Art Space Talk: Salvador Flores

I recently interviewed artist Salvador Flores. Mr. Flores is a Mexican architect who studied art with Leiton, one of the most influential artists in the North Mexico.

His style is inspired by geometric abstraction, Surrealism, and Minimalism. Kandinsky, Hans Arp, Paul Klee, and Latin American Surrealists have all impacted Salvador's art.

As a lover of the Surrealists, Flores images are like a journey through the intangible world. The artists' motivations come from the unknown, or rather from the imperceptible: the relation of heaven and earth; good and evil; spirit and soul.

As far as Salvador's style is concerned, the artist described his own technique as 'controlled experimentation' which involves the search for balance between colour and texture.

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

A. "I began to paint miniature drawings when I was 7 years old. A carpenter who was my neighbor framed my works in a postcard size, and my mother sold all of them. At that moment, I realized that I wanted to do it for the rest of my life."

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

A. "I have found that all of us have experienced good and bad times in life, and my work is a reflection of that. "Cicatrices" was my first professional artwork, and its title means a lot. It is a Spanish word that means "scars"; however, its verb "cicatrizar" means "to heal". This simple word involves this interaction between being hurt and being healed. Although I express the pain through my art, I desire to offer a hope to the human being."


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

A. "It depends on the medium and the theme. I have created paintings in four hours. In contrast, I have been working for six months on a piece that I have not finished yet."


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 art is instinctive. I simply feel the moment when it is the time to do it. Then I take my brushes and start my work. Also, listening to music is very helpful. Some of my paintings are inspired by music. There are rhythms that produce dynamic strokes, while soft songs suggest quiet landscapes."


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

A. "They would be creative people. My art is always welcomed by artists such musicians, painters, architects, graphic designers, and writers."


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 have a degree in architecture in Mexico. As an architect, many of my symbols are constructed by lines, squares and other geometric shapes that many times evoke buildings. Therefore, I have called my style Geometric Abstraction. On the other hand, the technique that I have learned in art classes has made my art more suggestive and rich."


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

A. "I follow the rule of opposites. I experiment with mediums of adverse nature, such cold-warm, light-shadow, etc. I believe that each work demands its own technique, and they are unique."

Q. Where can we see more of your art?

A. "You can go to www.londonart.co.uk or email me ian_2in@yahoo.com"

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

A. "To teach."

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

A. "I consider that Latin American art is in a good moment, and the world is recognizing the talent of our artists. Mexico was a center of art and culture for centuries. Furthermore, there are Mexican artists who are innovating and producing magnificent works. Artists like Felguérez are developing new ways to create art. It is our opportunity to show our artwork to the world, and be considered a talented nation."

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

A. "My artwork is predominantly in colors blue and red-violet for their spiritual meaning. "City on a Hill" was created for a friend of mine, and it is an abstraction of a bible teaching. The yellow sky means the light that cannot be hidden, and the violet gives that spiritual sense. The geometric shapes are buildings representing the city, and they are floating simulating the elevation of the hill. It was a personal interpretation of a lesson that I learned during my younger years."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Heidi Taillefer

I recently interviewed artist Heidi Taillefer. Heidi's work has been featured in numerous publications (She was featured in Juxtapoz Magazine). She is known for the 'mechanical' overtones that can be observed in her work.

Heidi's body of work offers great insight into how technology can cause us to sacrifice our humanity. In a sense, she paints a landscape full of characters and creatures that are in constant conflict with their natural state of being and the technological advances that intrude upon their environment.

Her recent work contains a degree of mystery and enchantment. These elements combine in a form of symbolic fusion- a visual documentation of Heidi's spiritual wandering and cultural experiences.

Heidi is best known for having designed the internationally recognized image of "Dralion" for the Cirque du Soleil. She has exhibited her paintings throughout North America, and her work is collected internationally.

Brian Sherwin: Heidi, a major theme in your work is how we dehumanize ourselves through the use of technology. Why do you take such a strong stance on this topic? We live in a society that relies on computers, cell phones, and other forms of communication technology... are you concerned that we are loosing 'true' communication due to this? Is that reflected in your work?

Heidi Taillefer: My stance on technology reflects concerns with the detrimental effects of technology on society and the environment. Technology as a whole is not bad, civilisation was built on innovative advancements, and of course it helps improve the quality of our lives. But technological development is outpacing human evolution on many levels.

First and foremost is technology's impact on the environment, which is unquestionalby an issue these days. We also have certain features which are particular to our animal, namely our social requirements. These are being largely supplanted by technology and that can lead to a greater sense of isolation and depression. In past surveys taken across cultures, it appeared that the more developed nations suffered mostly from depression, whereas the simpler or more "primitive" cultures seemed to rank happiest of all. (The tribespeople of New Guinea are apparently among the happiest communities).

It is true that communication is facilitated by technology , but communities shrink as well, and our primal being was designed for a more social integration, not connection through the intermediary of machines.

The cost of convenience is sterility, and it is important to sustain a healthy balance between the two. On the physical level, technology brings tremendous gains, but there is also the scare of Frankenstinian applications of technology, the development of which could very well go beyond human wisdom and understanding.

BS: Heidi, your work is known for its 'mechanical' overtones and symbolic fusion of elements. What directed you toward this style of work?

HT: I originally rendered everything as mechanical during my adolescence, it was an obcession with mechanism, and it had an edgy appeal, but was one of lifes jolts which shifted the work into a symbolic direction.

BS: Heidi, can you give us more details about your artistic vision and how it has expanded through the years? Where do you see your work taking you in the future?

HT: My artistic vision, apart from its independent origin, is shaped by an openess to what I see or hear around me. Its hard to see what you're doing without the benefit of hindsight, so until time allows you to distance yourself from your work, you can't see as clearly what "mistakes" you're making in art. Unless that perspective is challenged in a constructive way, which you have to allow, its easy to stay the course.

Personally, I often get bored with my own work, and find it hard to continue happily when I feel it is getting too formulaic, so I struggle for some sort of evolution within the confines of my artistic voice.

The greatest satisfaction for me is that moment of revelation when you happen upon a novel idea, when you hit a target you couldn't see in the first place, and which doesn't technically even exist to begin with. Thats the reward of creativity, the Eureka moment.

BS: People have said that you are best known for having designed the internationally recognized image of "Dralion" (image above) for the Cirque du Soleil. Care to share any experiences you had creating that piece?

HT: The production of that illustration was one of the most challenging and exciting projects I have ever worked on. The Cirque du Soleil pushes you to your limits by placing seemingly impossible demands and deadlines on you, while being among the most gracious and pleasant people to work with.

The submission drawing which had been accepted and then rendered in color was, upon presentation to the executive body of the Cirque (Guy Laliberte) summarily rejected as being utterly irrelevant to the show. Since I had been directed by three art directors, this came as a shock, and it was asked that I be left alone to interpret the show my way, without any interference from the agency or even the Cirque art director.

I had total freedom on an advertising piece, not something you see very often. Guy Laliberte supervised the progress from time to time, and basically directed the project directly, which was the best strategy in the end. But I also had that much less time to finish the image before the press junket, so I worked 20 hours a day for 8 days straight. Since then I have been regularity involved with the Cirque in some way.

BS: Heidi, in your youth you had private art lessons. It seems that a lot of children and teens are held back from their creativity due to school programs that do not take art that seriously. What advice can you give to parents or educators who wish to strengthen art programs in their schools? Do you consider yourself to be an advocate for art education?

HT: Art is of fundamental importance in the development of a mind, it exercises faculties which are applicable in so many areas other than art. Creativity and innovaton are what separated us from the other animals in the first place, and it has been the key to our survival, from the most minute situation to the most global. I think to eliminate art programs in school does a huge disservice to kids, who need to exercise lateral modes of thinking , especially during such a crucial stage of development.

Maybe one solution to either time or budget constraints would be to incorporate creativity into programs which follow a more linear approach. If there were some way to underline the creative activity which takes place in sports, or science, or whatever program, by challenging kids to find solutions, then maybe the absence of actual art programs can be reconciled in some way.

BS: Heidi, you have been featured in Juxtapoz Magazine. Many artists consider that to be a major accomplishment. How did you feel about it? Care to share any details of that experience?

HT: I was thrilled to finally have a piece done on my work in the magazine. They have so much they can cover, from so many talented artists, that it can take a very long time before your turn comes up. I had waited a couple of years actually, and in the end the timing of the article coincided perfectly with an exhibition which was being held in California at the time. Someone at Touchstone Studios then saw the article, and requested that one of the images he saw be included in an upcoming episode of "Dirt".

BS: Heidi, did you ever expect your work to be so successful?

HT: As self-inflated as this sounds, I did expect to be successful in what I'm doing, but mostly because I can be stubborn and hard-headed, or determined if it is to be put a better way.

I had a true belief in becoming successful in art, although I am so much more critical of my work now, that I have no idea how it got anywhere in the first place. It goes to show the importance of youthful naivete and impetuousness – I had been given "motherly advice" by a gallery owner upon starting out, not to become an artist, and even my own father who had made me believe I could do anyting tried to advise me against it when I decided it was the path I wanted to take.

I have a collage painting I did made up of so many rejection letters I received over the years, with larger block-letters cut out in the style of an extortion letter, demanding $10,000 or the painting would get it.

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

HT: After a bad working experience as a waitress in the Yukon. From then on I decided I wanted to work for myself, and I slowly realised art (initially illustration) was the thing which would allow me to do this.

BS: Heidi, on average, how long does it take you to create a piece?

HT: Anywhere from a few days for a five by seven inch piece, to one or two months for a five by seven foot piece.

BS: What was your most important exhibition? Care to share that experience?

HT: My most important exhibition experience...that's hard to say because each one (solo show that is) has had some major impact somehow, either through the attendance of important people, or sales, or visibility.

In 2004 there was a huge blowout event for an exhibition of my work, which garnered enough sales as to seemingly prompt the gallery to change the diretion of what they were showing. It appeared that edgier art was a viable sell in the market they cater to, so they have gone in the direction of the lowbrow genre, with L Autre Gallerie.

In 2005 I had a show of experiemental work at the world headquarters of the Cirque du Soleil, where I was later invited to give a private tour of the somewhat large and complex exhibition to Bono and a few of his band members.

BS: Heidi, 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?

HT: I listen to anything that fits my mindset for the moment, from talk radio to movie soundtracks, or a very ecclectic array of musical genres. I am almost always in the mood for working, but there are so many other things I'd like to do as well, that at times it becomes a struggle to focus on just painting.

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

HT: I began with watercolor as a child, then by the age of 20 I clumsily moved to acrylics. It was later on suggested to me that I try oil painting, which I began by the age of 27. They are all so different, and it was very funny to see the initial struggle to transition from each one.

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

HT: I am represented by Thompson Landry gallery in Toronto, and Yves Laroche (L Autre Gallery) in Montreal. My next show is scheduled for May 2006 at Thompson Landry in Toronto.

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

HT: The toughest point was probably around 2001, when things appeared to be going askew, but in retrospect were just realigning themselves. Everything seemed to go wrong, I'd move to a new studio space and discover I had to leave 6 months after settling in, then money would be tight and things would break down, illulstration clients would either default on payments or it was a nightmare chasing after money owed. All the while I'd hear from someone I had done work for from time to time, and for a couple of years he kept asking what I was doing with my art. I said I was busy doing illustration, and he kept reminding me that time flies, and that I was neglecting something very important by not focusing on it 100%.

I decided to move away from illustration, in part because of all the mysterious problems I was having logistically, and it was the best thing I could have done. Everything happens for a reason -including breaking my painting arm way out in the northwest corner of India.

BS: In one sentence... why do you create art?

HT: To understand myself and life.

BS: Heidi, does religion, faith, or the lack thereof play a part in your art?

HT: I'd say that as of today, there is a philosophical or spiritual role in my art for sure. I used to be a staunch atheist, back when I did the more mechanical images, but as my perspective changed so did the work, as well as my circumstances funnily enough.

I admit to having always been interested in the mysteries of the occult, but I'd say if you decide to acknowledge that there is some weird element which weaves itself through the fabric of life, and trust that it's intentions are good, and be observant of what is around you, and take heed of the helpful things and messages given to you through either the advice of a friend or some random tidbit, and be patient, then I'd say one could find evidence of something bigger than what appears on the surface.

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

HT: My art is a meditation, a confrontation, and an exorcism all in one, a method by which I come to understand myself, everything and everyone around me. I am deeply concerned with growth, evolution, and the purpose and impact of our existence. I think harmony is the new rebellion, although I do throw myself into situations which challenge me past the point of reasonable equilibrium at times. I think this is how I confront deeper and darker issues, which force me to tease out and resolve fundamental questions, through painting.

You can learn more about Heidi Taillefer by visiting her website-- www.heiditaillefer.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Heidi 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: Angela Guess

I recently interviewed artist Angela Guess. Angela's work explores the human condition, from the exhilarating heights of anticipation, to acknowledging the vulnerability of the universal fear of having a weakness called frailty.

Through the use of oils, Angela captures the betrayal and ecstasy of emotion that we sometimes become tongue tied in discussing in oral form. In a sense, her work is about communication beyond the spoken word.

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

A. "When I was in the 4th grade, my teacher was assigning everyone a task to do in the classroom. When it was my turn, I attempted to say 'art', but I couldn't say my R's, so she asked the class what I was saying. No one could figure it out."

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

A. "I believe that society is born in the family. How could it be otherwise? Even an orphan struggles to define their identity; whether or not society has been good to them. In every step I take, whether painting or just breathing, society has huge implications on my every attitude. I am constantly attempting to define, decipher any implications or confusions I run across. It is usually gratifying but sometimes just mystifying."


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

A. "Sometimes, I can enter the world immediately, like the wardrobe closet in Narnia, and other times, it's like pulling from dark sanctums that haven't seen light in 30 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. "Absolutely, but I feel like I'm being adulturous if I give it away."


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

A. "Someone who is not afraid to take chances, someone who knows what they are looking for, and are willing to discover what they might find; whatever that may be."


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

A. ""Inferno" (image above) I used to live in San Diego a few years before the devastating fires. I lived across the street from where I found the charred remains of structures, plants and I collected the ash and incorporated them into my paintings. Not all of them, just two. But, it was a profound effect, I had many beautiful, soul wrenching memories in those charred remains."

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 graduated from U.C.S.D. in literature/writing; but my first major was visual arts. I changed for personal reasons, but I always had an art class on my roster; I knew that was where I belonged."


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

A. " I chose oil because it is the most fluent. I have a problem in oral fluency myself, so I express myself in oil. I find it to be the most vibrant, spectacular way to get everything out. If someone wants to know what's going on inside of me, it is through my work."

Q.Where can we see more of your art?

A. "My website http://www.angelaguess.com/ "


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

A. "I have exhibited in Slow Art in NYC, and World Contemporary Art in Hollywood, CA."

Q. Can you further discuss the philosophy behind your work?

A. "I create art because it is what I was meant to do. I pick up the world around me, around the cosmos and I create art in order to express what I have deciphered. Sometimes I get lucky and I just know what I am supposed to be doing, and other times I struggle with negativity and confusion. I am one of the lucky ones who get to hear, who get to spar with the spirits. If you look at my website, you will see more eloquently how I work."


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

A. "My art is consumed with the spiritual world. I have a keen sense of the spiritual world around us, but it is not religious."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Dennis Flynn

I recently interviewed artist Dennis Flynn. Due to his schedule the interview was brief. Mr. Flynn has taught art in various colleges including Minneapolis College of Art and Design, University of Texas at Arlington and the University of Idaho. He has been an art educator and advocate for decades.

Mr. Flynn has exhibited widely in the United States and abroad including Ljubljana and Colombia. He was invited to represent the United States in the Florence, Italy, Biennial of Contemporary Art. Museum collections include San Francisco Museum of Modern Art, Art Institute of Chicago and Minneapolis Art Institute.

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

A. "I have always been an artist. My first teacher was my grand-father who taught me to draw horses in crayon side by side with him on the floor in a "ledger-book style. He was part Indian, a cowboy who drove horses across Minnesota when he was younger from North Dakota to Wisconsin."

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

A. "Society influences my art in that I am aware of ongoing history and in a way can comment on that."

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

A. "I normally paint on a canvas for about one month."

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

A. "Acrylic on canvas seems the most reasonable media for my art.

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

A. "Religion doesn't except that I have been interested in Buddhism as a philosophy for a long time."

I hope that you have enjoyed my interview with Dennis Flynn. Feel free to discuss his work. I'd like to personally thank Mr. Flynn for taking time out of his busy schedule to answer a few questions.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Shona Macdonald

I recently interview artist Shona Macdonald. Shona has exhibited widely and has been featured in Art in America, ARTnews, and New American Paintings. Her work uses the visual language of drawing and painting to expand on the semiotic similarities between maps and fractals. This allows her work to address issues of place, location, memory and land.

Shona is an assistant professor of art at the University of Massachusetts at Amherst, where she teaches Drawing, Painting, and advises undergraduate and graduate students.

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

A. "I can't remember a time as an adult that it wasn't. I guess that means it's always been important."

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

A. "Art is a way of sifting through what society dishes out at you, good and bad, I think of it the other way around, art helps me think about how to navigate society."

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

A. Months... sometimes more of this time is spent on research and trying out thing, etc, than actually making it. So much of what artists do is hidden."

Q. Can you share some of your philosophy about art and artistic creation?

A. "I don't think its romantic, I think its a lot of hard day-to-day work. The deeper-wrought philosophical meanings are in the work and I don't like to spell them out."

Q. Has your art ever been published?

A. "Yes. Art in American, ARTnews, Harpers, New American Paintings."

Q. What was your most important exhibition? Care to share that experience?

A. "Solo drawing survery show in 2005 at the Chicago Cultural Center. It was so good to see six years of work together in one space."

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. " Guilt helps me get in the mood for working. No real rituals, except I just got an I-pod which is proving very useful as I don't have to keep stopping to wash my hands in order to chage a cd. I just set it on shuffle."
Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. " I don't know, I've only met one couple in Northern California, and I can't judge everyone by them!"

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

A. " ISLES #4, a drawing, I was thinking about travel, memory, and place."

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. "Yes, I have two degrees. A BFA from Glasgow School of Art in Scotland and an MFA from UIC in Chicago. They helped in pragmatic ways providing: studio space, a community of students, etc. They were polar opposites from each other. Glasgow was traditional, figurative, UIC was conceptual, minimalist."

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

A. "I seem to have an affinity for them that I don't seem to have for anything else I've tried."

Q.Where can we see more of your art?

A. "Den Contemporary Art, La, CA Skestos Gabriele Gallery, Chicago. http://www.shonamacdonald.com/"

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Yes. I have an upcoming solo show at Den Contemporary in October 2007."

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

A. "So many by now. They're all listed on my resume at my website."

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

A. "I don't know, I don't think about trends. I can barely make it through the Sunday NY Times, let alone art magazines!I find as an artist, I look at my life and my teaching and my location and think about those things. I'm a mother too, so I simply don't have the time to think about trends right now. I used to, and all it did was upset me because I always felt 'un-trendy'!

Q. Any tips for emerging artists?

A. "Get a studio as soon as you leave art school. Spend a lot of time in there developing a new body of work outside of academia, I mean really on your own. Then talk to other artists, form groups with other artists so you can visit each others studios, etc. Have an apartment show, don't wait around for galleries to come to you. If the work gets made and is good, you'll then have the confidence to approach a gallery, if that's what you want."

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

A. "The whole of grad school was terrible for me, couldn't get the work together. Its actually been remarkable steady and healthy since then."

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

A. "I love doing it and wouldn't know what else to do with my brain and hands if I dind't."

Q. Has politics ever entered your art?

A. "Not party politics.

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

A. "Not directly, I don't rule anything out though. I'm interested in the sublime, for example which is a kind of faith.

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

A. "Not really. Thanks for the interview

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Ken Fandell

I recently interviewed artist Ken Fandell. Mr. Fandell resides in Chicago where he is an instructor at the Chicago Art Institute. He is well-known for his photography, installation, and video work. Ken often raises questions about frustration, art history, hobbies, high and low culture, perfection, failure, ambition, and alienation with his work.

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

A. "Maybe freshman year in college, during philosophy class. But I crises after that where I decided it wouldn't."

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

A. "Many, definelty not all, but many come directly out of social interactions and interpretations of communication with people. It's more of a act locally version of social implications.."

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

A. "Some pieces have taken 5 years ("The Planets" video cycle) and some have take 5 minutes from shooting to finishing ("This is Sort of Happening all the Time") "

Q. Can you share some of your philosophy about art and artistic creation?

A. "Art should be akin to conversation. It should come off in a way similar to how someone communicates throughout their lives."

Q. What was your most important exhibition? Care to share that experience?

A. "My first solo show in San Francisco. Just good vibes all around and I was really happy with the pieces."

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 need to do every other thing imaginable for like a day before I can actually get to work in the studio. Read, download music, clean my space, go running, shop for groceries, write emails, look at porn, do email interviews, etc... before I actually get to work. Then I like to work for like a week straight."

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

A. "I don't know enough of them. They are usually interested in conceptual practice, but also have a strong aesthetic sensibility. They're also often large law firms or banks."

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

A. "A recent piece is a photograph of a woman that's displayed twice - one version is flipped or backwards. Her expression is impenetrable and it reminded me about the impossibility for us to truly know or understand things in general, but especially through images. I think this is sort of scary, a little sad, but also exciting and powerful."

Q. Where did you obtain your college degree?

A. "I have a BFA from the School of the Art Institute of Chicago and an MFA from the University of Illinois at Chicago."

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

A. "Each piece I make I think hard about what medium it should be in. The main question usually is should it be a sculpture or photograph/video (I think of them as the same). Usually it comes down to am I talking about the thing itself, its presence and your physical relation to it or am I talking about how things are represented and what issues that representation brings up."

Q.Where can we see more of your art?

A. "My website ( http://www.kenfandell.com ). Also there will be a large piece of mine at the MCA in Chicago this spring."

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

A. "Howard House in Seattle, Bodybuilder and Sportsman in Chicago, Traywick Contemporary in Berkeley, Suite 106 in NY, Donald Young in Chicago, Bronwyn Keenan in NY,... You can find links for each fairly easily through google. Some are linked to on my website."

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

A. "The art world is so pluralistic and inclusive at this point trends are sort of irrelevant."

Q. Any tips for emerging artists?

A. "Make up your own way of doing things, don't ever let up making your work and don't ever let up trying to get it out there."

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

A. "When I lived in LA, hadn't had show in over a year, hated my day job, couldn't get a teaching job, and felt like all my friends a) hated me, b) were very successful themselves, and c) hated me even more because I wasn't succesuful."

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

A. "To see things that aren't already out there and to communicate complex feelings and thoughts about thing I have but am not confident in verbalizing."

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

A. "Chicago. It's a supportive small art scene that looks outside of itself a lot."

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

A. "I love the art world. Especially when my work seems to be fitting in or at least part of the conversation. I hate the art world. Especilly when my work seems not to be fitting in or be part of the conversation."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Ginger Pennington

I recently interviewed emerging artist Ginger Pennington. Ginger embraces a spiritualist philosophy with her work. In her view, she shares the energy of her soul with others via drawings, paintings, and other mediums. Thus, her works can contain both the positive and negative aspects of her life.

These two forces center in her work to reveal a form of balance. I observe an aspect of daoism within the context of her art. In a sense, she acknowledges the beautiful and the ugly with amazing ease.

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

A. "I knew art would be the most important part of my adult life by the age of 17. In high school I found drawing to be cathartic for dealing with new emotions and confusion as my mother survived a serious brain tumor. Before that time I always thought I’d become a musician, as I sang since age five and played the piano since I was nine. Weighing the options, I knew I should stick to the Visual Arts as career because I never minded practicing; it was difficult to make myself practice the piano as one should."

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

A. "Society always impacts whatever I create, even when there seems not to be anything representational in a piece. My messages now have a much more global reference than what I created in my late teens. Still, the constant theme revolves around beauty in the world or the lack thereof. Other themes that also recur come from issues related to health, 9-11, and crimes. Issues I’ve worked through and expressed in the past include the following: aging, loss, terrorism, death, the body, illness, loneliness, anger, escapism, peace, contentment, nature, re-birth, enlightenment, neuroses, grieving, materialism, success, failure, distraction, freedom, hope, and inspirational souls."

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

A. "Usually I begin to create a themed set of Three to Six paintings in two days. With the foundations started, it then takes about two or three months to have each finished to my satisfaction."

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 get so excited to have a day of creation that it’s almost like planning a great party and then going to it. I must clean my entire apartment and studio first. I then lay out all of the materials that I will need for the day’s adventure. All of the anticipation is heightened after I change into my painting clothes, get the perfect sets of music lined up, drink a lot of coffee, and turn my phone off. Sometimes I’ll have my photographs or sketches lined up for visual references. Other times I just need to get out raw emotions and let the colors, shapes, and energy unfold naturally. I leave the window open in my studio when I work.

The best music for my process usually has few words and spans from jazz, ambient, trance, progressive house, or drum n’ bass. My theory is that music with words makes one nostalgic and can affect the thought process or subject matter. The genres I prefer produce a mind frame of direct subconscious energy and non-stop concentration for the right-brain mode of thinking to remain strong."

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. "My first degree is an AAS in Advertising Design from the Fashion Institute of Technology (FIT) in NYC and I am a Presidential Scholar Alumni. I planned on staying there for my BFA until 9-11 made me re-evaluate my life and its purpose. I wanted to show kids how art can help them understand and deal with life so I transferred to Virginia Commonwealth University (VCU) in Richmond , VA to earn my BFA in Art Education with University Honors.

FIT is a great school for understanding and mastering lifelong business and networking skills within the art world. It provides a healthy dose of the tough reality of the art world for a strong background to keep pushing and survive. VCU is one of the best Fine Arts Schools in the United States . It has the space and amenities to allow students to explore every possible genre of art one could think of. Also, their Arts Education department was so thorough and supportive as we trained to become teachers. I was completely prepared to handle the demands of teaching in public schools."

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

A. "Most of my artwork is mixed media with a base of acrylic. I’ve never been interested in the traditional oil painting process because I am too impatient. Acrylic is best because I love working in layers and I also want to keep a steady pace all day long.

Once I get the compositions and colors laid out, I then choose whatever other crazy materials to add to the scene. I’ve used things like toys, glitter, sand, plastic, ink, marbles, wrappers, metal shavings, glue, and wire … and now you are dangerous because you know all of my secrets."

Q. Where can we see more of your art?

A. "My website: http://www.gingerpennington.com/

My Flickr Photographs: http://www.flickr.com/photos/gingerpennington/

My Website of older works: http://margotgin-ivil.tripod.com/"

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

A. "Most of my artwork is at the Artemis Gallery in Richmond , Virginia .

I’m working on my newest collection that will be featured in NYC; I am still looking for the right place for this. In the next year I will have some work at the National Arts Club in NYC."

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

A. "I have exhibited in several places. The links are on my website at the Resume page."

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

A. "The biggest trend I have noticed is an art scene that has so many boundaries and limitations while claiming to have "none". There is a disturbing viewpoint that praises the obscene and devalues real talent. All of this is subjective really, so I don’t know how to begin explaining my broad summary. I think the best and most meaningful explanation comes surprisingly from an analysis of the recent film adaptation of Charles Dickens’ novel Great Expectations by Shari Hodges Holt, PhD titled "Dickens from a Postmodern Perspective: Alfonso Cuaron’s ‘Great Expectations’ for Generation X":

…her gallery’s latest exhibit, which consists of rows of tall boxes, each with a hole in the center through which protrudes an enormous pregnant belly. Stopping by one of the boxes, she whacks the side, shouting, "Bellies out!" The resulting movement and groans from within the boxes reveal that the pregnant bellies are in fact real women trapped in an artistic simulation exhibited for the gallery patrons’ consumption…the dehumanization of the human subject at the dawning of commodity culture, the pregnant bellies, fragmentary simulations of life, suggest the fate of the subject in a postmodern culture in which identity is fragmented, commodified, and consumed in media images. The exhibit thus parodies Finn’s own birth as a simulated subject in the hyper-real Manhattan art scene, foreshadowing how his very life, transmuted into the art by which he has constructed his identity, will be denigrated into a commodity."

Q. Any tips for emerging artists?

A. ""Convey the passion of doing something you believe in-if it comes from you it will be new. Keep it coming from YOU!" - Joan Williams, owner of The Hall Tree in Richmond , VA and a wise, inspirational friend.

Also, don’t buy into the glamorized "starving artist" or "don’t sell out" theories. None of this is reality and there is no such thing as selling out. Having shelter, food, and a healthy life certainly is not unimportant. There is nothing wrong with growing up and being a responsible adult with a job to support your life. You can’t rely on someone else to do that for you."

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

A. "I always sensed that there is some thing, some message that I am supposed to spread; I have to get out the beautiful and the ugly things I see around me because they need to be paid more attention."

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

A. "The art scene in NYC is huge and I honestly don’t know enough about it at my age and length of living here to begin to know all about it. I do know, however, that a lot of young artists seem to have internalized this insane persona or idea of what "real artists" are. I do not like the "woe is me/my life stinks" attitude and have a hard time relating to kids my age. Therefore, I prefer to go to museum functions or the National Arts Club. Possibilities in NYC are inspiring and endless and that’s why I moved back here last summer."

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

A. "God and my faith in him is always a part of my life- I see it in the sky, in nature, and in people. We are all given these little things everyday as a reminder to keep hope, faith, and excitement for the blessing to be alive. I think God gives us gifts so that we can share them with others and so they know that someone else does understand, that our feelings are normal and healthy, and that we will survive and be stronger as a result.

Art and faith helped me work out hard periods such as illness, 9-11, death, surgery, and opposition. We are all in this world living this crazy life for some reason, so we should all do our best to help each other get through it. God blesses us with life and gifts so we can use them for each other."

Q. Do you have an account on myartspace.com? If so, what is it?

A. "I can be found on myartspace.com’s Global Directory and I am working on my gallery account. In the meantime, you can see all of my newest events and artwork at www.gingerpennington.com!"

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Mitchell Poor

I recently interviewed artist Mitchell Poor. Mr. Poor interested in exploring the subconscious with his paintings. In a sense, Mitchell offers himself by revealing the primitive (often symbolic) forms that come from deep within his mind. His work reminds me of traditional African masks that have been forced into a contemporary setting- a clash of time and cultures. The here is now and the past is never far behind.

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 life at an early age. I was a highly imaginative child drawing all the time. Later, while in school I experienced dyslexia and this made school challenging but it opened up a whole world that was poetic and flexible. Later in high school I found a book on the Surrealist’s in the library. I couldn’t believe what those guys were painting; it was opening doors for me in my own mind."

Q. What did you study in college? How did it influence your future work?

A. "While in college I studied Commercial Illustration, however my heart was not really into it. I thought maybe teaching art would be a direction I could count on, but it was just being an Artist that I wanted. Even if I had to divide my life into two lives, while working to do my art work, I would."

Q. Can you share some of your philosophy about art and artistic creation?

A. "Creating Art has forced me to face the subconscious and explore it by investigating moods, experiencing altered states, practicing methods of learning with self-hypnosis and applying memory of myself, as an experience into my work. I feel mortality is a driving motive in my work as an artist. Mood becomes colors and the altered states become masks. I relate what I know into the unknown and see what happens."

Q. How has the 'daily grind' influenced your artistic practice?

A. "Through day jobs I have been taught how to act and care professionally for customers and the work that I do."

Q. Have any artists from the past influenced you?

A. "I like Edvard Munch because he is not perfect. He put life into waves. I read the book, The Story of Edvard Munch by Ketil Bjornstad , I put down several times because I identified strongly with Munch for some reason. Maybe we had similar fears and passions.

I also like Romare Bearden because he used everyday (available) material in his work. Pretty much all the Surrealist’s have made an impression on me."

Q. Care to go into more detail about your artistic process?

A. "I paint what’s happening while I’m doing it…as it unfolds in the now. It has been an experiment for me, direct experience. If my painting were a type of music it would be jazz with steady beats, ticking strings, wild horns and gesturing pianos.

While painting and doing collage, I avoid committing myself to perfect manners and specific planning. I rip and repair my own work as a reflection of anarchy and control. I would never wear any of the colors I paint with, but I love bright colors and primitive forms."

Q.Where can we see more of your art?

A. "http://primitivesurrealism.com/"

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Jason Daniels

I recently interviewed artist Jason Daniels. Mr. Daniels is known for his works on paper and his puppet animation films. The world he has created is one of strange beings in everyday (often amusingly disturbing) settings. Something as simple as a figure taking a drag off a cigarette or a woman walking her dog transports the viewer to the gritty world that Mr. Daniels has created. His work seems to have a strange likeness to the work of Francis Bacon and there is an obvious Chet Zar influence.


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

A. "It was about 4 years ago. I mean I had always had an interest in art and I had been drawing and making things since I was a kid, but it wasn’t until I was about 23 that I really accepted it as a genuine possibility.

The art world had always seemed so inaccessible and alien to me; then in 2003 I won the regional award for undergraduate animator of the year for the Royal Television Society, and it challenged a lot of my assumptions and beliefs about my work and the art world. It was a very strange experience; I only entered it because my tutor (at the time I was on a foundation art course) wouldn’t stop bugging me about filling out the forms, the possibility that I would win it was impossible for me to consider.

I think after that I realised that I knew nothing about my work or the art world, I had just been obsessively creating things with no consideration as to why or what I should be doing with my work, a lot of my stuff was just getting thrown away when I moved house or to make room for me to create more.

For some reason that was the time I realised that I had to treat my work with respect and that being an artist was the thing for me."

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

A. "I am deeply dissatisfied with society; I would say that has quite an influence on my work. I guess that I have tried to construct a reality within my work that is separate to the one in which we exist, whilst at the same time reflecting certain aspects of it. I try to draw from my personal experiences which are obviously influenced by society, but I don’t think I actively try to address it."

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

A." Probably about 3 days from pencil sketch to finished piece. If it’s an animation I am working on it takes a lot longer, for instance, the new project I am working on I am expecting to take about 6 months. There is so much involved in the production of a puppet animation, it is such a complex art-form and everything needs to be made from scratch for each film."

Q. Has your art ever been published?

A. "I have done illustrations for a few magazines and a few interviews. My most recent one was with The Swallow’s Tail (www.theswallowstail.tk), I also produced the cover art for that issue.

I have just completed work on a book cover for two guys called Jason Earls and Jason Rogers (www.amazon.com/gp/richpub/listmania/fullview/RNZO12TY9P7Z1/103-7109502-8616652?%5Fencoding=UTF8), and I think that is being published this month, well worth checking out. There are a few other things with my work kicking around.

Self publishing is something I am very interested in, one of my goals for 2007 is to write and illustrate a graphic novel, and currently I am putting together a scrap book of work that doesn’t have homes and I intend to publish that myself by the end of January."

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 do listen to music whilst I work, there’s particular albums that remind me of a state of mind which I try to express within my work, I am not sure I would call it a ritual though. Recently I have found it difficult to work to music, so I stick a DVD on, just to provide some background noise.

The only ritual that springs to mind is if I am having trouble getting anything to come out, you know when you are just sat staring at the paper or canvas of whatever and there is just nothing in your head, well if I find myself in that situation I try a different creative outlet, music, writing etc. I find that if one thing isn’t working one of the others probably is, and if I still can’t get anything to flow then I take it as a sign to go and spend some time in the real world."

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 do have a degree in animation, I graduated last year. I never intended to attend university, the "education" system that is in place is not something that I agree with, it seems to be more about control then growth. However going to university did provide me with three years in which to try and sort my life out, something I desperately needed back then, but as far as encouragement and inspiration goes, I do not think that art school is the place to get it.

The art department itself seemed very constricted by the experiences of the individuals running it and the success of previous students, the possibility of a student having a different idea of what constitutes art, or animation for that matter, or that an individual intends to construct a life around art different to the one that the tutor or lecturer has experienced or witnessed at some point in their career seemed to offend them greatly. I am certain that a lot of potential is crushed at art school due to the constrictions of the system and what is perceived to be of value to the art industry.

Having said that, my experience of university was very worthwhile, it certainly helped me to develop the confidence to take my work seriously, to understand the validity of my output. Like I said it also gave me the time I needed to sort out my life a bit more, all in all I think it was a very valuable three years."

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

A. "The spontaneity that pencils provide is something I value greatly; I love to get things done as quickly as possible. If I leave work half completed with the intention of coming back to it, it just doesn’t feel right when I return. I consider art to be a physical manifestation of energy, a kind of documentation of being alive, not just existing but actually being a productive, thinking entity, and trying to return to a previous state is sort of impossible.

Richness of image is also something I consider, different textures, lines, etc. It’s easy to overload an image, to over saturate it with different things, I think the key is finding a balance in the composition and with the mediums used."

Q. Where can we see more of your art?

A. "My website would be the best place: http://www.jasedaniels.com/. I have several gallery pages, and I try and add new work as often as I can, some of my animated films are on there also."

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Currently I am not represented by a gallery, I am looking into things and hopefully I can make something happen this year. I am open to offers."

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

A. "Control, manipulation and exploitation. That’s probably not what you meant though. I think that digital video art is really taking off, the tools to produce it are so accessible now, I think that some really interesting things could come from it. It is something I am playing around with at the moment, I am intending to put out a DVD of my own experimental videos later this year."

Q. Any tips for emerging artists?

A." Don’t be afraid to make your own path. There is no set way to do things, either within the production of art or how you promote your work. Everything is valid."

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

A. "Not as far as I know. Art should never be censored in my opinion, I imagine I would react very strongly if any of my work ever is."

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

A. "The term career is not one I like to use. Life is life, you only get one and you should spend it doing what feels right for you. As far as hitting rock-bottom, there is always more down, hitting the bottom is impossible. I have been troubled with mental health issues since my teens, and I feel I have been down far enough, emotionally, financially etc to understand that the search for "rock-bottom" is fruitless, and there is nothing to be gained from it. Unless you consider the journey back up to be of value, but I think there are better ways to achieve similar results, and the ascent is by no means guaranteed, the further down you go, the harder everything is. Rock-bottom is not a place I ever want to be near again."

Q. Has politics ever entered your art?

A."I consider the fact that my art exists to be a political statement. Other than that I try to avoid politics, it is not a state of mind I feel comfortable with, and it interferes with creativity."

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

A. "There is definitely a spiritual aspect to my work, but I don’t think this has anything to do with religion. I consider spirituality to be a very important aspect of life, an aspect that is often ignored, refused or neglected.

For instance, when I stumble across a piece of art that I really like, it tickles a certain part of my brain, I can feel it exciting something within me, providing me with some sort of confirmation almost, and its not just art that can do this. I definitely feel there is a part of us, as a species, that needs feeding in this way, I kind of hope my work provides sustenance for some people."


Q. Do you have an account on myartspace.com? If so, what is it?

A. "I actually had no idea myartspace.com existed until I was asked to do this interview. However, now that I do know I definitely intend to make an account. The internet is such a valuable tool when it comes to promoting work, it’s really cool that sites like myartspace.com exist, providing opportunities for creative individuals."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: Ray DiCecco

I recently interviewed artist Ray DiCecco. Mr. DiCecco is known for combining paint with photography. He is on of the most diverse painters on the contemporary scene.

Throughout his productive career he has experimented with practically ever painting medium and has perfected his technique with alarming results. His series 'Madonna with Child' and 'New Madonnas' are considered (by some) to be his most controversial work. However, Mr. DiCecco is no stranger to controversy (observe his site).

Mr. DiCecco's 'New Madonnas' series shows the mother and child relationship in a contemporary light. These images contain and transcend the religious/spiritual aspects of this classical theme's historical origins in order to reveal the unspoken, darker, psycho-emotional concerns of the mother and child; i.e., not all heavenly happiness, but expressions from the gamut of human emotion that, when communicated, form the foundation for all human relations.

These paintings and photographs reveal the fears, tears, and hard core reality of human beings entering the world- the blood and sweat, the angst of the modern mother. They are not about God or some form of spiritual awakening... they are about the conflicts of our lives.

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

A. "I don’t remember it as a first discovery. I don’t think this kind of thing is conscious, or has anything to do with making a personal decision, or recognizing something internal. You don’t wake up one day and think, Wow, art is important to me. You might say I’m hedging here or stating the obvious. What I do remember though is standing in front of the big picture window of the art supply store in my hometown when I was just ten or eleven years old and being totally fascinated by the boxed sets of paints and brushes that I saw there. There really was no material or logical reason why I should have been so intrigued by these displays. Even though at the time I may not have been able to put it in words, I can now say that I recognized these objects as having some significance to me. It’s still rather indescribable. What I mean is, I remember feeling that these things were mysterious, beautiful, and I believe they gave me a sense of purpose if only for the simple reason that I wanted and needed to put my hands on them. But there was this thick piece of glass between us."


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

A. "There are social implications in the more recent work – the madonnas. They are sociology at the most rudimentary level: the relationship between a mother and her child. What happens there sets one’s life in motion which defines oneself and ultimately affects the direction our world spins. I don’t deny the genes, but I’m big on the issue of nurturing. Let’s go back into the womb. A reciprocating relationship begins there certainly. We don’t always think about it that way. But this is no one-way street. I believe the child can have as much influence on the mother. They are symbionts to each other from conception. Even the most basic human act of breast feeding can epitomize this. The woman provides for her child and simultaneously the child provides for the mother. There can be no giving without the taking. We feed off each other. From there I don’t think it’s such a big leap to think about how this kicks off the diametrical mechanisms that are so well ingrained in all of us: creation/destruction, innocence/guilt, love/hate, etc. The madonnas are about these issues and processes."

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

A. "That’s one of my least favorite questions. I don’t wear a watch. It depends on so many things. Like how well my brain is working on any particular day; how courageous I feel about going out on the limb and risking it all. The more confident I am, the quicker the process. If I’m flowing...a few days. If I’m obsessing...a couple weeks. A lot more of my time is spent on the internal psychological debate, compared to actually touching the brush to the canvas."


Q. What was your most important exhibition? Care to share that experience?

A. "The Existential Romance, held at the Open Space Gallery. It was the solo show that put me on the map. The theme behind the show:
No two people are compatible. Compatibility is a fundamental human project. Romance is the struggle within that project. We choose the struggle in our project toward compatibility, and through that choice we recognize our freedom."

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 usually turn the music off for concentration. I’m too easily influenced by my environment, so the less stimuli, the better.
I get up at 5:30 A.M. to paint. There’s a lot less clutter in my head in the earlier hours of the day so I find it a much more productive time.

I can focus on the task at hand, like, what the fuck am i going to do next with this painting!"


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

A. "Crazy, smartish people who also know the meaning of investing in art rather than mutual funds and stocks which don’t always make a lot of money for you, if not lose it all for you. People invest in me because they believe in me, not someone like T. Rowe Price.

You have a few thousand you want to invest... don’t you Brian?"


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

A. "I try to think as little as possible. I’ve found that the more intellect I bring to a painting the less interesting the results."

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. "Your jogging my memory. I have a BFA. Did it help? Well, I think a couple things stuck with me like why you gotta be nuts to be a sculptor. Where do those people find the space to work anyway, not to mention storage? I have enough trouble finding the room to work on a four foot flat canvas. Now I have so many paintings I’m sleeping on top of them.

The art department that I attended taught me how to juggle a lot of different things simultaneously, like partying, picking up babes, and throwing pots on the wheel -- all at the same time! I got pretty good at it. Though I don’t like clay art anymore. It breaks to easily."

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

A. I guess I’ll have to confess now. Thanks. Actually, I began my art training as a sculptor but for the above reasons chose to opt out of that craziness rather quickly. So glad that i did (and so are my investors). I’d probably have worse than just a bad back now for having to lift and transport pieces made of steel all over the place.

One day I woke up and realized, Hey, I’m in love with paint! How do you choose to love someone? Who the hell can answer that? Call me. The Existential Romance could barely approach that one."

Q.Where can we see more of your art?

A. "http://diceccopaintings.com/"

There are nine galleries that you can choose from. They represent what I’ve been doing since I moved to the city. Go to gallery #7 if you want to see the more recent stuff – the Madonnas."

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

A. "Yes I’m happy to say: KFMK gallery represents me (look ‘em up -- KFMKGalleries.com -- 515A, West 29th St. NYC). And they’ve done a damn good job thus far. Go Cenci and Julio!!!
Yeah, I have a show coming up this fall, 2007. The gallery does not know it yet. So if they read this, they’ll probably do one of two things: throw my ass out the door, or give me a show!"

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

A. "There were a few others, but their doors are closed now. They either ran out of money or my work helped censor them out of existence."

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

A. "You’re kidding right? Do you have a couple hours? There are so many trends going on now it would take another page just to list half of them. It’s a free-for-all. Don’t get me started. Most of the time I walk around Chelsea seeing other artists’ shows and thinking, What the hell are you doing!? OK, so that seems a little arrogant. But let me also qualify that by admitting that there are quite a few hugely talented people out there too."

Q. Any tips for emerging artists?

A. "Yes. Don’t go there. Substitute a B for the F (and I’m not talking subways). Get your MBA instead of your MFA. There are too many of us out there already. Tens of thousands in NYC alone! The reason probably for so many trends. But 90% of them are just spinning their wheels. It’s easy too think you’re an artist. Being one is a whole different story. Do you really have something significant to contribute? If not, get off at the next station. Don’t waste your time and everyone else’s.

I can hear them all screaming at me now.... YOU’RE A REAL FRIEKING JERK!

All right, if you insist on being an artist, my advice is -- get your act together, stop screwing around, and show the world who you REALLY are. That means being honest with yourself. No easy task. Matter of fact, it’s a life long pursuit."

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

A. "No. They even let me get away with the pornographic stuff in the "Existential Romance" show. Then they let me do my sex acts on the cross in "The Stations" show (gallery #9 on my site).

I couldn’t believe it! People walked in to see those shows, turned around in disgust and walked out. But the art police never came. Should I be thankful?"

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

A. "That’s pretty personal, but I’ll tell ya – When an old girlfriend of mine tried to sabotage one of my solo shows. She was unsuccessful, so she ran off instead and screwed a bunch of my friends. I hit the rocks pretty fuckin hard that time."

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

A. "Because I have this insane obsession to make images to communicate, because I ain’t that good with words, because I never got the word gene, because I guess my parents didn’t have it, because we’re all a bunch of crazy italians, who don’t never know how to talk, so we had to create the renaissance instead. (…he says, tongue in cheek.) Oops, was that two sentences?"

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

A. "I’m in Queens, and I think there’s an art scene here, but I just haven’t found it yet. But that’s probably because I don’t get out much. Hey, I’m painting!"

Q. Has politics ever entered your art?

A. "What’s politics?"

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

A. "Some people think I’m religious because lately I’ve been delving into classic religious themes. But look at the work. I don’t think you’ll find God there. You will find human conflict. Maybe I can say I have this weird kind of faith in humankind."

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

A. "Ok you asked for it... if I could say it, I wouldn’t have to paint it.
Besides I don’t want to overstay my welcome.
Thanks for the opportunity, Brian."

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

Take care, Stay true,

Brian Sherwin

Art Space Talk: M Hunter Hoffman

I recently interviewed artist M Hunter Hoffman. Her paintings are very expressive in nature and often reflect her memories and experiences.

Margie was born in Belfast, Ireland. She observed the political and social struggles in Northern Ireland. This experience reminded her about the bombing in Belfast and her subsequent evacuation to the small town of Glenarm during the second world war. Her series, The Children of War (which I greatly admire), is a visual documentation of those nightmares and reflections.

Hunter Hoffman's work is not always focused on the atrocities of war. She also creates wonderful images of nature, everyday people, and abstract paintings that are full of life and hope. They serve as a reminder of what war can take from us within the context of her Children of War series.


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

A. "Oh yes, there are social implications in everything I do. All my experiences, everywhere I have lived, everywhere I have traveled becomes important in my work. I am very aware of politics in Canada what is going on in the world and am a totally committed artist who observes and files as much as possible to I pull out when I need it."

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

A. "It might only take a moment... like the night when on the edge of sleep when I saw a room full of red birds trapped, with a shaft of light coming through the dark. Rushing down to my studio I made a quick impression and next morning started to research (I had never painted birds before) and compose. Or I might research for weeks, months and then start work. I often work on several paintings/drawings at the same time, especially when working on a series or for a specific exhibition. And sometimes a work is not complete until it is sold and leaves my studio."

Q. Has your art ever been published?

A. "Yes, I am awaiting the publication of a new book "100 Famous Contemporary Artists" in which I am featured. It is published by Petru Russo, Sweden and will be marketed though Amazon and other large outlets. I have also had work in Parkhurst Exchange Publications, Canada and essays about my work in many catalogues in Canada , Seoul, Korea, Florence and Rome, Italy and Rochester, New York .USA."

Q. What was your most important exhibition? Care to share that experience?

A. "While all exhibitions are important, two immediately come to mind. One at the Art Gallery of Hamilton which is the seventh largest public gallery in Canada. I had three large works exhibited in one of their galleries, one on each wall and on the fourth wall were two Robert Houles. Robert Houle is one of Canada’s top artists and has work in the National Gallery, Ottawa. Yes, I felt good about that.

And two, I did a series of three exhibitions over a five year period tracing the Legend of Brigit, the most famous of Irish goddesses. The research went back to 3200BC until 1993AD and I portrayed her at 8 points in her history. I went to Ireland, my homeland in 2005 and went to the megalithic tomb of Newgrange to visit the source of the legend and then to visit the Brigitine Sisters in Kildare, Ireland where they had opened a house in her name in 1993AD. The exhibition of these large charcoal and acrylic drawings, 72" x 48" were particularly satisfying."


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. "Sit, think, put on music, pace, sit, think, set out paint or materials and sit. Music is a must and is mostly classical but choices include a wide range according to mood. I might listen to a classical radio station or put on Rachmaninoff, Pink Floyd, Shaggy, or Chris Barber Jazz and sometimes, usually at midnight....Last Night At The Proms, a British tradition at the end of the Albert Hall Classical season and I sing at the top of my voice such renditions as Land Of Hope And Glory. Oh! The emotion of it all! My husband, at work somewhere in the house will smile and know I am happy at my easel."

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

A. "Professional, educated, sophisticated and other artists. Collectors who fall in love with my work and own several."

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 had already been painting and drawing for 20 years when I returned to art college. I had a successful 15 year civil service career in the government as a programme and policy analyst in women’s programmes. There I did important and highly responsible work. I entered college the month after leaving the civil service. On my first day there when I stood in front of a large canvas with a model in the centre of the vaulted studio with that glorious smell of oil paint and Vivaldi playing quietly, I thought I had died and gone to heaven. College gave me the discipline to focus and paint and draw daily. After being expelled from the same college in Florence, Italy where I was completing my fourth year studying the renaissance, I was forced into becoming a professional. I did, however graduate with honours! What I did not learn at school was the process of critical thought and I had to learn that from other sources. The study of fine art is never complete. I have studied in Ireland, England, France and Canada. The challenge of visual art for me is that it is like life itself, the learning is over when life is over."

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

A. "I am currently, until January 24th 2007, exhibiting at The Etobicoke Civic Centre Art Gallery, a public gallery in Toronto. I have 10 large works there showing a process working from representational to abstract. Abstract allows me to go straight to colour, movement and form and that excites me no end. I have had an urge to abstract for some time and think I have found a way to make it meaningful for me using the human form as a source. In addition I have been working with a group of female musicians who sing, drum and chant and they have been coming to my studio over the past 16 months to rehearse and as they sang and danced I painted. It is very exciting to respond to the moving image and I am happy with the result.

I also am having an exhibit at my studio gallery May 2007. For that location see my email address."

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

A. "I have been working for 14 years with three female artists under the "Once Around The Sun" art collective title. We met in college and together we applied for an Ontario Arts Council Project Grant last summer. These grants give recognition to artists in the form of small awards to help pay expenses to mount an exhibition. To get one is a big deal. We received a previous grant of a couple of thousand dollars and are proud to be have been supported by the Arts Council. But when we received our rejection letter this year we noted that in Ontario with a population of 10m that only 11 groups were given project grants and of those 9 were projects working with video. What message is the government giving to fine art?

Visual art that is painting and drawing refuses to go away. For decades, almost a century now ‘they’ have been pronouncing that "painting is dead." It is the old struggle between original thought, intellect and emotion, politics and money.

So, no, I cannot identify trends but what I think is that a highly technical electronic global village the soul needs colour, texture and the human touch of painting and drawing. You must look to the universities and dealers for trends and to the artists for the truth.

I am always experimenting, looking for new ways to be looser, to get purer colour and to engage and hold the viewer and as an artist I will continue to communicate with my vocabulary of mark making."

Q. Any tips for emerging artists?

A. "Do it because you love it almost more than anything else. It takes a long time to learn your skills both intellectually and technically and the rewards are not great. Work individually and with a group, the group‘thing’ is difficult but four or six heads are better than one and the rejections are easier when shared. Try different mediums and materals. I use canvas, papers, aluminum, acetate, newspaper, transfers, just do it . We (a group I work with) hire curators and teachers to help us organize and put together difficult ideas. Go ahead and experiment.

But boy, the wonder when I hit that split moment in a painting or drawing when I know that it is working and I have created an energy between me and the canvas, that’s a high."

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

A. "Yes a couple of times. At first I felt rejection and then I thought "Wow! I have reached them and that’s good""


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

A. "Yes. I had to give up studying for 17 years to go back to college and do social work so that I could support my three children. But when I did my time I was able to go back to college
AGAIN and focus on my real love, fine art and I have not looked back."

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

A. "I paint because I must."

Q. What can you tell our readers about the art scene in your area?
A. "Tough! It is my understanding that there are about 17,000 artists across Canada and I think that they are all in Toronto. Nevertheless I do well. "

Q. Has politics ever entered your art?

A. "All is political and cultural. As in the renaissance or any other time in history artists are influenced by all that is happening around them at home, in the community and in the greater world. I have made many paintings with political comments and will continue to do so. And that is another story."

I hope that you have enjoyed my interview with M Hunter Hoffman. Feel free to critique or discuss her work. For contact information check out her site at: http://www.mhunterhoffman.ca/

Take care, Stay true,

Brian S