

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

A. "I am very much a hermit. Honestly, I barely leave my house and pay as little attention to society as possible. I am dedicated to living in
the dimension that opens up when I create or at least in the shadow of that dimension where I hustle to further my career. That being said, obviously society often intrudes into my little world and the way that it has influenced me is it has made me paint to an audience that for the most part is grossly indifferent to art. I have always hated being ignored so I paint BIG, STRONG, LOUD, INTENSE, POWERFUL images because as a result of being a hermit I have a lot to express."

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

A. "Not really. Every once in a while I see a painting that makes me say wow which inspires me to make something better. I think a healthy, confident, honest artist should think he/she is the best. I'm the best. Hahah, in fairnes to oh, the entire art world, I don't really actively seek out art because I am too busy making my own. I do like the work of some of my friends like Carolyn Adams and Daniel Y. Harris. Oh, and Brian Sherwin, can't get enough of that Brian Sherwin."

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

A. "I've done a lot in my life. I've had many serious girlfriends, I've lived on a Kibbutz and traveled the Middle East, I've worked many different kinds of jobs from construction to marketing, I've recorded and performed all kinds of music, I've truly sowed my oats. Because of this, I can psychologically handle my solitary life because I don't have to concern myself with defining myself by the world's terms anymore. To put it very simply, I know I'm cool. Everything I've ever been goes into my paintings because the reservoir I tap into when I work is nothing less than my unconscious. I can go on for hours before I actually realize what it is in fact I'm doing."

Q. On average, how long does it take you create one piece?

A. "Ah, when I start painting, even after the very first stroke, I initiate a process of trying to balance out what I see. Occasionally I find that balance in a few hours but usually it's a marathon. I barely blink as I add or take away or otherwise mainpulate the work. After I get an image I deem finished on that primary level, I put it into an effects program and systematically try every single option I possibly can. Obviously, it's impossible to hit upon them all but I go through what feels like a million different versions before I finally decide I am satisfied. I will often spend hours going back and forth between vey very similar versions of the same piece. Those sessions last between 12 to 14 hours. A few times I have made images I liked but didn't quite do it for me and gone back to perfect them at a later date."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "Again I bring up my college career. There I studied just about every Eastern religion including Zen Buddhism. I am definitely in a state of meditation when I paint. I don't do or notice anything else, I just paint."

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

A. "Rich."


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

A. "Well, since it's still fresh in my mind, let's take my newest piece, 'the art of paranoia'. At first, like all my paintings, I wasn't thinking a motherloving thing. I was letting my hand go wild, trying to put a little of every color everywhere. At some point it seemed balanced but a bit boring. I took the cut tool and cut little triangles out, going up and down in a line to the far left. Then I filled them with black. I liked how this looked so much (like thorny stalks) that I cut and pasted seven more on. At this point I knew I had to put the image into my effects program where I shaded the top then flipped it and shaded the other side too. I felt it still needed something else though and took a black cyberpencil and made the mad black scribbles coming out in a spiral and finally the eye in the center. Voila! I realize I am talking about the process rather than what I was thinking, but the process is all that exists for me. I paint using my unconscious so what was I thinking? Nothing."




Q. What is your artistic process?

A. "I suppose I came as close to answering that question as I can get in your last question, hahaha, I don't know ask God."

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

A. "I chose painting digitally because it's what was available to me. It's clean, cheap, and has so many options and tricks to make even a fool like me look like he can paint. It's almost 2007 so I use this modern tool. I am a perfectionist and so being able to click "undo" when I don't like something I did saves me a whole lot of heartache."

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. "Nah, education ultimately teaches you to teach yourself. I know how to teach myself and it's very simple. I stare at an empty canvas and try to do something I've never done before; a blank canvas, that's all the education I've ever needed."

Q. Where can we see more of your art?

A. "Well you can see them all at: http://www.sitrahahra.com/."

Q. Any tips for emerging artists?

A. "Don't sit around in trendy cafes discussing art and how deep you are. Paint. Paint and always challenge yourself to do something different and take risks. A lot of "artists" seem to develop one style then milk it for the rest of their lives. That's not art. That's repeating a formula to reinforce an identity. Every time I get too caught up in the business of promotion and networking I take a step back and remember what it's all about and I paint. Let yourself fall in love with the process and you truly can't lose."

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

A. "No, it hasn't. If someone dared try to censor me I would proceed with Project Alpha. Projects Alpha consists of me blowing a special high frequency whitsle that only my underground army of very pissed off homeless men can hear. I have trained them to obey my will using auto-suggestion and advanced hypnotic techniques and will release their terrible, funky fury on any and all curators and art directors who dare oppose my vision. Let them be warned!"




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

A. "This interview? No just kidding, I am sure you can tell I am having fun. I am more focused on the act of creation than my career so things never get too bad. So far I have mostly concentrated on getting paintings published on literary sites which is pretty gentle. I send work and they say yes or they say no. Maybe as my career grows there will be rock-bottoms."

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

A. "I create art to escape, to transcend the everyday by taking part in the holy act of creation."

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

A. "Creation is by definition spiritual. I channel the unknown into colors, textures, shapes, etc. when I paint. In a very real sense, painting IS my faith and religion."

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

A. "Yes. Although I need to make art like other people need to eat and breathe, it's a luxury and a blessing to be able to spend my time painting, for that opportunity I thank my mother, God, and the creators of digital painting programs everywhere."

I hope that you have enjoyed my interview with Peter Schwartz. Feel free to discuss or critique his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Janina McCormack

I recently interviewed artist Janina McCormack. This emerging artist has recently moved to Warsaw (Poland) to pursue her career. Janina has an eye for vibrant color and is able to utilize her knowledge to create flowing abstractions.

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

A. "Art has always been a part of my everyday life. It just happened that gradually, art became increasingly important to me. Right now, I am becoming an adult, and with that, I have made the decision to devote my life to creating artwork."

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

A. "Creating art has made me a different person, because it makes me function less efficiently in the real world. Personally, it has given me a voice. Art allows me take things I could never talk about, and still will not, and express them. It also lets me see all the possibilities I have as a human being. I like to surprise myself."

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

A. "Many of my close artist friends have inspired me the most. Other artists, like those in museums do influence me, but not in the same way as a friend does. I often end up collaborating with friends because after I spend so much time with them and their work I feel a part of them."

Q. How long have you been a working artist?

A. "I have been painting since I was 12 years old. So now, I have been an artist for about 10 years."

Q. What is your artistic process?

A. "I stretch a canvas, and create a very lovely ground. After that, I paint. My ideal creating days involve having a full breakfast, sleeping late, going to the library, and then coming back to the studio and going full force into painting. Listening to upbeat music is also a key element to my studio practice."

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 BA from Hunter College. Going to school has certainly helped shape me into being a better artist. My fellow students were very inspiring artists, and having access to knowledgeable and helpful Professors is very powerful. However, school never prepares you for a career."

Q. Where can we see more of your art?

A. "I have a few shows in the works, so keep your eyes open. As I live in Warsaw, I am working more on exhibiting here and in neighboring cities and countries. Online, I recently created a blog with sketches and news, http://janina-janina-janina.blogspot.com/, and I have a Myspace profile, http://myspace.com/janinamccormack."


Q. Are you represented by a gallery?

A. "I work collaboratively, and we call ourselves Pants Avengers. We have representation with Jen Bekman Gallery in New York City. As for my "solo" work, I am not actively seeking representation, but will gladly accept an offer if it arises."

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

A. "There are many trends, but the art world is expanding in a more global way, so the trends are not widespread. In New York it is easy to see trends, but they do not reflect what is going on everywhere in the whole art world. I do think though, after seeing the art fairs in London last month, there is a tendency for very detailed, labor intensive, process-oriented drawing. There is also an attraction to organic, flowy forms made from harsh materials."

Q. Any tips for emerging artists?

A. "I do not know, because I am one myself. However, I would say that when carving out a career wait until you have made something that you are proud of, then show it around, and then go on to the next thing. The allure of the art world is great, but do not let it shape your work. Never make art just so that it can sell."

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

A. "The only tough points of being an artist for me are feelings of self-doubt. Sometimes it is hard to go on, sometimes you are unsure about what you are making. There is also the problem of artistic slumps. I face them when I make something that garners praise. I have trouble re-creating the same effect I had in those initial pieces. It is frustrating, but I have learned now that after these slumps something new emerges. Luckily, I have never hit "rock bottom." If I fall into a hole, I find a way out of it."

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

A. "My user name is janinamccormack."

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

A. "I have currently moved from New York City to Warsaw, Poland. It has been a very big, but positive change. Polish contemporary art in general is extremely fresh and raw. I am still too new to the community to actually discuss it, but within my school, the Academy of Fine Arts, Warsaw, there is a great kinship and openness amongst students. In Warsaw, there are a few very strong galleries. My favorites are Zacheta, Yours Photography Gallery, and Raster."

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

A. "As this is mainly for the artists on myartspace I would just like to say that I look forward to seeing how an Internet art community such as this will affect the art world."

I hope that you have enjoyed my interview with Janina McCormack. Feel free to critique or discuss her work. You can find more examples of her art by searching for janinamccormack on the main site: http://myartspace.com/ .

You can check out all of the interviews at http://myartspace.com/interviews/.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Alfred Phillips

I recently interviewed artist Alfred Phillips. Mr. Phillips has gained a lot of exposure even though he has only focused on fine art painting for a few years. He has won many awards and has also caused controversy that gained national attention.

Alfred's subjects range from vibrant landscapes to a series of Carnival Mask paintings; but, his energetic landscapes and beautiful still-lifes are resonating most with collectors. His Renaissance-style studies in light and shadows, like the haunting still-life "Eggplant Fruit," now in a private collection, testify to his mastery of that genre.

Phillips prefers painting with acrylics rather than oils which are too slow drying for his liking. According to Phillips, a work begins by quickly sketching ideas on paper relying on imagination, personal observation, memory, studio setups or photos taken for reference purposes. Depending on the complexity of the image, he may paint directly on the canvas without sketching; or, he may painstakingly draw the image in exact detail which is very labor intensive. He never uses projection. Many layers of mixed paint are used and blended until the desired color is achieved on canvas. A variety of brushes and strokes are applied to create texture that compliments the art.

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

A. "My earliest memories are of being called an artist, even in grade school. I have always thought about art and shaped my life around art."

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

A. "My humble beginnings made it necessary for me to earn a living, so I have had a professional career in advertising, from which I am now retired."

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

A. "Actually, since I started painting full time three years ago, I have become much more environmentally conscious and much of my work deals with nature. Also, I am gay, so there have been exhibits where I have painted specifically for a theme involving gay causes."

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

A. "I motivate myself. I have had encouragement all my life, but I would draw or paint regardless. I need to."

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

A. "It is obvious I have a graphic design background when you look at my work. I can't help but think like a designer after over 30 years in that career."

Q.How long have you been a working artist?

A. "Just the last three years, since October 2003. I moved to Florida after retiring and rented a studio to paint full time."

Q. On average, how long does it take you create one piece?

A. "I spend about 20-40 hours on the more detailed paintings until they are completed, spending about five or six hours intensely working each day. After that kind of painting is done, I like to have fun and "play" with abstracts – or works that allow me to fling paint and loosen up."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "I'm always in the mood to paint! Sometimes to the detriment of my other responsibilities. As far as rituals go, I like to have my I-Pod on and set it on "shuffle" because I like a variety of music. Scissor Sisters, Dixie Chicks, Peter Gabriel, whatever. Funny, but I am in pain if any of the other artists in the group I share space with (Tarpon River Art Centre) play music I can overhear."

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

A. "Gay men, thank god! Gay men with money! They "discovered" me and have been loyal and enthusiastic. I don't know why they like my work so much but they keep coming back."

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

A. "It's hard to choose one. I guess I will choose Madonna Of The Ribbon because I am proud of that painting and the response it has received. I created it as a donation for a friend, Chuck Williams, who is president of ArtsUnited, a gay and lesbian art group in Fort Lauderdale, FL, to raise money for The Children's Diagnostic & Treatment Center. The Center helps children and families of AIDS victims. Chuck Williams asked ArtsUnited artists to create and donate paintings using the red AIDS ribbon as a theme for an auction he was holding. All the proceeds benefitted the Children's Center. Painting Madonna Of The Ribbon was an emotional experience for me, because after doing research on the internet, I realized how unfairly the disease of AIDS was attacking black women, much more than their proportion in the general population. I used my skills as a graphic designer to come up with an icon that I thought would have impact, yet remain simple. I placed the ribbon over the head of a black woman, much like a shawl or scarf, while the woman tilts her head down in sadness and deep concern, yet with acceptance. The ribbon appears to be the trim of a garment such as a choir robe, or even a shroud. I made the background indistinct, with a "white light" surrounding the lady so that she looks angelic."

Q. What is your artistic process?

A. "It varies. Sometimes I have a clear image of what I want to paint, with all the sketches and set-ups prepared and ready to go, and other times I have no idea. But, I will never sit and stare at a blank canvas. I let loose and see what happens. It is amazing how some of my best work comes out that way. Sometimes I have used imagination alone with no reference, and other times I have copied my own photos meticulously, rearranging the composition to suit me. However, I never project the image onto the canvas. If I can't look at it and draw from what I see, I won't do it."

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

A. "I use acrylics almost exclusively because they are fast drying and suit my personality. I work really fast and intensely, and despise waiting for paint to dry. My blow dryer is right by my side at all times! I like working in thin layers, brushing on transparent colors many, many times to get the richest, deepest colors."

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 a four year art school on full scholarship – the Art Center School in Louisville, KY (now closed) – and graduated in 1969. It was not an accredited school until a few years after I left. I was an adequate academic student and probably could have gone to an accredited school, but getting a full scholarship to a school close by home was critical in my decision. Because I did well in design and illustration, my second year in school I was offered a part time job at a local advertising agency. That led to several years of working for agencies, and then to starting my own award-winning graphic design studio, which I closed upon retirement."

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

A. "It was all art, all the time! Everything was "hands on" and creative. I loved it! There was painting, sculpting, design, tapestry, weaving, printmaking, etc. Everything but book-learning! I felt like I had been dropped into heaven. Classes started at seven in the morning and ended at ten that night. Somehow I managed to work part time and attend school full time, as well as keep up with multiple homework projects. Sleep was an afterthought."

Q. Where can we see more of your art?

A. "I have a web site but it is hopelessly out of date (http://www.alfredphillips.com/), and you can see ten of my recent paintings on myartspace.com, as well as on the web site for Art Expressions Gallery (http://www.artexpressions.tk/)."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I am represented by Art Expressions Gallery in Fort Lauderdale (http://www.artexpressions.tk/). I just ended a solo show at Art Expressions and am back to painting new works for a while."

Q. What galleries have you exhibited in?

A. "I have exhibited in many galleries and shows, including ArtServe, Broward Art Guild, Gallery Six, Mind's Eye Gallery, ArtsUnited, Stonewall Library, Boca Art Guild, Schacknow Gallery, Art Expressions Gallery, Tarpon River Art Centre, and others, all within the South Florida area. I plan to expand the area for showing my work in the near future."

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

A. "I'm the last person to ask about trends. I never know what's going on. People tell me realism is coming back and I hope so, because that would be good for me. Maybe I'm too focused on what I do because a lot of art is over my head and I don't have a clue what it means, and I probably should try to understand it."

Q. Any tips for emerging artists?

A. "If you don't live and breathe it, don't even start. You have to be dedicated and willing to work hard. There is a glamorous side to art, but the work comes first."

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

A. "Oh boy, has it ever! I was embroiled in controversy after entering a piece in the Broward Art Guild's Controversy Exhibition in 2004. An attempt was made by a Broward County Commissioner to have my work removed from the exhibit due to it's sexual and political nature. I drew a cartoon of George Bush getting sodomized by an Arab Sheik, while Bush was splayed out on a barrel of oil, which was crushing soldiers and Iraqi citizens. The controversy kept growing every day, with local news coverage turning into national news, and eventually landing me on The Daily Show with Jon Stewart. I kept my cool, but there were threatening phone calls and mysterious silences on the answering machine, which kept me on alert status. I've become a big fan of the Dixie Chicks, empathizing with them to some degree."

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

A. "You know, when I finish a painting, I am never completely satisfied and it is then I am at my most vulnerable. So, I would say accepting my limitations and plodding on with renewed hope past the rock-bottom of each painting is the toughest thing."

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

A. "I don't have any choice in the matter. I have to."

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

A. "Yes, sign in "apsrick"."

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

A. "I'm in Fort Lauderdale, Florida. Miami is really the big art scene in South Florida, but Fort Lauderdale is growing."

Q. Has politics ever entered your art?

A. "Absolutely. From the Controversy Exhibit mentioned earlier, to my environmental-pollution paintings, and my involvement with gay causes through ArtsUnited and Stonewall Library."

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

A. "Sometimes. I grew up in a Southern Baptist, very conservative home, which has turned me against organized religion forever. However, I don't mind using religious icons in my work, including crosses, madonnas, priests, and angels. I believe in being spiritual and in being a good person, and that the ten commandments are good rules to follow. It's just using the bible selectively for your own biases that turns me off. I have attempted to paint scenes from painful experiences in my childhood that include my alcoholic father and controlling mother, but I literally can't complete them."

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

A. "Growing up in a rural farm community has influenced my interest in nature as a continuing subject. I'm not that interested in urban scenes or city life for my paintings, even though I live in a very urban area."

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

A. "When I first started painting full time three years ago, entering competitions and winning awards was all-consuming. I needed the approval and acceptance of judges and critics, and received more than my fair share of awards. That is very gratifying and I'm glad I did that, but now I am painting what I want to for myself. I feel like I'm just an ordinary person stumbling around for enlightenment most of the time, waiting for magic to happen."

I hope that you have enjoyed my interview with Alfred Phillips. Feel free to critique or discuss his work. You can view Mr. Phillips current work by doing a search for apsrick on the main site: http://myartspace.com/


Take care, Stay true,

Brian Sherwin

Art Space Talk: Lacey Lewis

I recently interviewed artist Lacey Lewis. Mrs. Lewis is a traditional oil painter. Her realistic work is full of visual detail and emotion. Her exploration of classical techniques are well documented in her body of work and growth as an artist.

The work I've observed seems to convey a sense of loss or sadness. These emotions are heightened by her mastery of the academic tradition. Her paintings, as a whole, are strengthened by her seriousness as an artist.

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

A. "It was 9th grade; I was 14 years old. Since I was a child I enjoyed drawing and painting as well as creating sculptures and sewing, but I never considered my work to be anything special. Instead, I aspired to become an architect. During the 9th grade, however, I began to learn to ‘see,’ and was able to create realistic drawings of people. I became obsessed, and arranged my schedule so that I had several study halls lined up to sandwich my art class and lunch period. This allowed me to spend four consecutive hours per day in the art room, and art became a main focus in my life."

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

A. "At first, I was inspired by impressionist and abstract artists, especially women such as Mary Cassat and Georgia O’Keefe. As I matured my interests came to focus on the Old Masters and I studied the works and writings of Da Vinci, Michelangelo, etc. The artists who inspire me most today are living realists such as Stephen Assael, Virgil Elliott, Alyssa Monks and William Whitaker."

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

A. "My recent series, "Repression and Revelation," is all about past experiences of mine, and my struggles with dealing with them today. I’ll not get into the specifics of the events, but like thousands of other people I have had a less than perfect life thus far, especially where women’s issues are concerned, and that is often mirrored in my work. Individuals react to my paintings differently, and I have been touched by the sincere responses I receive from people who relate to my art and see their own experiences narrated. It surprises me that my work can have such an effect on others."

Q. How long have you been a working artist?

A. "I have been ‘working’ as an artist for approximately two years. Prior to focusing solely on my art, I was a furniture refinisher in Syracuse, NY (my hometown)."

Q. On average, how long does it take you create one piece?

A. "My oil paintings generally take two to three weeks of diligent work to complete. This includes actual painting time only and excludes all preparatory work. Often I will ponder a particular vision for a painting for weeks or months before I actually begin painting, usually because the ideas come more quickly than I am able to paint them."

Q. Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

A. "My studio practices actually vary greatly. I do enjoy listening to music while I work, but I listen to everything from Bizet to Amorphis. I also do the ‘painter’s dance,’ stepping back from the canvas, turning to check it in a mirror, making adjustments to the painting, walking back through several rooms and returning to check in the mirror again. When a painting is winding down and marks are becoming few and more carefully considered, I tend to enjoy a bowl of cereal while assessing the piece."

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

A. "I wouldn’t dare to put my collectors into a box, nor, for that matter, would I to those who aren’t fond of my work."

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

A. "Creating the series Repression and Revelation, was a way for me to express undivulged emotions and to envision the future. Like someone who is sick might visualize themselves healthy and whole in order to help the healing process, I painted my internal struggle, narrated stage by stage through to resolution, as a way to simulate experiencing the process. Images formed in my mind that reflected what I was feeling or that illustrated something not realized in reality but that I envisaged. I was relieved to get these images out of my head and onto canvas, after more than a year of living with them. In a way, the process of harboring these images, pondering them, executing the creation of the images and now exhibiting them to the public mimicked the psychological progression that I narrated. I have received increasingly positive feedback from artists and non-artists alike, as everyone has a part of themselves or a secret that they keep hidden, sometimes even from themselves, and can therefore personally relate to the paintings."

Q. What is your artistic process?

A. "After I have a fairly good idea of what I wish to accomplish with a piece, I arrange time with a model for life studies and/or a photo session. Most of the time, I am already sure of the composition, so it’s simply a matter of aligning the model and lighting with the image in my head. From here I might move directly to the canvas, or (especially if I am modifying proportions) I sometimes create a detailed preliminary drawing and color study. Once I have moved to the canvas, I draw with thinned oil paint an approximation of the composition and distribution of values. On top of this I layer color with full bodied paint, avoiding the ‘filling in’ technique and conserving my brush marks, i.e. I try to only place marks, hues, and values that are correct and meaningful. Therefore, I generally do more analyzing than actual painting as I work from large forms to final details."

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

A. "There are many reasons that I paint primarily in oils. I enjoy the feeling that I am continuing a tradition, and feel connected to the history, present, and future of art by employing a medium that has been in use for centuries, is utilized by many great living artists, and will no doubt continue to be an important medium in the years to come. There are many techniques for which oil paints are optimal, especially where capturing the luminosity of human skin is concerned, and I enjoy the comparatively long open time of oil to that of acrylics."

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

A. "I do have a two year art degree, and in fact graduated summa sum laude. Originally, I planned to continue on to an art school, but because I felt I had really learned so little about the craft of painting in college, I decided to take the time to learn to paint before returning to academia. As I studied painting and learned more about the craft, I also paid closer attention to what was happening in the art schools that I was considering, and realized that they weren’t generally teaching the skills or concepts that I was after either. Therefore, I consider myself to be largely self-taught, though I had one or two mentors along the way."

Q. Where can we see more of your art?


A. "Online, you can view my work at http://www.lacey-lewis.com/ . Currently, I have an exhibit in the lobby of the H&R Block World Headquarters in downtown Kansas City, MO, am in a group show at Pi Art Gallery which is also in Kansas City, MO, and have a painting on display at the Kansas Statehouse. Check my website’s News section for additional upcoming events."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "I just finished a solo show in November at Pi Art Gallery (http://www.piartgallery.com/index.htm) and am excited about an exhibition at the Strecker-Nelson Gallery in Manhattan, KS (http://www.strecker-nelsongallery.com/) in August-September 2007. I have other smaller exhibits nearly every month; check my website for details."

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

A. "I see that realism, thankfully, is making a comeback. For a long time I felt that I would have no place in the art world because I have always been absorbed by rather traditionally rendered art, though I am attracted to both classic and contemporary subjects. Via the internet and online artist’s forums (such as Online Artist’s Guild - http://www.forumsalon.com/), I have been able to network with other artists with similar interests and have found a camaraderie with them that I often don’t experience locally."

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

A. "I have been asked not to hang some of my figurative works before. Surprisingly, these were not nudes, but simply figures that were draped and showed portions of the female back. Also, I have been asked not to bring my painting "Judith With the Head of Holofernes" to certain exhibitions because of the religious and violent aspects of the story. When these issues have arisen, I’ve simply let it pass and complied with the requests. I feel that I have the right to paint any subject that I want in any manner that I choose; that doesn’t mean that I have the right to hang it wherever I please."

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

A. "I wouldn’t say that I have ever hit rock-bottom as an artist, career-wise or creatively. Attempting to make a living as an artist is demanding, and the lack of a steady income is, at best, irritating. But for me the most difficult time was when I was learning how to paint and my abilities were hugely lacking in comparison to my vision. It was frustrating, and at times depressing. While I still always desire more than my accomplishments satisfy and regularly critique and challenge myself, I can now bring my visualizations accurately to the canvas, and am more able to do so each day. It has been an uphill battle for me."

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

A. "It is a compulsive need, and I feel that I would not be whole if I stopped creating."

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

A. "I live in Kansas City, which has a really rather avant garde art scene. The Crossroads Arts District is filled with galleries that show contemporary, non-objective paintings, sculptures, and performance acts. I look forward to the contemporary realism trend that I see flourishing on the coasts emerging here in the heartland. One of the things that I really appreciate about the area is that the city is rampant with sculptures and fountains, and corporations commonly support local artists by exhibiting and collecting their work."



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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Tammy Bond

I recently interviewed artist Tammy Bond. Tammy is interested in exploring the emotive side of our lives. Her work is full of raw emotion and ideas. In a sense, Tammy gives visual form to these aspects of the human psyche. Her work reflects the brutal truth of our interpersonal connections.

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

A. "Really only a little over a year ago, I had work hanging, and was watching people react to it. I'm really pretty introverted, (an artist, introverted? Surely not.) so being able to reach people through my art was a pretty big factor for me."

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

A. "Professionally- it changed my career path to one that hopefully ensures I have time to paint, and of course, I've made monetary sacrifices to have that lifestyle. Personally- wow, it's who I am."

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

A. "It has and it hasn't. My subject matter is certainly influenced by the world around me, but I don't bend it to fit society. If I feel there needs to be nudity, I do it. (Knowing that it limits the places I can show) Social implications- if you mean going out on a Friday night, I'd rather be in painting. Oh, IN my art- sure, I'm pretty "in your face" with subject matter, it exposes a lot of what's behind my mask. It surprises people. They say, "but you're so sweet.""

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

A. "Everyone inspires me. Human behavior fuels my work. My artistic influences grow daily: starting with Picasso as a child, to my current influences being Anselm Keiffer, Anne Leibowitz, Egon Sheile, Odilon Redon, etc. (today anyhow) I try to identify what strikes me about another artists' work and incorporate those elements in my style. I find it brings me closer to my truth."
Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Background, hmm U.S. suburbia, moved a lot, graduated from a private prep school because the public school in my area was having skinhead riots when I went to enroll. Grew up wishing I could have been a hippie, but was living in a strictly Republican household that taped Rush Limbaugh daily. I was always either a nerd or a dark mysterious rebel without a clue as a kid, started smoking at 15.... attempts at college until my 80 hour a week salaried retail job at The Gap sucked the life out of me for 13 years. Burned out, I returned to school at 29 to attempt to find a new career before that one killed me completely. That's when I began painting.

Past experiences reflected in my work? You bet. My work is very therapeutic for me; exposing buried emotions, questioning what I think, and hopefully doing the same for the viewer. I find most of my work is inspired by some form of a relationship either beginning or ending, which always prompts me to ask myself the infamous question: "Who am I?", and 'poof' another series of paintings is inspired."

Q. How long have you been a working artist?

A. "I've been doing it in school now for about 3 years."

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

A. "I would say mostly younger, progressive "free thinkers". Things like Barbie tied to a tree naked with cute forest animals looking on with curiosity don't tend to appeal with a lot of the older generations."

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

A. ""Sadness Crept Over Me" is the name of the piece. The images for this series were inspired by photography from a book entitled, "The Children of Bombay". As you can imagine, the images are quite moving, yet beautiful in the rawness of emotion and innocence portrayed."

Q. What is your artistic process?

A. "It varies. Sometimes all of the pieces of a puzzle come together all at once, and I paint them immediately. Other ideas sit in my sketchbook for a while, if not indefinitely, until the rest of it comes to me. Example: for 2 years I've known I wanted to do something with corsets, the idea resurfaced just this week and I know what I want to do-the mediums, surfaces, style-the whole mental image. Of course, I have 3 other series of paintings I've already begun, so it'll be a while. Hopefully I'll still be interested in doing it..."

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

A. "For the mood they help to represent. Example: I work on tar paper with oils and charcoal when I want a darker mood, watercolor and prisma for a more classic look, a lighter mood. I have so many mediums and surfaces I want to experiment with, but the mood for the subject's got to match it. Right now I'm waiting for inspiration to strike for a painting on an A/C filter."

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 in my senior year of my BFA. How has it helped? Surrounded me with others whose interests are similar, pushed me to work harder, dig deeper, and gave me the confidence to be as far along as I am today."

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

A. "I go to UTA, and they have a surprisingly good art department. The teachers are top notch; they really care about the students' progress. The art department is housed in a brand new annex/Mecca with its own student gallery and the largest glassblowing studio in the U.S. They've got all the goodies you could want, from large print format printers, to print presses that are top notch, color photo lab, but I find the teachers are really what makes it."

Q. Where can we see more of your art?

A. "My Space: http://www.myspace.com/thegreatspacecoaster

PictureTrail: http://www.picturetrail.com/photos/tammykbond

Website: http://www.netroar.com/t.arts/

(Under construction, but should have done by end of December as well as my ebay store)"

Q. Do you have any upcoming exhibits?

A. "Currently at Art is Art, Dallas, TX,

Upcoming exhibitions are Art Conspiracy II,
The Longhorn Ballroom, Dallas,
TX (Dec. 1),

FWCAC 9 x 12 Works on Paper Show,
Fort Worth Community Arts Center, Fort Worth, TX (Dec. 8),

The Kettle, Dallas, TX (Dec. 9),

Sub-Urban, George's Frame & Art Gallery, Dallas, TX (Dec. 15),

and an upcoming one person exhibition in early 2007 with Art Under Glass, Dallas, TX...so far anyhow, I'll try for more when I catch my energy back up."

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

A. "There is a book called, "Pop Surrealism" that sums it up, the whole retro look with very graphic elements. As in fashion, trends are dictated by the economy, the generation in positions of power and the state of the world. I foresee a very eclectic mix of arts continuing to become more popular as the next generations come of age. It seems as though the younger generations have a very broad range of interests, so the arts will reflect that."

Q. Any tips for emerging artists?

A. "Yes! Get your work out there! Just do it. Don't be intimidated by what you view the "art scene" to be or what an artist is "supposed" to do or be. Just be you to the nth degree, and remember, not everyone will like your work-that's why Baskin Robbins made 31 flavors. Each "rejection" is a learning process. Go to the galleries, see where your work will fit in and do it! Too many good artists aren't showing their work. However, I won't lie: getting your portfolio, artist packet, pics, etc. ready and keeping it up to date is not an easy feat, but well worth it in the end."

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

A. "Yes! I loved it. Had some work up in a Starbucks, and a customer said a piece "scared her" so I had to take it down. To me, that means it was a successful piece, to have evoked that much emotion. My next goal is to have a piece stolen. (Hopefully a cheaper one though)
I know that there are many places my work will not be deemed as "appropriate", so I just don't attempt to show there."

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

A. "Rock bottom? Ouch, yes-twice. The first time was the first juried show I entered. I didn't make the cut, and it took me a while to shake that off. Still wonder why, it was good work and appropriate for the show. The second time I hit rock bottom ended up resulting in major artistic growth for me. My advanced drawing teacher challenged me and challenged me and pushed and pushed. I was in tears most of that semester. When I picked myself up, I recognized what I stood for in my work and fought back, ending the semester with the best work I've ever done. The teacher told me when it was all over that I was a real artist and I was pushed because I was believed in."

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

A. "I create art because I have an overactive imagination I've got to do something with combined with an enjoyment of the sense of power it gives me."

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

A. "Not yet, I just discovered it, but it's on my to do list...."

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

A. "Dallas, TX: The art scene here is growing. Texas is last in both $ and $ per capita in taxes towards the arts, so it's really up to the artists and their supporters here. A lot of new galleries have opened in the last year here, so it is steadily growing."

Q. Has politics ever entered your art?

A. "Yes, I have a few pieces inspired by hurricane Katrina-one entitled, "George and Katrina", another, "Red, White, Blue, Blacks and Oranges". I may go back into political art at some point.... it’s just so frustrating right now, hard for me to see a clear image of it."

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

A. "You mean the culture of Suburbia? Sure, well, really it's more the lack of cultural background that interests me."

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

A. "A little story to close with: When I was a kid, I was always daydreaming. Adults would tell me to, "put my feet on the ground" and stop daydreaming. One day I listened, and I died inside. It's only been since I began painting ~3 years ago that I let myself daydream again, and got my feet back up off the ground (where they belong)."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Dolfi Stoki

Wildlife art has yet to be covered on the blog. Thus, I contacted Mr. Dolfi Stoki. Mr. Stoki is the Chief Professional Guide and Wildlife Training Officer at Palahala Camp in the Katavi National Park in Tanzania. He is also an artist.

Mr. Stoki paints scenes that depict the wildlife of Africa. He is known for his unique style in this area of artistic creation.This is due to his experience working with the very animals that he captures on canvas. Dolfi is a strong supporter of wildlife protection and has did work for the WWF wildlife auction at Christies gallery in London.

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

A. "It wasnt so much as discovering - both my parents are artists, so you just grow up with it. As far back as I can remember, I have been surrounded by brushes and paint etc. Its kind of ingrained into me, everything I look at or observe, is with a critical eye."

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

A. "It teaches you a lot about yourself, what your limits are etc. Most importantly, it teaches you to focus, to "see" and to have dedication. When I am not painting, I am taking people out on walking safaris in Africa... I always go out into the bush with a curious mind and eye, and if I can get my clients to see an animal through a different perspective then I am happy. I am always pointing out things that people miss, or getting them to focus on something - teaching them to observe I guess. To be patient, curious, dedicated and humble - slot into both professions, if I didnt paint, I think my outlook of nature on a safari would be totally different."

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

A. "My parents really. I draw a lot of ideas from both my parents, they have two distinct and unique styles. There is so much work out there online these days that you can get lost in it and lose direction. Photographically speaking, Richard Beard has really influenced me - he has a rather raw - tongue in cheek genius approach to his work that is unique and refreshing."

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 Africa - after highschool, I passed up a full scholarship in civil engineering to work in the bush. From the age of 18 I have been involved in the safari industry. Spending this amount of time with wildlife has no doubt influenced my work to a certain degree. I am surrounded by the unbridled majesty of nature, and it is this magic that I try and capture in my work."

Q. How long have you been a working artist?

A. "I was painting before I could even write my name - though safaris have been the main bread winner, I have never passed up an opportunity to paint or photograph."

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

A. "Thats a good question. I find mostly people that have experienced Africa in some way or another - they can relate to the pieces I do. They can see something in my paintings that they have experienced first hand so it becomes a little more personal for them... It rekindles memorable moments on safari."

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

A. (image above) "I was working in a National Park in Zimbabwe which has huge numbers of elephants. I was looking at unique and different ways of protraying elephants. I remember laying under a log at the edge of a popular waterhole surrounded by breeding herds, camera and sketch pad in hand! Looking out in front of me was this "forest of legs", and inbetween these massive pillars were the young elephant calves playing around in the water. You had 200 tons of beast milling about and crashing in the water, yet they always took the utmost care not to trip over their young... You cant forget moments like that - and I had to put that on canvas. The painting was tricky, elephant have the most amazing feet, the textures and wrinkles are phenominal. There were many times when I just wanted to scrap that painting, but I perservered on and finished it. I really enjoy that painting, its totally different to what people would expect of a typical elephant painting."

Q. What is your artistic process?

A. "I work mainly with oils on canvas. I spend a fair amount of time capturing wildlife on film, and any free moment I have, my sketch pad is out and I am capturing posture, locomotion etc. Armed with all of this, I will head back to the studio and sift through it and come up with an idea or theme. My canvas's are big - the smallest size would be 1 yard x 1.8 yards, typically I will work bigger then that. Nature is larger then life, to work small just doesnt do it any justice in my opinion. I will prime the canvas with a base colour, then paint the animal on using a dark midtone, then basically build the animal up using different layers of paint with hard bristled brushes. Finishing work requires fine sable haired paint brushes and translucent layers of paint and linseed oil to soften and graduate the tones."

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

A. "I work a variety of mediums, but I really enjoy the challenges of oil painting. Its not everyones cup of tea. It can be very forgiving if you pay attention to the basic rules, and it can also bite you if you are not careful."

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. "My degrees are all wildlife orientated... I remember thinking about going to art college. I opted against it however, because I was worried that it may have influenced my outlook on painting - Had I gone to art college there is no question in my mind that I would have gone a different direction in my painting. For better or for worse is a very debatable question... I honestly cant tell you that answer."

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

A. "We never had an art class at highschool, I did my GSCE's and A level art, in the first two years of highschool. Typically the GSCE should be done at the age of 16 and my A levels at the age of 18. I did both in the first two years of high school by myself. I remember the examination board telling me that I couldnt do it, that I needed a teacher etc I got a distinction in both exams. That was my art schooling!"

Q. Where can we see more of your art?

A. "At the moment I have been building up a collection over the years to have a big exhibition. I have done various illustrations etc for the publishing media, but my big stuff I am saving. I am looking at getting some international exposure next year in the USA and Europe."

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

A. "I have only started applying now to galleries. Its tough to market yourself when you live in Africa. The challenge is to get your foot in the door. I look at some of the work thats out there, and I know that I have something special, its just trying to convince people that ha ha ha. Once its in, you are on your way."

Q. What galleries have you exhibited in?

A. "I have done some work for the WWF wildlife auction at Christies gallery in London. I was pretty successful there, and am considering sending more pieces through for their next exhibitions. I have done a few successful one man shows in Southern Africa, but really, I need to get out of Africa and into the American and European market."

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

A. "It changes the whole time. In this consumer driven society today you could be king today, and pauper tomorrow. The trends chop and change too quickly. Though having said that there are general themes that will always remain more popular then others."

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

A. "I did some portrait work a few years back, and the gallery that I was exhibiting in were not too comfortable about the composition. They said that one of the paintings was to sexually suggestive. I remember the piece; it was of a woman covering her breasts. The curator of the gallery was a little worried about the expression on her face, if I can remember correctly he said "It looks as though the lady in your painting is in the throws of an extatic orgasm!"That painting was the first to be sold, and I could have sold it about 6 times over that night ha ha ha!"

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

A. "Mmm, I think you constantly working to stay afloat - you are always treading water. Very few artists can sit back and say "well I made it, so now I can rest on my laurels". Everyone has at some point in their life hit rock bottom, what defines you as a person, is whether you can pick yourself up and use those lessons to better yourself."

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

A. "Its a release, its pleasure, its challenging, its love, its about expressing yourself..."

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

A. "There are a number of talented artists in Africa. South Africa in particular have this thriving art community with some awesome stuff on the market. Its a shame that there is so little international exposure. People outside of Africa have this idea that everyone here is living in the dark ages - thats television for you! You would be amazed at some of the pieces that people are producing."

Q. Has politics ever entered your art?

A. "I played around with a few ideas - and then got a warning from a government official. In Zimbabwe, you say the wrong thing and you can disappear. People have no rights there at the moment unfortunately. I still plan to do something one day, but with the current regime, I will only set myself and my family up to be a target."

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

A. "I try and avoid bringing your typical African cliched culture bit into paintings - I have done some pieces with Khoisan bushmen, and Matabele children. In East Africa the art world is a buzz with Massai this and Massai that... It gets boring after a while when you live out here."

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

A. "I hope that I can bring some of magic I see everyday into your world. The wildlife in Africa is changing - for the better but unfortunately largely for the worse. My paintings are glimpse of Africa through my eyes..."

I hope that you have enjoyed my interview with Dolfi Stoki. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Mark Ryden

I recently interviewed artist Mark Ryden (with the help of Alix Sloan, his assistant.). Mr. Ryden was one of a handful of artists who helped spearhead a return to traditional painting techniques within the context of surrealistic imagery in the 1990s. His masterful technique, along with the content of his images, helped to give new life to this form of art.

Mr. Ryden is best known for his surrealistic images that often obtain subject matter that are loaded with images of popular culture. Mr. Ryden forces us to ask questions about our society by placing symbols of our cultural familiarity into unsettling circumstances. These works often seem like a disturbing reflection of the 1950s Golden Books. They are a fine mix of innocence and brutality.

Mr. Ryden's work captures a sense of childlike honesty. However, the 'toy land' he creates is not one of 'shoots and ladders'... it is a place that questions the behavior of adults and society in general.

Brian Sherwin: Mark, you seem to be a very busy man. Do you ever get a break from working and exhibiting?

Mark Ryden: I don't seem to ever take a vacation! I simply switch modes. I am not painting right now but I am very busy taking care of business in other ways. Life is so busy for me right now and my career is very demanding. I have so many "Non-painting" things to do. Much of this work is related to my self-publishing.

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

MR: When I was young and in high school I was inspired by Dali, Magritte, and Bosch. I suppose this is fairly typical of most artists of my age (I was born in 1963). I eventually really got into Rosenquist and the pop artists. Slowly my deepest passion emerged as I began to look at more an more classic art. I really love early Flemish art. Some of my favorite artists now are David, Ingres, Carpaccio, Balthus and Bougereau.


BS: Mark, what trends do you see in the 'art world'?

MR: A small group of elitist individuals decide what is valid and what is not. These people overly intellectualize and academicize the arts to maintain their sense of superiority. This is not a new problem.

BS: Do you have any 'studio rituals'? Little things that help you to 'get in the mood', so to speak?

MR: When painting I like to listen to music that helps me focus and relax. I like movie soundtracks like American Beauty, I like Debussy, Pink Martini, Combustible Edison, Dead Can Dance.

BS: Mark, do you have any tips for emerging artists?

MR: I believe if you follow your heart and do what you love, success will follow. If you enchant yourself, others will be too.

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

MR: I suppose I would say that it is really great to see representational art given respect again. For the last 50 years or so an artist could hardly paint anything representational with out it being looked down upon by the "Art World". In this past century, art ran a course to an extreme of minimalism and conceptualism and now things seem to be more inclusive.

BS: Mark, do you have any upcoming exhibitions?

MR:

Solo Exhibition - March 10th - April 28th, 2007
Opening Saturday, March 10, 12pm-6pm
Michael Kohn Gallery
8071 Beverly Blvd.Los Angeles, CA 90048

www.kohngallery.com

BS: Finally, where can we see more of your art?

MR: Just go to my website www.markryden.com or www.earlmcgrathgallery.com/galleryartists/ryden/

You can learn more about Mark Ryden by visiting his website-- www.markryden.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Thanks again to Alix Sloan!

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Rafael Navarro

I recently interviewed artist Rafael Navarro. Mr. Navarro works by instinct. He works with an internal dialogue that he can't ignore. His ideas dictate the medium he chooses to work with. Thus, he builds a strong relationship between the images and the materials used for their creation.

Mr. Navarro draws inspiration from his childhood memories, personal observations, and cultural heritage. He is known for altering these ideas by taking a different approach with various materials. This results in works that communicate in a poetic manner.

Rafael pays tribute to women with his art. Themes of conception and the birth of new life are common in his work. These visual themes flow like music set to the backdrop of the evolution of life.

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

Rafael Navarro: Since early age I just kept being drawn to my set of pencils and modeling clay, I remember just getting lost on my thoughts during playtime. But it wasn’t until I was an adult that I realized that art was an important part of my life. I deeply regret it not to have it realized long time ago, I never met an artist growing up so I didn’t think it was possible to be one.

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

RN: This is a very difficult question, I don’t know if art shapes you as a person or it is something that already exists in you, and art just brings all your human qualities afloat, it makes you more aware of your surroundings. All your senses absorb information, the stimuli of the environment and triggers something in you.

BS: Rafael, how has society influenced your art? Are there any social implications in your art?

RN: My work deals more with the cycle of life. For now I keep to myself my social views, perhaps in the future I would explore more the crazy society we live.

BS: What are your artistic influences? Has anyone inspired you?

RN: Sure, we all at some point we have been inspired by other artists, the first artist that left an impression on me was Rene Magritte, when I was a kid in Mexico City, I saw a documentary on TV about his life. Other artists that have left an impression on me are Picasso and Henry Moore between others.

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

RN: I was born and raised in Mexico City, I am the oldest of five kids, we all had artistic inclinations but only one of my brothers and I pursued it, my brother works as a graphic designer in Mexico City. Yes, sometimes you can see the influence of my Mexican heritage, specifically the symbolisms of the cycle of life that keeps appearing on my work. But I would like to think of art as universal.

BS: How long have you been a working artist?

RN: I started making art more seriously around 1993, when I started entering my work in juried group shows, thanks to the encouragement of some friends.

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

RN: People with an open mind that tends to move away of the ordinary, they tend to be interested in finding out not only about my art but also they seem to be interested to know me as a person.

BS: Rafael, can you tell us about your artistic process?

RN: My ideas come from things I see or hear, my mind creates an image that evolves with time until it is ready to become more tangible. I admire artists that are able to keep a sketchbook, I would keep trying but it hasn’t work for me. I keep my ideas in my head, there is where my ideas get polished or get scraped.

BS: Rafael, why did you choose the medium(s) that you use?

RN: The idea dictates the medium. Sometimes I experiment with the same idea using different materials, colors and textures, I try to make it visually exciting. I work on wood, ceramic, metal, fabric and found objects. I would like to experiment some day with cast glass and also with stone, these are mediums I never have worked before.

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

RN: I don’t have an art degree, I am sort of a "self-taught artist", I have taken few art classes, I have worked with other artists and experimented on my own, my knowledge comes from the sum of all these experiences combined. I can agree that you don’t need an art degree to become an artist, but art education can give you more confidence and guidance, it can give you the tools to express yourself, that’s what I personally got from the few classes I have taken, I also enjoy being around other creative minds. Maybe someday I will be back to the classrooms.

BS: Where can we see more of your art?

RN: You can visit my website, and if you are near to where I am showing, I usually have information of my art exhibitions in my web page. www.navarroartes.com,
www.myspace.com/rafaelart

BS: Rafael, are you represented by a gallery? Do you have any upcoming exhibits?
RN: I have some friends that show my pieces sometimes at their gallery in Cave Creek, AZ, but for now I like to be independent. Right now I am showing at The Herberger Theater Center art gallery here in Downtown Phoenix and it will be running until January 1st, 2007. Also I am having a group show on the First Friday of December of 2006 at Tilt Gallery in Downtown Phoenix. For more information visit my website at www.navarroartes.com.

BS: Do you have any advice for other artists?

RN: Never stop learning, expose yourself to all kinds of cultural events, and experiment with new techniques.

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

RN: Not really, I have had people that right away decide that are not interested or make a quick judgment about my work, and that is OK, you cannot make everybody happy. I think it’s more damaging when we censor ourselves.

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

RN: Being an artist hasn’t been easy, it has being difficult to make a living from it, I have tried to stay away of the art I as much as I can, and because my stubbornness of staying true to myself I have suffered and I have starved. Many in this career move away to do other things that brings income to their families, which I think is a very understandable and necessary thing to do, but at the same time it is very sad. This society still doesn’t value its artists as much as it should. I also have moved away from art and I keep coming back to it, I always come back.

BS: In one sentence... why do you create art?

RN: Art is a very important part of my life, it keeps me centered and motivated.

BS: Finally, what can you tell our readers about the art scene in your area?

RN: The art scene in Phoenix, Arizona is still growing, and I am happy to see that. It has been moving away from the southwest art, created mainly for tourists to a something more diverse. We have art events called First Fridays every month and Art Detour which is one weekend a year in Downtown Phoenix, they started with only few art spaces and now there are about a bit more of a hundred art galleries and art studios showing art for all tastes. Certainly has revitalized this area once abandoned. My only fear is that, along have came the developers, and the prices of real state have been rising up, so my biggest fear is that many artist are not going to afford to have a studio here and we are going to have to move somewhere else.

Take a look to another interview and to what is happening in the Phoenix art scene:

http://phoenixartspace.com/viewarticle.php?ID=26

http://www.artlinkphoenix.com/ "

You can learn more about Rafael Navarro by visiting his website-- www.navarroartes.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Rafael is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Peter Klint

I recently interviewed artist Peter Klint. Mr. Klint creates art from his studio located in Germany. Mr. Klint is widely renowned for his figurative paintings and his 'onelinedrawings' (He has had performances of said drawings in several German cities.). Mr. Klint has been an active member of the internatial artist movement 'Stuckism' since 2002.

When I viewed Mr. Klint's work I noted the fact that there is a lot of rich artistic history behind his work. One can observe a heavy influnce of modern German art in Peter's work. There are traces of Max Beckmann and others just beyond the surface.

Mr. Klint has an authentic voice of his own. A voice that speaks for the actions of everyday people. Themes of sex, our daily lives, and our emotive fears are all conveyed within the context of Mr. Klint's body of work.

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

A. "I discovered pretty early that any other work than creating art would mean a waste of time to me. But to stay alive I had to do a huge list of McJobs."

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

A. "Being an artist saves me from those jobs that would shape me personally - I was a free, open minded and creative guy at 18 when I started painting, and I needed to stay like this instead of getting my wings cut."

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

A. "As I'm a member of this society, my works act as a mirror of it - but that happens subconsciously.

The fact that I live in a society where I am able to work without restrictions is essential for me and for my art."

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

A. "The works of the Polish painter Stanislaw Ignacy Witkiewicz had a huge influence on the portraits I did in 2001. I also like Ernst Ludwig Kirchner, Max Beckmann and Christian Schad - but of course being inspired doesn't mean copying anyone or anything."

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

A. "Of course, my paintings would look completely different, if I would have lived a different life - but the way that I work tells more about me than the objects shown."

Q. How long have you been a working artist?

A. "In 2001 I finally was able to quit the jobbing and to concentrate on art."

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

A. "Besides collecting art, they don't have anything in common."

Q. What is your artistic process?

A. "It depends - sometimes I know what will come out in the end, sometimes not.

Some of my paintings are inspired by photos, but if so I always change the perspective, the composition, the colours and the situation - there's nothing more boring than seeing a painting that obviously is simply copied from a photo."

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

A. "Because they fit best with the works I currently create: for my recent paintings I prefer acrylics because I paint in many layers and waiting for oils to dry would destroy the painting process. For the onelinedrawings I use eddings."

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

A. "I don't have a degree because I was too individualistic to bear with art teachers - I quit art school after two semesters."

Q. Where can we see more of your art?

A. "All my works since the mid 90s are archived on my website http://www.portraitfirma.de/."

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

A. "I'm not represented by a gallery because I don't like the current gallery system with its "let the artists bleed" fees and commission rates. So I prefer arranging my own exhibitions at community centers, art cafés,...

My next shows will take place in Berlin and Munich in 2007 - further information can be found on my website."

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

A. "I'm not interested in following any trends or fashions - I simply have to create art in my very own way."

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

A. "Actually some of my paintings have been deleted on my myspace account http://www.myspace.com/klintkunst - I'm glad that such hypocritical censorship wouldn't be possible here in Europe."

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

A. "Artists tend to be pretty sensitive - so hitting rock-bottom happens to us quite often."

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

A. "Cause it's a necessity to do so."

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

A. "Yes, I uploaded some works there."

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

A. "The "art scene" here on the island of Sylt (located in northern Germany by the Danish border), produces pure unaldurated kitsch that is sold to tourists. I prefer showing my works in Hamburg and other cities."

Q. Has politics ever entered your art?

A. "By participating in the stuckists "War on Bush" show in New Haven in 2003, my art entered politics - but politics never entered my art."

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

A. "'Lack of something' sounds so negative - I'm happy not to be part of a religious group or sect, because it's all about being part of 'the chosen few' and knowing some 'absolute truth' - and of course about the fear of finiteness and dead.

I prefer being honest with myself and that's an important criterion of my artistic work, too."

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

A. "I hope that the energy I put into my works inspires many people. And I'd be happy if more of those inspired people would dare to get in touch with me to talk about their experiences with my paintings."

I hope that you have enjoyed my interview with Peter Klint. Feel free to critique or discuss his work. You can find more of Peter's art by doing a search for klintkunst on the main site: http://myartspace.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Thomas Ostenberg

I recently interviewed artist Thomas Ostenberg. Mr. Ostenberg is a sculptor who works primarily in bronze. He is known for his fluid and intuitive work. His sculptures reflect his search for emotional and spiritual equilibrium. Discovery, balance, movement, security and harmony are recurring themes in his work.

When observing his work the viewer is allowed to build his or her own narrative surrounding the meaning of the piece. Mr. Ostenberg works in a manner that permits onlookers to ponder their own personal experience and imagination upon viewing his art. He creates an atmosphere that allows his audience to self-reflect upon their own lives while sharing a glimpse of his inner realm.

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

You can buy Thomas's art here:

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

http://www.agallery.co.uk/gallery.php?cat=1577

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

A. "I decided to try to become an artist at the age of 40. I had been captivated by art since my 20s, visiting galleries and museums as often as possible. After becoming disillusioned with a career in finance, I felt compelled to pursue a career as an artist although I had no experience of any kind in making art."

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

A. "Professionally it has freed me from a corporate structure which has given me a great sense of freedom and self-reliance. It has also made my life more edgy. I can no longer count on a steady income stream. Furthermore, when things are financially tight, I cannot make more money by working overtime. To the contrary, as a creator of bronze sculpture, the more I work and produce, the greater are my costs of production. With energy and bronze prices increasing dramatically, this is no little consideration. This can be frustrating in times of a slow art market as I am willing (love to) work long hours. At those times, there is nothing to be done except believe strongly in oneself and expect to make enough to survive.

Personally, making art has filled my life with a true sense of well being and love of my profession. While I am rarely fully satisfied with what I create, I know that it is my creation - and I constantly have the opportunity to improve, learn and grow in my understanding of myself and my art."

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

A. "The stimulus/motivation that moves me to use the imagery I employ (whether it comes across to the viewer...who knows?) is a repulsion of consumerism and money based status as well as an aversion to imposed values by groups that feel they have a lock on "THE TRUTH".

I am expressing a search for a moral/spiritual sense of equilibrium that seems right for me. I am personally trying to achieve an inner sense of peace and balance in a precarious and materialistic society.

I also feel a great deal of joy and freedom in the creative process and in my belief that one cannot buy (or generally even see) the most important things in life."

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

A. "Honesty, sincerity and a simple search for self understanding move me. Isamu Noguchi, Mattisse and the early Etruscans are strong influences. I admire their simplicity and sincerity.

Spanish artists, especially Velazquez and Goya, but right up to contemporary artists are very appealing to me as are some surrealists. Sculpture of all sorts can make me think."

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

A. "See my bio at www.thomasostenberg.com. Much of my work is autobiographical to some degree. I grew up around animals on a ranch. I have evolved from an economically secure but spiritually challenged individual to one who is at least searching for a true moral compass but is economically not so secure. As such, I feel securely in balance, with a strong sense of positive motion, although the world around me seems at time chaotic and even surreal."

Q. How long have you been a working artist?

A. "About 12 years. I was supporting myself through sales of my work while still a student at the Royal College of Art in London."

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

A. "I have been fortunate to sell to very serious collectors that include a number of major museum trustees and directors. I think that what appeals to them is the seriousness with which I create and execute the work, yet there is an upbeat playfulness and sometimes quirkiness to the imagery I present."

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

A. "I Feel Fine (image above.) As stated above, this is semi-autobiographical. Here you find a horse perched atop a set of wheels that could run out from under it at any time, especially since it is on the brink of a slope. Yet atop this precarious structure is a human figure serenely balanced on one hand doing a handstand on the horse's back.

While this guy might be insecure in his physical surroundings, not knowing where the next paycheck is coming from or how he'll pay the rent, he knows that in his mind and in the essence of his being, he is in a state of balance and harmony with life. He knows and trusts that with this understanding he will be able to face and conquer uncertainties and his material needs will be provided for."

Q. On average, how many hours do you spend working in your studio? Do you have any 'studio rituals'?

A. "I try to spend 10 hours a day in the studio. I'd like to spend more. I listen to NPR and classical music generally. I also listen to Brazilian music & Rock n Roll."

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 4 degrees. One in languages, an MBA, and 2 art degrees a US BFA and an MA from the UK.

All of my degrees have been helpful. Languages have helped in my travels, enabling me to be more than a tourist. This has had a major impact on who I am and thus what I have to say.

The MBA is invaluable in attending to the least interesting but essential side of being an artist: The Business of Art.

The BFA was essential in learning and developing artistic skills, although I had to fight to get the most out of the program. The tendency to treat students as artists rather than students who need to learn was frustrating. That professors would encourage students to create what they "FEEL" rather than teach basic skills was a hurdle that needed to be jumped over. At music school no professor tells a student not to bother with practicing their scales but just sit at a piano and feel and express the music that is inside.

Still, I was able to get a decent grounding in basic skills of drawing, painting, wood & metal work and the entire bronze casting process. I am particularly grateful for learning and understanding what it means to see.

The MA was like a half way house, where I put together my first body of work but was surrounded by an ART COCOON with many people committed to "ART." (An added bonus was the seriousness with which the graduates of the program were taken by the gallery owners, collectors and critics in the UK. One could get one's portfolio reviewed simply by having the degree and university initials after one's name.) Once one is out in the REAL WORLD it is amazing how hard it is to meet friends who give a damn about art.

Before attending the MA program I was told by a gallery owner to forget the graduate art degree route, take the $40,000 or so that the degree would cost, rent a studio and work a minimum of 8 hours a day making work. I think that may have been good advice."

Q. Where can we see more of your art?

A. "1) visit www.thomasostenberg.com
2) Google Thomas Ostenberg
3) visit the websites of the galleries listed on my website.
4) Visit the Palm Beach Art Fair in January.

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

A. "Trends are trendy and often not enduring. I suspect that many of today's hottest artists will be little more than footnotes in the future and only that because of all the money that museums and the art establishment have thrown at dubious art.

What to look for in any form of artistic expression with the hope of it being long lasting is a frank honesty of expression (which does not mean clever or ironic but a DEEP sincerity). This means that the artist is being true to himself and is NOT interested in trends nor in what the public wants"

Q. Any tips for emerging artists?

A. "1) create a 'voice' that is your own. Have something to say that means something TO YOU and is not just cool or fashionable. Even war which is such an important issue can become a cliché unless you are deeply obsessed. The greatest anti-war paintings such as Picasso's Guernica or Goya's 3 de Mayo, were basically one off's. Sure Goya did his etchings but neither dedicated their artistic careers to one theme. Tom Otterness does goofy figures, but he does them well and his "voice" is unmistakable.

2) execute your art with skill and pride. Love your own work and make others marvel at your execution as well as your content. Bad craftsmanship may seem hip to some but it is really just sloppy and will eventually be called for what it is.

3) be confident in your work if you really love it. If you are not confident and do not think your art is the best thing going, why would anyone else?

4) learn to self promote. Build mailing lists of collectors, galleries of interest, museums etc. Have professional quality photos taken of your best work. Have postcards made of your best work using your professional photos. Every 3 - 6 months send a different postcard to your mailing list (after a year or two you should begin to be recognized by your work)

5) Have a good website so those who receive your cards can view more work, learn more about you and hopefully contact you. THIS IS JUST A FIRST APPROACH BUT CAN BE EFFECTIVE.

6) Do not set your prices too low."

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

A. "2000 - 2002 when the art market died. I could not sell enough work to survive at a time when I got married and had 2 new sons. I am a hard worker but unlike a regular job could not work overtime. The more I worked the greater my expenses as I make bronze sculpture. I was asked to have over 6 solo shows during this period and had to beg and borrow to make the work and then, although successful when compared to other gallery shows, I did not even cover my costs. Since then the work has been moving well. 'Have you ever hit rock-bottom?' YES."

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

A. "I cannot not make art."

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

A. "Santa Fe, New Mexico, USA They say it is the second or third or fourth art market in the USA, depending on who is talking. It has been a wonderful eclectic tourist destination with more art galleries per capita than any other city (certainly in the USA and maybe the world). There is a Native American Indian culture, a Spanish culture with roots directly to the conquistadors of Spain and there are cowboys and a rodeo...but there is also a world class opera, chamber and chorale music, the Aspen/Santa Fe Ballet and all this in a high plains desert nestled against the Rocky Mountains with all the sports that implies, as well as the world's largest hot air balloon festival a few miles down the road.

There are many artists of all kinds. Visual artists doing anything that is being done anywhere else in the world as well as musicians and authors of myriad themes and styles. Georgia O'Keefe and D H Lawrence both lived here as does Terry Allen, Bruce Naumann and Susan Rothenberg.

Site Santa Fe is one of the worlds great forums for "cutting edge" contemporary art. They have a widely visited Biennial program. There is also a fledgling art fair and as mentioned above, hundreds of galleries, some of which are world class in their different areas. "

Q. Has politics ever entered your art?

A. "I have a large piece called "The Politician" and am working on a second version. It is not meant to be flattering."

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

A. "Faith and the lack thereof as well as my own internal searching motivate me to make my sculpture, BUT they are not meant to be themes or messages I want to transmit. The result however tends to have a rather upbeat impact on the work and this is generally well received by even the most contemporary of critics."



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

Take care, Stay true,

Brian Sherwin

Hype versus Talent: Which is more Important for Success in the Art World?

In the last two decades we have observed a lot of controversy in the 'art world'. There seems to be a general view that some of the biggest names in the 'art world' will choose work that 'forces an opinion' over work that is done in a more traditional manner (That is not to say that traditional art can't be shocking.). Thus, I ask this question: Do you think hype over a work of art is more important than the talent that went into creating it? Do artists need to ride the 'shock train' in order to find success in the 'art world'?

The question is a difficult one to answer if you take art history into account. I know that many of the artists I enjoy were considered 'shocking' in the past. However, the fact remains that many collectors, dealers, and artists have openly complained that 'real' art is being overlooked for work that is considered 'shocking' today. Do you think works like 'Piss Christ' will be seen for their artistic merit in the future? Will a fresh generation view these works in a different light? Tell me what you think... feel free to post links to art that you feel is 'shocking'.