Art Space Talk: Kathie Olivas

Kathie Olivas is a multi-media artist who resides in Tampa, FL. Her work has been featured in numerous solo and group exhibitions across the nation. Inspired by early American portraiture that often depicted children as small adults in an idealized new land, the characters parallel this vision within their own sense of post-apocalyptic conformity, uniquely documenting their own stories in a mysterious brave new world.

The Candyman - Oil on canvas - 16 x 20"

Brian Sherwin: Kathie, your series, 'Misery Children' has raised more than a few brows. These images focus on the constant social desire to assign "cuteness". However, your cute 'children' are also dangerous. Thus, these images are a psychological play on what we, as a society, expect- with a twist. Why did you decide to challenge social stereotypes in this manner?

Kathie Olivas: All of the characters are dichotomies of both good and evil. Your perceptions that they could be dangerous are your personal projections. Cuteness as an ideal is based on projected innocence, not an actual definition. I try to use symbology in the storytelling as well, often incorporating specific animals or animal forms and costumes. Each of the animal suits represent some form of defense mechanism so they are often misleading or contradictory in terms of the actual persona of each character-- I like to leave that interpretation up to the viewer.

BS: Would you say that your work serves as a warning? A social message that begs the viewer to step back and to observe the world from a different perspective?

KO: The storyline is rooted in a post-apocalyptic environment; so that would be "yes".

Blue Bear Boy - Oil on canvas - 18 x 24"

BS: Kathie, why did you decide to enter the low-brow/pop-surrealism scene... or did it enter you, so to speak?

KO: I started exhibiting over a dozen years ago and wasn't really familiar with the term "lowbrow." I was just showing in contemporary galleries. I met my husband in 2000 and he introduced me to Juxtapoz Magazine and started encouraging me to start showing on the West Coast. My work just sort of fit, but I've always thought of Lowbrow as being a very West Coast movement so I guess I still feel a bit like an outsider.

BS: Can you discuss your influences? Have certain events or individuals influenced your art?

KO: I'm influenced more by a strange mix of mostly politics, world events, the environment and early American Portraiture then things from my childhood like anything Disney, vintage illustration, antique dolls, etc. My husband is a big influence on my work, we go back and forth for hours talking about ideas. Also our good friends, Sas and Colin Christian have been really pushing me. You just look at their work and it makes you want to be a better artist.

The Narcissist - Oil on canvs - 30 x 40"

BS: Kathie, describe your average studio session. What helps you to get 'in the mood'... do you have a certain routine? What kind of music do you listen to while you work? Our readers want to know- what is it like to be in the studio with Kathie Olivas?

KO: There is no session, so to speak-- I'm always working. Occasionally I leave the house-- but if I'm home; I've usually got a paintbrush or pencil in hand. I usually have a tv on-- any sort of background noise; I tend to like the History channel.

BS: Where did you study art? Who were your mentors?

KO: I went to the University of South Florida where I took every possible class in art studio, art history, traditional history, psychology, sociology, criminology, philosophy, etc, etc. My printmaking professor Brad Shanks and my painting professor Mernet Larson played pretty significant roles in the direction I would take with my work.

The Inheritance - Oil on wood - 12 x 24"

BS: You are known for collaborating with Brandt Peters. Have you collaborated with other artists as well? Also, how do you find balance when collaborating in this manner? Do you ever have creative differences... if so, how do you handle it? I'll assume that collaborating is not for everyone.

KO: I have collaborated with a few other artists, but I'll decline to comment on those. I only collaborate with my husband at this point. There are a few other artists that I think would be good to work with, then common sense kicks in and I remind myself how much of a control freak I am.

BS: Kathie, you have current solo exhibition at the Copro Nason Gallery. The show is titled, "Ghosts & Martyrs", can you give our readers some insight into this exhibit? Are you revealing new work?

KO: All new work; I rarely show the same work more than once. It is a continuation of Misery Children series that I have been working on for several years. I've been introducing more "artificial/ mechanical" elements and older children as well. This is my first show with primarily large paintings.

Veruca Salt - Oil on Canvas - 18 x 24"

BS: Kathie, do you have any suggestions or advice for artists just starting out?

KO: Spend less time talking about what you want to do and just do it. You'll go through hundreds of bad paintings/drawings before you make something worth keeping which you'll eventually look back on and wish you had thrown away. Also try to find your voice and be sure you have something to say otherwise you are just making pretty pictures.

You can learn more about Kathie Olivas and her art by visiting her website: www.kathieolivas.com. You can read more interviews by visiting- www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Karin Olah

Karin Olah creates textural abstract paintings that elaborate on the heritage of American quilt making. Her work incorporates materials, aesthetics and symbols borrowed from several regions of the United States. Karin uses fabric, often antique textiles, in a way that mimics the flow of paint from a brush. Translucent layers of cottons, silks, and linens blend with opaque calligraphic brushstokes as graphite lines intersect the surface or fade into the suggestion of a grid. Geometric patterns balance organic forms; rich reds, yellows, and greens complement neutral earth tones.

('Second Little Confabulation'- Fabric, Gouache, Acrylic, Graphite on Linen- 12.0 x 12.0"- 2007)

Brian Sherwin: Karin, you majored in Fiber Art at Maryland Institute, College of Art while focusing on printmaking and color theory. Originally from Lancaster County, Pennsylvania, your interest in Amish quilts led you to a broader study of American textile traditions. How have your academic studies and life experience united in order for you to progress as an artist?

Karin Olah: When I enrolled at MICA, I didn't initially set out to major in Fibers. I was nervous about spending my future as a starving artist and figured that I should take a lot of courses and graduate with a Masters of Art in Teaching. Luckily, during a freshman "Intro to Fibers" class, my future came into focus. Fiber Art isn't weaving, dying, and sewing fabrics while studying feminism. It's a sculptural degree that can shape-change between 2-D and 3-D, small scale or large scale, performance art or installation art, etc, etc. In other words, it was a very open field of study. My first project, Jell-O Dress, a wearable patchwork of Ziploc bags filled with Jell-O Jiggler hearts, was my initial kiss in a burgeoning relationship with Fiber Art. Although Jell-O Dress didn't survive the test of time (or the dorm fridge), the idea lived on—being featured in the 1996 MICA undergraduate prospectus. The Jell-O Museum of Leroy, NY found out about it, and word passed to Carolyn Wyman, a pop culture author, who featured the project in her coffee table book, Jell-O: A Biography, Harcourt Books, 2001. It's amusing to open the book and see myself, then 18 years old, modeling the very first piece I made in art school.

From that point, my artwork went in a decidedly pop-art direction. I used yards and yards of vinyl to build 3-D installations of cartoon computers and televisions. I spent semesters screen-printing color-field paintings on vinyl. And sewing, always sewing. My obsession with the quilt making squares fueled those compositions. Amish quilts are known for their simplistic geometric patterns and bold blocks of color. Following college, I learned about more region specific quilt making, such as the differences between African-American and European-American patterns and their influence on each other, Hawaiian-Appliqué Quilting, Underground Railroad Quilt Code, and southern textile traditions. I'm not a quilt historian, but the images and stories do shape my creativity. Now, when I go to my studio, all that history finds its way to my canvas.

('First Little Confabulation'- Fabric, Gouache, Acrylic, Graphite on Linen- 12.0 x12.0"- 2007)

BS: After art school you launched your art career in a New York City textile design studio, creating colors and patterns for couture fashion designers. How did your employment at the textile studio- the skills that you learned- influence the art that you create today?

KO: I moved to Brooklyn the day after graduation, having lined up a job in a field that (gasp!) had to do with what I studied in art school. I worked for an independent textile studio in SoHo, developing colors and patterns for many well-known designers. Clients (Donna Karan, Marc Jacobs, Ralph Lauren, and many others) would send a feather or lock of hair along with a bolt of cashmere or irreplaceable silk. It was my job to dye the fabric to match exactly the nuances of their selected swatch and to get it done by yesterday. I also painted costumes for TV and theater productions and screen-printed yardage for fashion and interior designers. Everything revolved around color and fabric. I really learned about the properties and possibilities of fabric at that studio. It was very intimate in the shop. I would gently bathe a small square of silk in the dye and watch it transform from white to celadon to jade and every shade of light green in-between. The job was a mix of fun, hard work, frustration, and reward (when I saw the finished product on the runway).

BS: Karin, you work has become more abstract in recent years, with less emphasis on familiar forms and more on the unusual light patterns and colors that you have found in Charleston. Why did you make this shift away from representational imagery?

KO: Abstraction is my first love and the driving force behind my work. I do like to mix in a little representational imagery. Charleston is a very idyllic setting, very picturesque; an artist can't help but be inspired by the marshes, the unique pastel colored mansions, historic churches, and an enormous "sky blue" sky. It's the kind of stuff that influences my work—albeit from a new viewpoint. I'll spend an afternoon sketching a wrought-iron church gate, then return to my studio to make it my own—by collaging fabric on top. Those shapes that I focus on in the realistic gate series will later emerge in the larger abstract collages on canvas. The region is called the Lowcountry and it's about a hundred miles from the nearest mountain. When I drive over the bridges, I can see a bird's-eye-view; where local islands, rivers, and marshes spread out in the distance. I see a very flat composition of blue, silvery aqua, green, creamy whites, khaki, and straw. That palette and perspective inspires me right now.

('Little Red Confabulation'- Fabric, Gouache, Graphite on Paper- 13.0 x 10.0"- 2007)

BS: Karin, I've read that inspiration for your paintings stem from long walks and bike rides in your home city. Can you explain this process? How do you draw inspiration from these travels?

KO: Well, cobblestones, centuries-old bricks, and crooked flagstones comprise much of Charleston's downtown streets, and as a short girl who always wears high heels, I have to pay special attention to every step. I don't mind keeping my nose to the ground because I find the arbitrary geometric pattern of stones so fascinating. On the long walks, I find metaphorical comparisons between the patchwork of a quilt and the blueprint of the town.

Consider the cracks in the brick sidewalks, the round cobblestones in the street, the grid of city blocks, and the blocks of neighborhoods all built around a square—a double entendre square. I didn't learn my way around the city by map but rather by meandering through neighborhoods on foot or by bike. Discovering delightfully unkempt brick paths inspired the Confabulation Series , where red circles (basically worn down bricks) fought for attention amidst a growth of green and blue vertical strips of fabric (blades of grass pushing through/nature regaining control). Of course, I don't always look down for inspiration. My Gate Series focuses on the wrought iron architectural details that I see in Charleston . I stand and stare at a gate, drink up its persona, snap a picture, and then create something new in the studio while working from sketches, photos, and memory. I maintain a collaborative space with the gate's designer—that's where the abstraction comes in.

('Little Blue Confabulation'- Fabric, Gouache, Graphite on Paper- 13.0 x 10.0"- 2007)

BS: Karin, it has been said that fabric flows through your hands as fluidly as paint from a brush. Do you agree with this statement? Also, what other materials have you used in your work? Do you plan to utilize any materials that you have yet to work with?

KO: I love that line. Molly Hulett at Charleston magazine wrote that. I think it describes my artwork perfectly. The way that I under-paint, layer, add texture, and work from lean to fat is like that of an oil painter. The way that I finish a collage painting with thread feels like drawing. I have a fabulous assortment of fabrics, collected over the last 15 years. Some high-end interior decorator samples, some antique table linen and clothing, some new yardage, and much of it, retrieved from a cherished Mennonite Dry Goods store in Lititz, PA. I never lack for a specific color or texture. However, I do miss dying my own fabrics and hope to get back into that soon.

I really like the way gouache works with fabric, it tints it without changing the texture or sheen. Someday, I'd like to experiment with encaustic painting. I wonder....

BS: Your form of expression is not very common. I will assume that using fabrics within the context of your work is a little bit different than simply learning how to paint. Do you view your work as a 'hierarchy of knowledge', so to speak. Meaning... do you build from one piece to the next- learning more about the materials as you go. Do you ever encounter failures combining materials in the way that you do?

KO: A decade's worth of creative disasters gradually steered me towards my current fabric collaging direction. I tried painting on fabric and stretching it like canvas. I tried painting on a couch. I tried screen-printing and flocking on fabric, vinyl, paper—you-name-it, I tried it. Stuffing canvases like pillows ended in disappointment when they resembled a soggy painting rather than a soft sculpture. Most of these attempts proved productively fruitless but creatively essential.

I started sewing again, quilting actually. I made a series of large geometric quilts—lovely time-consuming projects. It was the "piecing" that I enjoyed, simply cutting the squares and arranging the composition. I had a eureka! moment when, on a whim and with a last minute show approaching, I quickly glued a miniature quilt to paper. No sewing! I could hear bells going off. The first few "quilt studies" incorporated acrylic paint, pastels, and unusual handmade paper from India. Eventually I traded acrylic for gouache, threw the messy pastels away, and became a fan of Arches 300 lb hot press watercolor paper. Now, I'm experimenting with stretched canvas, linen, and wood panel. The changes happen gradually, but purposefully, as one finished painting dictates the direction of the next. To answer your question: yes and yes.

('Fourth Incantation'- Fabric, Gouache, Graphite on Canvas- 16.0 x 12.0"- 2007)

BS: Karin, you are represented by Corrigan Gallery. Do you have a solo exhibit planned in the near future?

KO: My next solo show will be at Corrigan Gallery, 62 Queen St, Charleston, SC, www.corrigangallery.com. Incantations in Thread opens Nov 2nd and runs through the 30th, 2007. I'm really excited about the direction I'm taking in this new series, but I don't want to ruin the surprise. You can preview the show on my website, www.karinolah.com, in November. Also this fall, I'll have a few paintings at Eva Carter Gallery in a group exhibition that I am curating: Sunset at Wadmalaw: An Invitational Show, Sept 28 – Nov 10, 2007. www.evacartergallery.com. I'm always searching for opportunities to share my art. So if you hear of anything, Call me!

BS: Can you name any artists from the past who have influenced you?

KO: I can name a few artists from the past: Robert Motherwell, Ad Reinhardt, Hans Hoffman, William M. Halsey, Michael Tyzack, Ellsworth Kelly, Alexander Calder, Mark Rothko, and Antoni Gaudi. Very influential has been the Art Nouveau Movement, early Dada collages, Amish quilts, and the quilts of Gee's Bend, Alabama.

I can name more artists from the present: Robert Rauschenberg, Marcus Kenney, Ross Bleckner, Inka Essenhigh, Gary Hume, Jason Peters, Chris Ofili, Mary Edna Fraser, Fred Tomaselli, Jasper Johns, John Waters, John Liipfert, Kathleen Earthrowl, Eva Carter, Emilio Lobato, Toby Penney, Arturo Herrera, Sergej Jensen, Takashi Murakami, Matthew Ritchie, Matt Johnson, Jeff Koons, Piper Shepard, Annet Couwenberg, and Brian Rutenberg.

Can I mention my mom and dad? Two very artistic people - one is an art teacher, one is a landscape designer.

('Third Incantation'- Fabric, Gouache, Graphite on Canvas- 16.0 x 12.0"- 2007)

BS: Do you have any advice for artists who are interested in using fabric in their work? Any tips that may save them some time in learning what will work and what will not?

KO: I found a great adhesive; it's an archival rice starch (typically used in bookbinding). It's dries clear and matte with some flexibility, and it doesn't change the texture of fabric. My advice is to spend plenty of time experimenting with materials and adhesives. That way you'll find the methods that work for you. Just try it all. Art is not precious. Make a hundred pieces, then throw away 90 of them. Edit and simplify. When sewing, quilting, and weaving, one has a tendency to work very closely and not see the big picture. Half of the creative process is standing back, just looking at your art, determining its future, and deleting the wrong turns. Do not save time. Savor it.

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

KO: I love making art. It's so enjoyable to meet a collector and listen to his or her reaction to my piece. The gratification of sharing that visual connection with another individual is why I do what I do. I am very lucky to be an artist.

I have a great circle of artist friends. We share exhibition and grant opportunities, critique each other, arrange group shows together, and lend support (whether mental, moral, or by adjusting lights and tending bar) at openings. Charleston is a social town—especially for artists. It's so important for an artist to get out of the studio—to see and listen to more of the world happening around him or her, to visit galleries, museums, and unlikely art venues, to look, linger, and share ideas, and to make many, many friends. I love that MyArtSpace.com is a way to do all these things.

You can learn more about Karin Olah and her art by visiting her website: www.karinolah.com. Remember, you can read other interviews by visiting the myartspace.com interviews page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Hugo Tillman

Hugo Tillman's two-year 'Film Stills of the Mind' project has won him much acclaim in the world of art. The New York-based artist interviewed approximately 80 contemporary Chinese artists and made films based on the interviews. The project recalls Cindy Sherman's 'Untitled Film Stills'. But rather than appear in his own work, Tillman directs the artists themselves to act out scenarios and fantasies that he created after the interview process. Dark, quirky, personal and entertaining, "Film Stills of the Mind" maps the psyche of the Chinese contemporary art world. Hugo's 'Film Stills of the Mind' reflects the rise in status for Chinese artists throughout the world.

Brian Sherwin: Hugo, can you tell our readers about your youth? Were there any early events in your life that directed you toward photography?

Hugo Tillman: Well, I was born in London, England. My father dies when I was 4, and my mother decided to move to New York in order to take a job at the Christie's Auction House. I came dressed like a little English school boy, with an English accent and a love for things like Marmite. Things changed pretty quickly as I submitted to the ridicule of my American contemporaries.

As an adolescent, I was very interested in theater. I acted in and directed school plays as well as attending the Lee Strasberg Institute on a special scholarship given to me by my school.
I got into photography by chance. I had studied film at college in Los Angeles and was working as a PA in New York after graduation. The hours were crazy and the pay was low.

My roommate was dating an editor at W Magazine. She suggested that I work as a photography assistant to a fashion photographer as there were good looking girls, good food and shorter hours. She gave me a list of photographers, all that I had never heard of. It was the age of the fax machine, so I found out their agents' fax numbers and asked to meet them. Only one got back to me, Mario Testino. I interviewed with him, and then sent him a thank you note after the meeting. He called me back. He said that he was not very impressed by me but loved my blue Smythson stationary, something my mother had bought for me as a boy. (I still have the same stationary.) That is how I got into photography, by chance.

BS: Hugo, you studied at the Pratt Institute in New York City. Can you tell us about the department you worked in? Who were your mentors? Also, did you collaborate with any of your peers at that time?

HT: I did do an MFA at the Pratt Institute in Brooklyn. It changed my life and gave me the confidence to be an artist. It was challenging, inspiring and challenging. I do have a mentor from that time whom is still a great influence and friend. His name is Allen Frame. Allen teaches at ICP, Pratt and SVA. He is a bit like a godfather of the photography students in New York. He is incredibly supportive, caring and has the ability to help one dig deep, very deep.

I did not collaborate on anything specific at Pratt, but I did find a community of artists and friends that I still have now. They act as a sort of support network that provides a healthy competitive situation and a network for intellectual dialogue which helps inform all work. After school, I did begin collaborating with my classmate and great friend Allyson Lubow. She prints for me. Allyson knows my eye and often helps me make decisions that I cannot get past. We studied printing together under the great Master Julie Pochron. Allyson was way better and way faster than me. I find it important to recognize when people are better than one at things and then to collaborate with them in those areas.

BS: Hugo, you have won numerous honors and awards- you have also exhibited at the National Portrait Gallery in London. How do you feel when you are informed that you have won a major award or when your invited to exhibit at a major venue? Thinking back... did you expect your work to be as praised as it has been?

HT: I have been in that exhibition twice which was a great honor for me. Being shown in the National Portrait Gallery in London was significant for me, as my English family could come and see the show. Somehow, it was my way of saying that my life was not a complete disaster, because I have chosen to be an artist instead of a professional.

BS: Your work often appears very psychological... it would seem that you have a certain love for the study of psychology. Have you studied psychology?

HT: I do have an interest in psychology and often see myself as my own Guinea Pig. I never studied it, but have been in and out of Psychotherapy for years. I am bi-polar, and I think I work with psychological subject matter in truth to continue an exploration into myself.

BS: Hugo, you have stated that the inspiration for your work is reinforced by your love for the German photographers of the Becher School: Thomas Struth, Thomas Ruff, and Andreas Gursky. Can you go into further detail about their influence on you? Also, what other influences do you embrace with your work?

HT: Yes, in the 90's I was very interested in those photographers whom studied at the Dusseldorf Academy. I was also very interested in Nan Goldin after her Whitney exhibition in the mid-nineties. Now, I have so many influences including painters, writers, new forms artists, musicians, etc. I would not know where to start. I can barely keep up with myself. I go through intense love affairs with different material, digest it and move on often coming back to what resonates later. I can say that after spending most of my time in China over the last 2.5 years, I do find myself heavily influenced by my understanding of the Chinese Contemporary dialogue and aesthetics. I have learned that taste is relative and can be applied to any aesthetic. Everything has qualities that are valuable. It is about training oneself to see them, being open minded and not being a snob!

BS: Hugo, in your series, Upper Class, you captured portraits of American high society in Palm Beach and elsewhere. You have stated that your studies for this series are direct "descendants of the WASP society originated from the Metropolitan Four Hundred in New York City in 1888". Can you go into detail about your motive behind this series?

HT: Well, my mother married a man from this group in 1997. The project was born out of a desire to understand this new world that she was now a member of herself. As the concept for the work developed more and more, it became about the question of how we can have an aristocracy in a democracy. I learned a great deal from those women and have a deep respect.

BS: Why did you decide to focus on women with 'Upper Class'?

HT: I simply love women. I am so intrigued by them. For me, they are much more complex, beautiful and fascinating than men. I also realize that they are often more powerful than men as they have influence. They are also more open.

BS: Hugo, in 2006 you introduced a series of color photographs at the Nohra Haime Gallery. This series was introduced during your first solo exhibition at the gallery. In the series you examined fourteen of the leading Chinese artists of today. The art scene in China has had a huge impact on the artworld in recent year... I must ask, why did you decide to focus on these artists?

HT: I went to mainland China for the first time in 2005 in order to investigate the Chinese Contemporary Art world. I was amazed and fascinated by what I found. I fell in love with China and its art scene at first site. I had a process in mind and wanted to apply it to a particular group of significance. The Chinese Artists were the perfect fit.

BS: You have stated that Film Stills of the Mind was not originally intended for public viewing. Why did you decide to go public with this series?

HT: I am not sure where you read this. I don't think I ever said that. That said, I certainly was not concerned with showing the work when I started doing the project. That project is all about process. Now that it is over, the commercial applications of the work are being focused on by the market. I wish the market was more concerned by the theoretical questions and dialogue that the work is about than just selling prints. Selling prints is not what I am concerned about at this stage of my career. I am happy to stay a bit hungry in exchange for the opportunity to participate in a dialogue with my contemporaries and continue to produce work without market pressure.

BS: How did you choose the artists that you captured and why did you focus on their past, their memories, their dreams and their fear? Also, did the artists help you physically design the sets?

HT: I chose the most significant artists in the Chinese scene in Beijing, Shanghai, Guangzhou and Hangzhou

BS: Hugo, some of the cinematic overtones of this series are reminiscent of American artist Cindy Sherman’s 1978 series Untitled Film Stills, a display of female images shot on film sets. However, you have insisted that the two series are completely distinct- having said, "I know Cindy Sherman in person, but the resemblance is actually a coincidence.". For the record, can you state the differences in your own words?

HT: I must say that I am not sure where you read that I was a friend of Cindy Sherman's. It is entirely not true. I know of her work, think she is goddess and would worship the ground she walked on if I ever met her though. I think she is amazing. That said she was a pioneer in another era really with her "Film Stills" work. I recently saw a retrospective of her's in Berlin and was drawn to all that has inspired me in my own work. She is a photographer who looks inside. I like that. The difference in our work is primarily in the subject matter etc. I am working with specific individuals in a specific scene in a very defined culture that is timely and relevant.

BS: Hugo, do you plan to continue this series? Or perhaps do a series of artists from other countries?

HT: I think I may add a couple of pictures to the Chinese series. I still have plans to collaborate with Yang Fudong. i am not sure about other countries and artists though. I will continue working partially in China though. As for now, I am interested in beginning a dialogue with the middle east. I do plan on setting up a platform for dialogue between Berlin and Tel Aviv as well.

BS: What projects are you working on at this time? Do you have any upcoming exhibitions?

HT: I have an opening at DF2 in Los Angeles that opens September 8th.

BS: Hugo, do you have any suggestions or advice for emerging photographers or video artists?

HT: Absolutely. Dig deep inside, be honest and do not do what you think others want. Work from the inside out. Also, work is all about the process. The final product has very little meaning for the artist.

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

HT: I am not sure what to say about the art world at large. Although we need the market, it has far too much influence at present. That said, the community of artists and thinkers that it encompasses is absolutely amazing. For me, it is all about the conversations. I am so grateful for those.

You can learn more about Hugo Tillman and his art by visiting his website: www.hugotillman.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Matthew Dennison

Matthew Dennison states that he joins ideas and information in order to explore meanings and associations. His Paintings map these ideas together in order to create another way of seeing the moment. Combining images makes new information…as if his images were words. Matthew's goal is to bring remote elements to the surface of each painting; highlighting sections in a larger text. He combines current histories and personal events together in order to create a new type of dialogue. You can view some of Matthew's art at the Melanee Cooper Gallery in Chicago.

Brian Sherwin: Matthew, you are known for the painterly elegance of your vibrant figurative paintings. In you work you explore the interplay between animals, people, and their environment. This cast of imaginary characters live in a surreal world where they are thrown into ordinary surroundings that are not always what they seem... yet there is a connection to our reality. Can you go into further detail about your work... what you are attempting to do... and where you feel your work is taking you?

Matthew Dennison: We are a product of our times. I am interested in translating what I see into a visual narrative. I am exploring and connecting what is happening in our world and filtering it through my personal experience I think we are interpreting what we see. I'm interested in creating another place where information gathers by attaching myself to world events. I am documenting the impact we have on the Earth, through War, Machine and Environment. I believe that painting is a form of writing and a way for me to navigate what I see and deal with issues around us...

BS: Matthew, can you recall any early memories in regards to wanting to become a painter? When did you decide that painting was going to be an important part of your life?

MD: As a Child I was drawn to my Mothers art books. I remember looking at John Singleton Copley's painting called "Watson and the Shark." It drew me in. I was about 4 or 5 years old . I was always drawing. I started painting in oil's when I was 12 years old. That is when I knew that painting was my mission.

BS: Matthew, you have stated the following about your work, "I tie current histories and personal events together and create a new type of dialogue.". Do you care to share any personal events that have had an impact on your painting? Or would you say that national events have more of an impact on your work? What are the social implications of your art?

MD: I believe we gather are perception of social issues in childhood. Those connections help shape who we are. I have always been impacted by what we do as a society. I never had someone to share thoughts with. As a way to share my ideas I would write, draw and paint. I think the last five years have changed my approach. Before my work was very secular. It had a covert and ambiguous quality about it. I am now responding more directly to the events of the world. The paintings are more literal. I have always felt this urgency to record what I see and feel.

BS: What about artistic influences... I'm assuming that you are influenced by several German painters. Have certain artists or art movements of the past influenced you?

MD: I can't say I'm influenced by any one artist. I am always looking. I have been interested in many types of art. 15th Century, Rothko, Twombly, I am interested in what people are saying. I have been guided by my past work. I use my past work to navigate forward.

BS: Many contemporary painters create flat painting... as in, no texture. Surfaces are often smooth and void of true expressive work. I must ask, why do you enjoy the physicality of paint? Why do you embrace texture and bold strokes of the brush?

MD: Surface and Texture are important to me. Texture and strokes breath life into painting, like wind and rain. I use industrial colored washed on my paintings and I choose where light and shape remain.

BS: Matthew, how do you plan your paintings... or do you just paint as you go, so to speak? Do you make sketches or do you work entirely from your mind?

MD: I plan my paintings by collecting information. I draw every day and write poems. Poems are word paintings. I am constantly taking in newspapers and information. I'm interested in what people see verses what they hear. Hearing is also a way of seeing. Our society is assaulted by information. It is my job to filter out this information and compose it visually. All these process's go onto creating my paintings.

BS: Matthew, you were recently featured in Southwest Art Magazine as an 'Artist to Watch'. You were listed as one of ten painters on the rise. Can you recall how you felt upon learning that you had been included in this list? Also, what other publications have you been in?

MD: I was honored to be included on that list. We are all measures on the barometer. We are all part of the puzzle. I have been reviewed in the Oregonian in December 2006. Also Art Access in Seattle in September 2005. I try to do the best I can and hope for the best.

BS: Matthew, you have been involved with several benefit exhibitions- specifically the Cascade AIDS project. Why have been so involved with benefit exhibitions? Do you feel that is vital for visual artists to use their talent in order to help others? Or do you see it more as a personal choice?

MD: Number one, it is a good cause. It can also be a way to reach people who would not otherwise go to a gallery. It is important as a artist that your work be seen. I believe it is a personal choice.

BS: Younger artists are always concerned with expanding their resume. Would you suggest that they submit art to benefit exhibitions in order to 'flesh out' their resume? Is that a good starting point for an artist with a 'boney' resume, so to speak?

MD: Benefit shows might be one way to create interest in your work. One must be careful. Determine also what your expect from your involvement? Gallery shows help create a dialog and can inform people. Ask your self, "what am I trying to do or what do I want to accomplish?"

BS: Do you have other advice or suggestions for artists who are just starting out?

MD: Keep creating and finding methods to reach the public. Be persistent. It is important to contribute and shape ideas. All who think a like don't think at all.

BS: Matthew, you are represented by Melanee Cooper Gallery in Chicago. Are you represented by other galleries at this time? Also, where else can our readers observe you art?

MD: I am also represented by Froelick Gallery in Portland, Oregon...and Friesen Gallery in Seattle...and Hiddle Brooks in Charlotte North Carolina. Also... www.matthewdennison.com

BS: Matthew, what projects are you working on at this time?

MD: I show in Seattle this December 2007...and I will be included in a show at Hiddle Brooks in June of 2008. I will have some film work on youtube soon, about my painting.

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

MD: Attach your self to the world and respond to that. Nothing in the world can take the place of persistence and determination. Talent alone will not: Nothing is more common then unsuccessful people with talent. Genius will not: Unrewarded genius is almost a proverb. Education alone will not: The world is full of educated derelicts. Persistence and determination alone are supreme.

I hope that you have enjoyed my interview with Matthew Dennison. You can learn more about Matthew and his art by visiting his website: www.matthewdennison.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Sas Christian

Sas Christian’s paintings are intense. Inspired by anime and manga, Sas's 'big-eyed' super realistic style has won her great success in the pop-surrealism scene. Her oil paintings, which are often confused as digital art, have been highly sought after by art collectors and are admired by fans worldwide. Sas took some time out of her busy schedule to answer a few of my questions. Enjoy.

Brian Sherwin: Sas, can you tell our readers how your youth played a part in your choice to embrace art as a career? Can you recall any early memories that helped to guide you on the path that you have been following with your work? When did you know that you wanted to pursue art for life?

Sas Christian: I guess I was about 10 when whilst I was at a friends house I was shown a book on the animations of Walt Disney, notably Mickey Mouse. It was an incredible book documenting all the incarnations up until that point and my friend and I would spend hours copying all the different styles of Mickey. I found it incredibly exciting and really enjoyed the process of drawing, coloring in, etc. I continued trying to mimic the images that I saw in that book, and moved onto drawing the human face, and composing pictures of many differing elements/images that would tell a story. Being an introverted kind of person, solitude really worked for me and I spent hours and hours creating color pencil art work. I didn't really experiment with paint - it wasn't as convenient as pencils and I couldn't get to grips with the whole paintbrush thing.

I was about 15 when I realized that I wanted to pursue art as a career, but I came up against tremendous opposition from my parents who didn't think it was a viable option for me. My mother would tell me that I just didn't have the talent, so not to bother. I believed her, and for the following 2 years I tried to find something I could do, but art kept calling me on. It was quite a struggle to persuade my parents to let me go to art college - and I settled on a graphic design degree as it seemed the most accessible and "bankable." In the end it didn't come in that useful - but it made me realize that my real ambition was to paint. But it would another 11 years before I would do so - I had very low self confidence, what can I tell you!

BS: Sas, you studied graphic design at Bournemouth & Poole College of Art & Design-UK. I understand that your studies were a liberating experience for you. However, just after you graduated you were robbed- your entire portfolio of work was stolen and you had to start from scratch. What exactly happened? Did have doubt about your future at that time? Also, was the stolen art ever recovered?

SC: After graduating I had just been to London, on a job interview at a major graphic design company - they were very nice, but it was obvious that I hadn't enough experience for the position they were offering. I had left my portfolio in the back of my car, parked in a covered car park, whilst I was visiting a friend. When I came back my car window was smashed and it was gone. I was devastated. I had no copies of my work and I remember going to the police station to report the robbery and when the officer asked me what the value of the portfolio was I didn't know what to answer. I mean, how could I put a value on that? Never did recover it, or any of the work inside it.

BS: While in college you met your future husband, Colin. Colin is also an artists... have you two collaborated on projects together? Would you say that you have both improved as artists due to your relationship?

SC: We haven't collaborated on projects together lately, but years ago when we had a couture latex clothing company we would work together designing and creating different costumes, and then after that we would work together on commercial statues and murals for businesses. These days we're a huge influence on each other and we constantly bounce ideas back and forth. We're each others biggest fans and harshest critics. I consider Colin vital in my creative process. I most definitely think we've improved as artists because we get to use each other as sounding boards.

BS: Sas, you are known for creating paintings that have intense detail ... to the point that some viewers have confused your work for digital images. The vibrance of your paintings stems from a concoction of pigments, oils, and varnishes... how did you develop such a strong command of colors? Can you go into detail about how you have progressed in this manner?

SC: Um, I don't know. I know I have a strong sense of what I want to portray/say. I actually had to learn about the mechanics of oil painting from books I bought from Amazon - I then experimented on my own and still feel like I'm learning. It's an ongoing process. I use a variety of techniques depending on the effect I want to get. Glazing, scrumbling, wet on wet. I use it all.

BS: One of your main influences has been anime. Why are you so captivated by that style? Are you influenced by Takashi Murakami and the Superflat movement? Also, unlike most anime influenced art... your images are very lifelike- ones feels as if he could pinch the cheeks of one of your paintings. It is as if your work is inspired by both anime and old master techniques... is this so? Have you studied the old masters?

SC: When I was about 8 a Japanese friend of mine at school had shown me some dolls she had - they were hand-painted and had these vibrant large "manga" eyes. I was fascinated with them and it stuck. I have always been moved by the works of the old masters - although I can't say that I use one particular artists techniques.

BS: What else influences your art? Are their any social implications in your paintings? Do you have a message that you are attempting to convey with your work?

SC: Well, it's pro female of course. As for messages - yes, but it's up the individual to decipher it.

BS: Sas, are you working on any projects at this time? Also, do you have any upcoming exhibits?

SC: I'm busy working on many pieces for a large solo show for Opera Gallery NY in the spring of 2008. Also I'm going to be showing in Rome, London and China next year - it's going to be crazy.

BS: What is it like to be the studio of Sas Christian? Can you describe your studio to our readers? What are the conditions you need to work? Do you listen to music... or do you need complete silence? Give us the details.

SC: Small, busy and with the sound of barking dogs (mine)! Somewhat untidy I'm afraid, but with a good supply of candy on hand. I need good light. At the moment the front of my studio has floor to ceiling windows which not only has a fabulous view of Colin's workshop but provides me with excellent light..but very little privacy - I'm thinking about installing mirrored window film so that passers by stop ogling me! If I spoke to every one who just wanted to pop in for a chat, I'd never get anything done. I like to listen to a variety of music when I'm coming up with ideas for paintings. I find it very important. Colin will create play-lists for me and it really helps me think. But once they are drawn out I prefer to listen to audio books - the sound of a speaking voice is very soothing to me, and I like the fact that my mind can go elsewhere because each piece can take considerable time to create.

BS: Sas, you have been involved with Juxtapoz group shows and you have been featured in their magazine. How did you get involved with Juxtapoz?

SC: By buying ads, hehe. We began advertising Colin's sculptures in 1997, and developed a relationship with them from then on, particularly William. A good guy.

BS: Do you have any suggestions or advice for artists who are just starting out?

SC: Be prepared to be broke for a while and work your ass off. Never think your as good as your going to get - you can always be better. Be true to your vision and be prepared for rejection. It's happens to us all at one point or another - only the most dedicated will survive. Talent is only part of the equation - perseverance and a reliable work ethic is essential. Oh yeah...and don't shit where you eat.

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

SC: It's all good....

I hope that you have enjoyed learning about Sas Christian and her art. You can learn more by visiting her website: www.hotboxdesigns.com . Also, remember to check out my other interviews by visiting the myartspace.com interviews page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Heather Wilcoxon

Heather Wilcoxon has been practicing the art of painting for over 20 years. Her paintings, drawings, monotypes and works on paper are commentaries about our current global situation. Her work has been featured in solo exhibitions in New York, Houston, Denver and San Francisco. She has taught Painting and Monoprinting at the San Francisco Art Institute, College of Marin, California College of the Arts, Graduate Mentor Program, San Francisco Center for the Book, and is currently teaching at UC Berkeley Extension in San Francisco. Heather has also won several awards and grants- including two grants from the Pollock-Krasner Foundation.

Brian Sherwin: Heather, at what point did you know that you wanted to be a painter? Can you recall any childhood memories or influences that set you on the path toward embracing art as a major part of your life?

Heather Wilcoxon: All my life I have been an artist. But it wasn't until I was 36 that I got serious. After receiving my MFA, I never looked back. When I was a child my mother took me to see Willem De Kooning and I know that made a profound impact on me at that time. I will never forget that that experience.

BS: Heather, you studied Painting at the San Francisco Art Institute. From the school you obtained a BFA and MFA. Who were your mentors at that time?

HW: Sam Tchakalian, who taught me never to be afraid of your images and to to think and not to think. To let go. To be passionate and honest in your work. He was the biggest influence on me. He was hard and nasty and raw. No Bull shit. ! He challenged me. Over and over again. And I did terrible paintings. Fred Martin, saw something there in my work and was very supportive. Pagan Brooke taught me about edges. Angela Davis taught me integrity. But Sam pushed me into being a painter.

BS: Heather, you have been practicing the art of painting for over 20 years. Your work often serves as a form of commentary about our global situation. Have you always focused on this theme? Also, can you recall any global events that have had a major impact on your work?

HW: After Graduate school, my work took awhile to find itself. It went from figurative to abstract and back again. My content was very personal for a long time. But It has always had some kind of underlining social message. As my work matured ( along with me) It became less about "ME" and more about how I viewed the outside world. And then 911 happened. The world changed and so did my work.

BS: Heather, you taught Painting and Monoprinting at the San Francisco Art Institute, College of Marin, California College of the Arts, Graduate Mentor Program, San Francisco Center for the Book, and are currently teaching at UC Berkeley Extension in San Francisco. Can you tell our readers about your teaching philosophy? What is the best way for a student to learn? Also, how do you balance the role of being an instructor while also being a devoted painter? Do you ever find it difficult... or feel as if one is suffering due to the other?

HW: Teaching is just passing on knowledge. I give students tools and then let them find themselves. I want to encourage younger artists to see in their own way , through their own feelings, their own vision. I try to inspire risk and and letting go of fear. And in turn, they teach me patience and give me knew ideas. Its a give and take situation. Painting take years to learn. It never stops actually. The best way for a student to learn is by doing, and doing, and doing. Painting is a practice like Yoga. Because I have never taught-full time, I have spent much more time in the studio than teaching. It becomes very introspective working alone all the time. So teaching is a way for me to give back. To be with other artists. To engage. Which I need. But my painting comes first and always will. The only problem that can be difficult is financial. I don't have a regular income. And selling the work is extremely unreliable!!! But my attitude is either the tide is in or out. ( Thank god for grants!)

BS: Heather, I've read that you spent several years of painting and searching for your own visual voice. As you know, many grad students are entering the core of the artworld straight out of college- earning high profits for their work. Do you think this art-star mentality is dangerous for both the recent grads and the artworld as a whole? Would you suggest that recent grads spend a few years finding themselves instead of thinking about material success?

HW: My answer is YES and YES!!!

BS: You have earned a Pollock/Krasner Grant (1999). Two Marin Arts Council Grants (1991-1998)- As well as a Djerassi Artist in Residence Fellowship in Woodside California. Do you have any suggestions for artists who hope to have this same form of success?

HW: Keep applying!!! I just received my second Pollock/Krasner Award. And my 3rd Marin Arts Council Grant. But its really about the work and your commitment and writing a good proposal.

BS: Heather, you have had a long-time preoccupation with the balance between abstraction and the narrative. Can you go into further detail about what you have discovered during your studies? Perhaps you could reveal brief insight into your artistic process?

HW: I draw a lot. Everyday in my little black books. Several years ago I learned how to transfer these drawings onto my paintings. So I was able to combine both the abstract with my little narrative characters. I also love to build a rich and a thick juicy surface underneath the paint. To me its always what is covered up that makes it interesting. I never know what I am painting. I might strike out several images before I make a home run, so to speak. Each painting is like traveling to another country. Each painting is its own experience. My process is different each time.

BS: You have stated that you, "see the world as a dangerous place", but at the same time you are "seasoned enough to see the absurdity of it all"... can you go into more detail about this view. Would you say that you are a bit of a cynic with what you convey? Or is it more about revealing a message... or visual language... that people often hold back for the sake of social grace... so to speak?

HW: We have to laugh at ourselves and how ridiculous we humans can be. So I wouldn't say that I was a cynic in my work. It 's more about visual eye candy for me. But I also think that most people don't want to deal with their emotional feelings. It scares them. Especially in our society. We live in a very clean and organized world. I like to mess things up a bit. Wake you up. Get your attention. Take you out of your grey space. And make you react in some way.

BS: In a sense, some of your work lures the viewer in with 'happy' colors and 'pretty' surfaces. Upon further observation they discover the grit behind the gold. Have you ever offended viewers with your playful deception? If so, do you think that says something about people and how they view our world... as in... most of us do not want to see the 'ugly'?

HW: Humm, Yes... I once had my painting slashed. But that was a long time ago. Most people are in a hurry and don't spend the time to look beyond the cuteness. So I would agree with you in that they don't want to see the "UGLY".

BS: Heather, Kenneth Baker of the San Francisco Chronicle compared your work to that of painter Squeak Carnwath... is that a fair observation of your work?

HW: He is just one art critic. They always have to compare your work with another artist. I am much nastier then Squeak. But I will say that both of us spend time with our surfaces. And we both use Yellow.

BS: Now... on to more influences... who has influenced you through the years? Can you name some artists who have had an impact on your art?

HW: Phillip Guston, Jean- Michel Basquait and De Kooning and Inez Storer.

BS: What is your studio like? Do you have any unique conditions that must be met in order to start working? Studio habits... total silence.... blaring music... what is it like to be in the studio of Heather Wilcoxon?

HW: My studio is very messy. I don't have a maid. Things pile up. I love listening to folk music or silence. I collect, toys and junk. My work space is small about 450 square ft. But it has a nice skylight. Its just a room were I paint.

BS: Heather, do you have any advice or suggestions for painters who are just starting out? Any tips on how to approach galleries or what to look out for...

HW: The most important thing is the work!!! Look for galleries that are honest and pay their artists. As well as how they treat you. It's like any relationship. Some are good relationships and some are bad. As far as getting into galleries. That is tough. Most of the time they never look at slides or CV's . Its really by word of mouth through other artists in the gallery.

BS: Are you represented by a gallery at this time? Where can our readers observe your work? Also, do you have any upcoming exhibits?

HW: Brenda Taylor Gallery- New York, Thomas Paul Fine Art- Los Angeles, Toomey-Tourell Gallery- San Francisco. Or they can go to my site www.heatherwilcoxon.com/ and go to flickr.com from my site for more recent work. I just had three shows this summer. A solo at Brenda Taylor Gallery in New York, Donna Seager Gallery in San Rafael and the Bank of America Building in San Francisco.

BS: What are you working on at this time? Care to reveal anything about your current body of work?

HW: I am just gathering my wits from all these shows ( no sales) But my work will be in several art fairs in Miami this December as well as London this fall.

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

HW: It is all about who you know, luck and timing. The art world can eat you a live if your not careful!!

I hope that you have enjoyed my interview with Heather Wilcoxon. You can learn more about Heather and her art by visiting her website: www.heatherwilcoxon.com/. You will find a list of interviews with both emerging and established artists by clicking on the following link: www.myartspace.com/interviews/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Michael Craig-Martin

Born in Dublin in 1941, Michael Craig-Martin studied at Yale University School of Art and Architecture in the early 1960s, but has spent most of his working life in Great Britain. Since that time he has shown in numerous solo and group exhibitions both in Britain and internationally, including the definitive exhibition of British conceptual art, The New Art, at the Hayward Gallery (1972).

The impact Michael has had on the world of art is obvious. From 1974 to 1988, Michael instructed art at Goldsmiths College, London. During that time Michael instructed- Sarah Lucas, Gary Hume, Damien Hirst, Mat Collishaw, Fiona Rae, Liam Gillick, Simon Patterson, Richard Patterson, Michael Landy, Abigail Lane, Angus Fairhurst, Angela Bullock, and Ian Davenport. Michael returned to Goldsmiths College in 1993 as Millard Professor of Fine Art.

Michael has a long and impressive list of accomplishments in the world of art: He has served as a Trustee at the Tate Gallery, has done installations for the Projects exhibition series at The Museum of Modern Art, New York (1991) and the Centre Pompidou in Paris (1994), and has created major wallpainting installations at the Kunstverein Hannover (1998) and at the Württembergischer Kunstverein Stuttgart (1999). Michael represented Great Britain at the XXIV Bienal de São Paulo (Brazil) in 1998 due to his dedication and contributions to the artworld.

Brian Sherwin: Michael, when did you first realize that you wanted to be an artist? Can you recall any memories or events from your youth that set you on that path?

Michael Craig-Martin: I decided I wanted to be an artist very young - I was about 12 when I first saw reproductions of 'modern' art. For some reason I realized that art would always be elusive and ungraspable and I knew that that was for me. I met a 'real' artist, the Spanish artist Antonio Roda, when I was 14 and started drawing classes with him. I was very determined but full of self-doubt.

BS: Michael, you studied art at Yale University School of Art and Architecture.Who were your mentors at that time? Also, can you recall any of your early influences?

MCM: My most helpful teachers were Al Held, Alex Katz, Jack Tworkov, and Neil Welliver. Amongst my fellow students were Brice Marden, Chuck Close, Richard Serra, Jon Borofsky, Jennifer Bartlett, Victor Burgin. I think one's fellow students are at least, if not more important than one's teachers.

BS: You have spent most of your working life in Great Britain. Why did you decide to move from the States to Great Britain? Were you bored of the US scene? Or did you just need a change?

MCM: A mix of reasons. My parents lived in London until I was 3 and I was always fascinated by that other life I almost had. It was the swinging 60's, and I was the same age as the Beatles. I didn't realize it was perhaps the greatest period of American art. The disastrous Vietnam war was revealing the worst aspects of America, just as the even more disastrous Iraq war is now. I was offered a teaching job in England, we had a baby, and I needed the money. I meant to stay a year or two. That was 41 years ago.

BS: Michael, you exhibited art at the definitive exhibition of British conceptual art, The New Art, at the Hayward Gallery in 1972. Can you recall that period of time? Were you concerned that people would not 'get it', so to speak?

MCM: It was a period of real austerity in Britain - I was poorer than anyone I'd ever met. But it was a great time to be a young artist - I remember it as a period of exceptional creative freedom and adventure, when one was regularly presented with works of art unlike anything one had ever seen before. What tiny audience there was was highly committed and informed.

Most people were convinced that the art we made was either a con or an intellectual game from which they were excluded. We could never have imagined there would ever be the large popular audience for art there is today.

BS: In the early 1970s you exhibited the seminal piece An Oak Tree (Image Above-now in the Tate collection). The work consists of a glass of water standing on a shelf attached to the gallery wall next to which is a text using a semiotic argument to explain why it is in fact an oak tree. I've read that you had an odd experience with this piece in that it was once barred by US Customs officials from entering the country as 'vegetation'. You were forced to explain it was really a glass of water. Can you recall how you felt about that situation? Were you upset or did you find the it amusing? Also, have you had other mishaps with your work?

MCM: Actually the work shown in the Tate is my artist's copy, as the original work was purchased by the National Gallery of Australia in Canberra in 1977. And the customs incident did happen, but going into Australia not the US. It was of course a wonderfully funny incident, particularly because it extended into 'real life' the discussion about belief and doubt, and fact and fiction I was addressing in the work.

An Oak Tree has had a great life as an artwork. It is nearly always on view somewhere, and has been shown all over the world - the text has been translated into at least 20 languages. The only place its has never been shown is in the US.

BS: Michael, As a senior tutor at Goldsmiths' College, you were a significant influence on the emerging YBA generation, including Damien Hirst. You were also helpful in promoting the Freeze show to established artworld figures. Looking back on how things have turned out... is there anything you would like to say about Damien Hirst or the others? I will assume that you are very proud of them all.

MCM: I had always tried to help my students in any way I could, particularly in those first years after art school. I knew from personal experience how difficult it was - I never had things come easy. I did the same with Damien and Freeze. I encouraged people to go and see the work. I would never have done this if I hadn't believed the show was of exceptional interest - why waste people's time? It amuses me that so many people think what happened was calculated and cleverly manipulated whereas in fact it was a combination of youthful bravado, innocence, fortunate timing, good luck, and, of course, good work. It caught people's imagination.

People have forgotten how little opportunity for young artists there was in England at the time. They were simply trying to survive - and succeeded beyond their wildest dreams. It is true that I am proud of them, and couldn't be happier they've enjoyed such great success.

BS: You taught at Goldsmiths College from 1974 to 1988- you returned in 1993 as Millard Professor of Fine Art. Would you like to share some of your experiences as an instructor at Goldsmiths?

MCM: Goldsmiths was a particularly great school throughout the 70's and 80's, when few people knew it existed. The radical nature of the department was the creation of Jon Thompson, who hired me and many other young artists in those early years. The approach and values of the school suited me perfectly, and I extended and enhanced them. I devoted a great deal of thought and energy to Goldsmiths.

It was completely focused on helping as wide a range of students as possible to discover and develop their individual creative interests and abilities, whatever form they might take, and its methods were madly daring but they worked. It obviously helped a great many of its students develop the self-knowledge and self-confidence needed to sustain themselves as artists.

BS: Michael, how did you find balance between being an instructor and creating your personal work? I've spoken with many college/university instructors who say that it can be very difficult at times. Would you say that teaching at Goldsmiths- being surrounded by creative minds- enhanced your art?

MCM: It was very difficult. For many years I taught 3 days a week, did my own work 3 days a week, and everything else in life on the remaining day. I found teaching interesting and enjoyed it, and I learned a lot from and through my students. But I never thought of myself as a teacher or sought to make a career in education. I was never the head of department at Goldsmiths and refused the offer at various other art schools.

As I started to make some money in the 80's I taught less and less, and when I didn't need the income I stopped completely. After the years of effort that had involved, it drives me crazy when people talk to me today as though I used to teach and now I make my work. If I hadn't made work all those years, you wouldn't be talking to me today.

I do think I paid a price as an artist, and I am trying to make up for it now - I work six days a week in the studio, and I've never been happier.

BS: Michael, in your later works you used a stylized drawing technique. You often depict everyday household objects and sometimes incorporate art references, such as objects known from their use in Dada artworks. Aside from Dada, have there been any other early art movements that have influenced your work?

MCM: In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself. I deliberately avoided any personal or expressive character in them (un-inflected line, drawing with tape, etc) - I wanted them to be as impersonal and 'styleless' as possible. Ironically, over the years the character of my drawings has gradually come to be seen as my 'style'.

I am always adding to the set of drawings I use. At one point I added the ordinary objects that other artists had used in their work (thus rendering them forever as not ordinary): Duchamp's urinal, Magritte's pipe, John's tin of paint brushes, Man Ray's iron. I have also explored the work of various other artists I admire, including Velasquez, Piero, Seurat, Lewiit, Judd, and Andre.

BS: Michael, you have said the following about your art, "My installations question the nature of picture making. Instead of looking at a painting, it feels like you are stepping inside it. All the images are sucked in onto the canvas and then exhaled on the wall opposite." Can you go further into detail about your personal philosophy about art?

MCM: I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words. I treat pictures of objects as though they were objects themselves, but also as if they were as malleable as words. An image can picture one thing while representing another. I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd – and compose them like sentences.

The complexity of the language of images is disguised by the ease and rapidity with which we read them. I've tried to make work that is as transparent and simple as possible. No matter how much I strip away the result is always more complex to me than I expect.

BS: Michael, there has been a lot of talk about the art market lately. Many people are afraid that the bubble will eventually burst, so to speak. There is concern that younger artists might be thrown into obscurity if this occurs. Do you have any concerns about the art market at this time? Do you think it unwise for a young artist charge high prices for his or her art straight out of college? Also, do you have any other concerns about the artworld at this time?

MCM: There is a complete difference between art and the art market. Prices are high now for the simple reason that there are people are willing to pay them. The market dominates the art world today because at the moment collectors call the shots. Like everything else that won't last forever. I am personally happy for artists to make as much money as they can while they can to carry them through the times when they can't. Whatever happens to the art world, art will go on regardless. As for obscurity, it looms just over the horizon beckoning us all. Why worry.

BS: Michael, your art has many advocates- Damien Hirst, Julian Opie, Patrick Caulfield, and Charles Saatchi, just to name a few. However, there are some who oppose it- the Art critic David Lee and the founders of the Stuckists art movement- Charles Thomson and Billy Childish. Do you take their criticism with a grain of salt, so to speak? Why do you think certain individuals oppose conceptual art instead of accepting it as it is? Would you agree that all forms of art should be embraced for what they are... instead of having the validity of the work questioned? Or is it important for people to question... to doubt?

MCM: I feel sorry for those who build their lives on feeling bitter about other people. They often have a misunderstanding about what it means to ‘understand’ a work of art and therefore feel threatened by what they don't ‘understand’. ‘Understanding’ art is like having a sense of humour - if you don't have one, no amount of explanation is going to make you laugh.

The art world, of all worlds, has room for everyone. So much of conservative criticism is based on confusion and misunderstanding. The term 'conceptual' is used to mean a thousand different things. I have never understood, for instance, why some people see contemporary art as divided between 'painting' and 'conceptual art', as though this represented a genuine division. Surely some painting is conceptual in character, some not. Just as some video is conceptual, some not. It is the nature of the work, not the medium used that indicates significant differences in art.

Most of my work over the past 15 years has been painting - though most of my critics never refer to this work , I assume because if they did, they would have to say they were the 'wrong kind of paintings', or not 'real' paintings at all. The psuedo-question 'is it art?', so loved by some people, has become redundant. In the land of Tate Modern, always filled with art and people, the issue is dead.

Most angry critics who deal in generalizations show hopeless judgement in distinguishing between good and poor individual works. Just as Prince Charles managed to single out for condemnation only those few modern buildings in London of true quality and thoughtfulness, while never mentioning the hundreds of examples of architectural mediocrity around them, art doesn't need self-appointed protectors.

BS: Some of your more recent work has involved the utilization of computers (sample above). Did you find it difficult to make the transition from using physical materials? Also, what are you working on at this time?

MCM: I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations.

I made a couple of screensavers some years ago. Inevitably they gave me ideas for works made exclusively for computers. I've done 5 now, using complex randomization programs that leave detailed decision-making to the computer. I am now working on computer portraits.

BS: Speaking of technology, through the use of the internet it would seem that any artist- with reasonable skill- has the chance to make an impact. It is obvious that the internet is changing the world of art. Major online art competitions are becoming commonplace- it would seem that now is the perfect time to be an artist. Do you agree? Or do you think the artworld should be concerned about this? Could there be pitfalls?

MCM: A consequence of the democratization of art since the 1960's has been that anyone who chooses can be an artist. You don't need permission, a college certificate, or particular skills.

The internet has extended the possibility of making art to more people, and particularly of enabling it to be seen by others. I am sure the internet is having a profound impact on art, particularly those who have grown up with it, but making good art will remain as difficult (and as easy) as it ever was. Having a lasting impact may become more not less difficult.

BS: Michael, do you have any advice or suggestions for artists who are just starting out?

MCM: Persist.

BS: Do you have any upcoming exhibitions of your work? Where can our readers view your art?

MCM: I will have an exhibition of new paintings and computer works at the Gagosian Gallery in Britannia Street in London in November 2007. And new prints and editions at Alan Cristea Gallery London in April 2008. I will be doing big site-specific installations at several museums in Australia including the Gallery of New South Wales in Sydney in the spring 2008. I am doing a permanent installation on the exterior of four public housing buildings in Nice, an 80 meter wall made of corian for an EU building in Luxembourg, and a mosaic installation for a new station of the Docklands Light Railway in south London. I've never been so busy.

I have a website: www.michaelcraig-martin.com

There are also two good current publications:

Signs of Life, published by Kunsthaus Bregenz, 2006, with texts by Eckhard Schneider, Liam Gillick, and Edgar Schmitz

Michael Craig-Martin 1964-2006, text by Richard Cork, published by Thames and Hudson in conjunction with the Irish Museum of Modern Art, 2006

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

MCM: I think I have said more than enough.

I hope that you have enjoyed my interview with Michael Craig-Martin. You can learn more about Michael and his art by visiting his website:

www.michaelcraig-martin.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Travis Louie

The art of Travis Louie has had a great impact on the pop-surrealism scene. Travis is known for creating detailed drawings that are often mistaken for old photographs that have been manipulated. Travis has concentrated on his career after leaving behind over 10 years of freelance illustration work- since that time he has displayed his art at some of the most respected galleries on the scene today. His work has been exhibited at the Roq La Rue Gallery, Copro Nason Gallery, the Shooting Gallery... and has also been featured at Art Basel. Travis's draftsmanship reveals the determination and passion that he has for his art.

Brian Sherwin: Travis, as a child you were thrilled to watch "atomic age" sci-fi and horror movies. That connection is obvious in the art you do today. Do you create art as a way to stay connected to your youth? Is it a way to keep 'forever young', so to speak?

Travis Louie: That's an interesting conclusion to come to.

You're partly right, . . . I had a great time watching those movies as a child and the imagery has certainly stayed with me, . . .but essentially it's quite universal for artists to be influenced by their environment, . . . their life experiences, . . traumatic or otherwise, . . .that sort of thing.

I'm not so sure I stay connected to my youth through my paintings or that they keep me "forever young", but I do like to try and capture that feeling of wonder I got from those films. If anything, the act of painting keeps me grounded and maybe has a kind of Rip Van Winkle effect. Time seems to stop, when I'm working on my pieces.

Back to those atomic age sci-fi films, . . . these days, a few of those films have taken on another dimension for me. I am more aware of the cultural and political environment that existed, when they were made. Movies like "Invasion of the Body Snatchers", Sam Fuller's "Pickup on South Street", and "Godzilla" come to mind. They contain metaphors for fear of a communist invasion and the threat of nuclear destruction.

BS: What other influences do you reveal in your art?

TL: German Expressionist filmmakers like Fritz Lang and F W Murnau, . . . who influenced other filmmakers that I admired, like Orson Welles, Val Lewton, Jacques Tournuer, and basically all the great Film Noir directors as well as the 19th century photography that I collect, . . . have had an enormous impact on the look of my work.

People have said that I paint monsters, but I'd like to think the characters in my paintings have some humanity and kindness in them.

BS: Travis, I understand that you started out as a professional illustrator- you have over 10 years of experience in that field. How did you make the jump from illustration to creating personal artwork for galleries?

TL: I had exhibitions in galleries while I was working for studios and freelancing for a living, . . . but I just wasn't happy with the results, . . .I finally decided I should really make a go at it and concentrated my efforts on improving my work, . . .once I felt comfortable with what I was producing, . . . I started showing my work to more galleries in 2003. I think my artworks just needed a chance to evolve. Not so much in the technical aspects of the work, but rather on the aesthetics . . . I always have to remember, "It's not just how well you paint, it's also what you paint"

BS: Where did you study? Who were your mentors?

TL: I went to Pratt Institute in Brooklyn, NY I can't say I had any mentors there. They didn't teach people how to paint, . . . they taught them how to think, . . . "artistically". As far as I'm concerned, . . .the jury is still out on whether or not, that was a good way to teach.

As much as I appreciated the lessons in "problem-solving", my skills didn't really get a chance to improve until I'd been out of school for a year, which was probably the "norm" for most of my graduating class. I'll even go as far as saying most of the students from the illustration department weren't prepared, when they left school, . . . when I say this, I mean that a lot of them didn't seem to know what finished work looked like. This became problematic when they graduated, entered the illustration market, and were then put into the same talent pool as the very best in the business, . . . competing for the same jobs.

I even had this feeling during my junior year that our work as a whole wasn't strong enough. Being a year or so away from entering the real art market, I began to think it was unfair to coddle the students into thinking they were better than they were and that they might be prepared to tackle the "real" art world when they graduated. Of the 75 or so students that shared the same illustration dept with me, I couldn't name more than 5, who might still be doing artwork for a living today.

BS: You have had several great exhibitions at top venues for pop-surrealism- Roq La Rue Gallery, Copro Nason Gallery, Fuse Gallery... just to name a few. Can you share some of the experiences you've had exhibiting at these galleries? Do you think you could single out the best exhibit you've had so far? If so, why did it leave such an impression on you?

TL: All the galleries I've been fortunate enough to exhibit in have been good to me, . . .that's my diplomatic answer to that question,. . . next question.

BS: Travis, I've read that you create several thumbnail drawings of your paintings before you start to work on them... you also write short stories about the paintings before they are created. Do you have a story for every character you've painted? Also, why does that process work for you?

TL: My work is created in several stages, . . . the first being the idea and or inspiration which can come at any time at any place. When I'm purposefully trying to come up with something, I make many little thumbnail drawings and write little character descriptions or complete little short stories to accompany the concept of a piece before i even get to the painting, . . . sometimes my process in the writing stage is very "stream of consciousness" kind of creative writing. After I've fleshed out enough information, I make a tight drawing to work from, I prep my board, transfer the drawing, and begin painting.

BS: Some critics have mistaken your paintings for retouched photographs. Could you explain your technique/process so that people will understand why they sometimes appear to be retouched photographs? What is your motive behind working in that manner? Do you study or collect old photographs?

TL: Unfortunately, since it is the "look" of those old photos that I'm trying so hard to emulate, my work is often mistaken on the web to be retouched photos, . . . I work in thin layers of acrylic applied in glazes with very small brushes over a really tight graphite drawing. I learned from looking at Victorian watercolor techniques sans body-color. I looked at a lot of Maxfield Parrish illustrations as a working model.

BS: I've been told that John Merrick, better known as 'The Elephant Man', is one of your heroes. Can you go into detail about why he is one of your influences? It seems that you do not pity the life that he had.... instead you admire his strength, is that true?

TL: Where did you hear that? Well, . . .about John Merrick, . . .my interest in him as a human oddity who was born with unusual circumstances that could not be treated by 19th century medical practices, stems from the photographs and illustrations of him I saw where he was finally being accepted as a human being and treated with some dignity toward the end of his life. The principle image I recall, was of a well-dressed Victorian man with an unsettling physical condition enjoying a night out at the theatre in full public view.

BS: Travis, tell us about your studio space. Where do you work? Do you listen to certain types of music while working? Are you a recluse... or do you openly invite others to your studio? What is it like to be in the studio of Travis Louie?

TL: My studio space is the entire basement of my house, . . .I have a few different work stations with large boards, a place to assemble my frames, a drawing table, and shelves of reference material. It can be very cluttered when I am working (which is often) and I do not have many visitors. I am not a recluse per say, . . . but I don't see the point of having visitors down there. I listen to all kinds of music when I am working, . . .but lately, I've been playing DVD's of old motion pictures, . . . I like the quick dialogue from those old Noir pictures. I also like the old movie soundtracks by composers like Elmer Bernstein, Jerome Moross, and Wolfgang Korngold.
BS: Do you have any suggestions or advice for artists that are just starting out?

TL: Learn to draw first and foremost, . . .there are so many new artists out there with minimal draftsmanship, . . . it's embarrassing really.

First impressions are very important in this business, . . . be aware of what finished work looks like.

Treat every body of work you create as if you were trying to make a big impression, . . . Don't slack. It's a lot easier for people to tell if you are "phoning it in" than you think.

Timing is everything, . . .being persistent creates more opportunities for being in the right place at the right time.
Don't miss deadlines.

Being persistent isn't enough, . . . if you submit to a gallery on a regular basis , . . . make sure the work improves each time and that the work is consistent with the kind of artwork exhibited at the gallery you are trying to submit to, . . . otherwise it is just annoying.

Don't believe everything you hear, . . . hype is not quality, . . . hype is marketing.

Be self-critical and trust your gut, . . .if something looks like it sucks, . . . it probably does.

Did I mention learning to draw?

BS: Do you have any upcoming exhibitions?

TL: My next show is at the Shooting Gallery in San Francisco opening Oct 13th. I'll be in attendance.

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

TL: I've been very fortunate to be able to make a living with my art and I thank everyone that has supported me along the way.

You can learn more about Travis and his art by visiting his website: www.travislouie.artroof.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Travis is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space News: Controversy at Waikato Museum (New Zealand)

Waikato Museum (Hamilton, New Zealand) is expecting public outcry over the display of a controversial work of art. The piece, 'Better Work Stories' by Emil McAvoy, is inspired by the recent police sex trials in New Zealand. 'Better Work Stories' features three aluminum batons with phallic-shaped ends. Museum curator Leafa Wilson says, "while nudity is often criticized, the subject matter is likely to cause the most controversy".

Emil McAvoy has made the finals of the Trust Waikato National Contemporary Art Awards with his controversial piece. McAvoy has stated that he is aware that people may be offended by the work but says, "the ugliness of the work is only the ugliness of what it's about" and that he wants people to be empowered by the artwork so that they will have the strength to speak out against future acts of police brutality and corruption.

It has been hard to find information about 'Better Work Stories' due to the fact that several images of the piece have been removed from various New Zealand websites- I was able to find a cropped version of 'Better Work Stories' (Image at top). I can't say if I will defend this piece or not since I have been unable to view it. However, I will say that it is admirable that McAvoy has given the proceeds from selling small-scale copies of the piece to charity.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Sarah Maple

People often think that Sarah Maple is trying to be offensive with her Islamic based art. This is a huge misconception as she is Muslim herself and would not want to offend her own faith. With her work she reveals the confusion that many young Muslims face within the context of contemporary western society. This study offers the viewer 'food for thought' and is influenced by the quest to discover and question 'Identity'.

In her work she questions if it is possible to be a 'good' Muslim in the West; especially if you are mixed race and from two contrasting cultural backgrounds like she is. Islam is indeed a way of life. But what do modern British Muslims do surrounded by both influences? Which lifestyle do they choose? Or can the two be fused?

Brian Sherwin: Sarah, can you tell our readers about your early experiences with art? When did you first realize that you wanted to pursue art? Also, where did you study art? Who are your mentors... your influences?

Sarah Maple: Well the first time I ever became interested in art was when I was about four or five years old. I pulled out the drawer from underneath my bed and found hundreds and hundreds of drawings my Mother had done of portraits. I thought 'fuck me, these are amazing' (I'm sure i didn't swear at that age, but you get what I mean!). I used to sneakily look in there all the time, I found them utterly amazing. And I think this was where my fascination with the portrait came from.

I started drawing portraits all the time. To this day I am still in love with portraits. I studied art at Kingston. Although I learnt a hell of a lot at art school I found it a difficult experience and very pleased to have left. My influence is mainly contemporary culture, like rock n roll, fashion, the news, all that jazz. I love people who are off the rails or are slightly wrong like Kate Moss. I love those people who don't care and just do what they like and take a risk. A great example of this was Rufus Wainwright at Glastonbury this year. I also love people who are genuine and speak from the heart, even if it's really depressing, that's why I love the Smiths and they are always in my work.

Identity is a huge theme to me, it's fascinating - not only in terms of who we actually are - but also in terms of how we portray ourselves - even if it's a false image - which is even more interesting.

Do you remember how when Geri Halliwell left the Spice girls she was so adamant to portray she wasn't the perceived image of 'Ginger Spice'. Like she did that documentary, started wearing suits and all that. I always found that amazing how she'd gone to great lengths to be seen in one way to make the spice girls a success, then was desperate to show her true self which unfortunately for her was much less interesting than Ginger.

Debbie Harry is my ultimate icon. I went to the hairdresser last week and said 'give me a late seventies Debbie Harry'. 'Ok!' she said. Now I look a bit silly. I will never accept a half Asian girl cannot pull off a Blondie look.

BS: In the past you were primarily a painter. However in 2007 you started to take photographs. You have stated that your ideas have flourished since picking up the camera and that photography is how you see your art progressing in the future. That must have been a big decision. Why has photography had such an impact on you? Do you plan to combine painting with photography at some point?

SM: Before starting photography this year I was doing all these painted self portraits in late 2006 (e.g 'Bananarama' ' self portrait with my mother's headscarf and the breast of Kate Moss'). Someone said to me that if I wasn't going to use the paint as a medium to express my concepts, then there was no point in painting, I may as well have just taken photographs.

This really got to me because I knew they were right. I always thought I was a painter and that was it. I reluctantly hired a camera to spend a couple of weeks doing photography. All of a sudden just having this new medium seemed to open up the flood gates and all these ideas came out. Since then it's been non-stop!

BS: Sarah, you have experienced a bit of controversy over your Islamic based art. Many do not seem to understand that you are a Muslim... and that you are attempting to reveal the distorted view that many Muslims have of their faith and culture within the context of western society. Would you like to clear the air with this interview? Go into detail about what exactly you are striving to do and why it is important for you to do it.

SM: My work with Islamic themes comes from my own experience of being mixed race. because of cultural and religious clashes I think it's very hard to mix east and west. I think many Muslims get it so confused, for example I know people who will celebrate Eid by getting pissed, it's such a contradiction! I suppose I get fed up with the judgment' I feel is put on me by other Muslims who may see me as substandard because I don't pray or cover myself. This is reflected in my work.

The best example of this is my piece 'White Girl' (which is a derogatory term I discovered is used amongst Muslims for a non-Muslim or a 'bad' Muslim) I made this after feeling angry when speaking to an old Muslim friend about my art.

BS: Your work is very focused on examining the human condition. Have you studied psychology... or do you base your work simply on your personal observations of society? If the study of psychology does play a role in your work... which psychologist have influenced you? What theories?

SM: The human condition is fascinating to me. This is what I mean by how I love people who speak from the heart. Human behavior and human passions - good and bad - are incredible. I am very interested in psychology but have never studied it.

BS: There also seems to be a feminist quality to some of your work in that they show the power that a Muslim woman can have over her own body. For example, in your self-portrait painting, Bananarama, you are dressed in traditional Muslim clothing. In your hand you hold a banana- which you are gently placing inside your mouth. This piece is obviously sexually suggestive... is this a charge for Muslim women to have the same sexual freedoms that women in western society have? Or is it simply meant to reveal desires that are sometimes hidden... or locked away by faith?

SM: The latter. More like desires or sins that are hidden. For example, when I was younger and I'd see a Muslim person wearing a headscarf I always used to think 'Wow they must be so good and religious'. But then I realized this isn't the case.

Just because you look the part doesn't mean you act the part. It doesn't make them a better Muslim than me. This is what my piece 'salat' is about. It's about the perception of Muslims and what makes a 'good' Muslim - those layers or truths that are hidden underneath.

BS: Your piece, Signs, also seems to have a feminist quality to it. The piece depicts three different versions of you: Traditional, Sexual, and Professional. These three images come together to demand questions about gender equality in the workforce and in society as a whole. You've mentioned that your work is mostly focused on the Muslim female experience. However, would you say that images like this set a universal message as to how women are seen within the context of society... and the challenges they face equally no matter what their background is? The fact that women are often held back due to their sex...

SM: Yes. When I thought up this work it was because I was thinking about how some men gain respect for just being men. Like an automatic advantage. It's like that in the Asian culture- the man is often treated like a king! But then I felt a little of this attitude was going on in art school- subconsciously.

I thought to myself 'if I want to be an artist, it would be much better if I was a man' - like this instant respect. And in this work I am acknowledging this. I know I am guilty of it too - most of my favorite people are men. It would be great to have a penis!

BS: One interesting aspect of your work is the fact that it deals with very serious issues in a humorous manner. Your conceptual ideas reveal a light-hearted and tongue-in-cheek approach that is very playful. Why do you think so many people miss the humor in your work?

SM: I think it's because they think I am taking the piss in a spiteful way, which I'm not. I just think humour is the ultimate way to make a point and that's why my work is very light hearted. But saying this I think it has to be an intelligent joke- not just prattling around for the sake of it. I like a clever joke that makes you think and that is what I aim to do.

One person wrote to me in a rage about my work and they didn't even realise I was Muslim. I have no respect for people like that because what's the point in taking the time to write to someone to insult them, but not take the time to first find out why I'm doing what I'm doing. Surely if it had offended them so much they would have clicked on my art statement to see what I had to say for myself.

That is the only case of complaint though, so far people have been so supportive of me which I really appreciate.

BS: Sarah, you are going to be exhibiting with the Saatchi Gallery, correct? I understand that you are one of 20 shortlisted students who have been invited to show work in an exhibition in London during the week of the Frieze Art Fair. Out of the 20, four winners will be selected to make a work of art in response to the theme: THE WORLD IN 25 YEARS. The show is sponsored by The Saatchi Gallery and Channel 4... it is called 4 New Sensations. Can you tell our readers how you found out that you had been selected as one of the 20? Also, if you end up being a finalist... what do you plan to do for the 'THE WORLD IN 25 YEARS' piece? Have you been mapping out what you will do... or are you just letting things ride for now, so to speak?

SM: Well I am very excited to tell you that I am one of the final four. I haven't been able to tell any local press etc yet because of various arrangements Saatchi have. But it's extremely exciting indeed.

My work is going to be a poster campaign - four posters in total. But I can't reveal anything until the work is done or it'll ruin the fun!

BS: Have you sought gallery representation yet?

SM: Not exactly. I'm talking to people but nothing has materialised just yet. It's very early on in my career and I want to agree on the right arrangement for me at this point.

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

SM: It's all very 'mwah mwah lovely darling' isn't it! It's a shame I can't take advantage of all the free wine at private views!

I hope that you have enjoyed my interview with Sarah Maple. You can view more of Sarah's art by visiting her website: www.sarahmaple.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lala Meredith-Vula

Lala Meredith-Vula was born in Sarajevo and moved to England in 1970. She attended Trent University, Nottingham(1984-/85) and Goldsmiths College (1985-88), then the University of Pristina, Kosovo, for postgraduate studies. In 1988 she was one of the exhibitors in the seminal Young British Artists (YBA) show 'Freeze', organized by Damien Hirst. Since then she has exhibited internationally and has been a strong advocate for art education.

Lala has lectured at various colleges in the UK, US and Kosovo. She established the first Department of Photography at the Academy of Art, University of Tirana, Albania. Sponsored by Kodak, Pentax the George Soros Foundation and the British Council. Her students subsequently produced the photographs illustrating the 1995 Soros Foundation Annual Report.


Brian Sherwin: Lala, you often focus on doing a series of photographs. You did a series in Kosovo showing Albanian farmers' haystacks, a series of photographs of women in Turkish baths, and a series showing women standing and moving beneath the surface of water. How do you decide on a theme for a series?

Lala Meredith-Vula: When I visit a place, I use sketchbooks to record ideas as well as taking digital test shots. From this collection of material, I find the subject which has inspired me the most from which I could create a series.

BS: For people who are not familiar with your work- can you go into detail about what you are trying to convey with your photographs? What are the social implications in your work? Is their a form of 'social commentary' that goes beyond the image itself?

LMV: When a subject has inspired me I hope to record it in a way which will inspire other people to see its visual beauty. It reflects my feelings and emotions and I hope to convey these to others in my work. There is no specific “social” agenda but as a half-Kosovar British artist and using these strands of my life, a social dimension can be observed.

BS: Lala, you are associated with the Young British Artists (YBAs). What was it like exhibiting with other YBAs- such as Damien Hirst? Can you share any experiences you had with this group of creative individuals?

LMV: I shared a studio with a group of students which included Damien Hirst in my final year at Goldsmiths’. It was interesting being involved with this group and taking part in “Freeze”. It was an experience to be with this group and part of history. One abiding memory was when all us artists had to paint the building – space ourselves before we could put up the exhibits.

BS: In 1995 you set up the first photography department at the University of Tirana (Albania) and in 2000 a photography department at Pristina University. What was that experience like?

LMV: It was a privilege and an exhilarating experience to make a difference to people’s lives. I brought the materials and the equipment, trained the students and saw the results.

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

LMV: The Art Foundation course at age 18 was the beginning of my desire to become an artist.

BS: Can you share some of your philosophy about art and artistic creation?

LMV: Any artistic creation is the result of the combination of so many factors: the artist’s predisposition to be passionate about a subject and desire to communicate this, in whatever form is paramount; a great deal of hard work and preparation; to remain true to yourself, as you perceive this truth.

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

LMV: My last exhibition in Kosova, this year in May was the biggest space I had been offered; the best media coverage and I feel, the best work I have produced so far.

BS: 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?

LMV: A glass of fine red wine.

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

LMV: I love the haystack photograph with Pristina bus station below it. It has both humorous connotations and aesthetic appeal. When I first photographed it, I thought it conveyed contradictions and contrasts we all experience now.

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

LMV: I use photography because it is a quick way of recording moments around me.

BS: Where can we see more of your art?

LMV: Arts Council Collection, Website, and new exhibitions in London and Leicester, details to be posted on website.

BS: Are you represented by a gallery? Do you have any upcoming exhibits?

LMV: I am represented by Alberto Peola Gallery in Turin, Italy.

BS: Any tips for emerging artists?

LMV: Work hard; be true to yourself.

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

LMV: In America and Australia people have found that the nude series is often censored from my website. I feel helpless and just laugh about it.

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

LMV: No, I have been lucky.. I have a very supportive family and friends.

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

LMV: I teach at De Montfort University, Leicester and notice that video art has become more dominant in the last few years.

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

LMV: I would like a wider audience to be brought into the art world to be uplifted, appreciate and enjoy the visual beauty it has to offer.

I hope that you have enjoyed my interview with Lala Meredith-Vula. You can learn more about Lala and her art by visiting her website: www.lalameredithvula.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Laurie Lipton

Laurie Lipton was born in New York. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). She has lived in Holland, Belgium, Germany and France and has made her home in London since 1986.

Inspired by the hyper-realistic paintings of the 15th-Century Flemish masters, Laurie's drawings are known for their intense detail. In a sense, pencils are her paint and paper is her canvas. Her work is smooth and appears to be almost photographic at first glance. However, a closer look reveals the intricate detail of her work. From thousands upon thousands of distinct, precise, cross-hatched pencil-strokes, Laurie builds up rich, monochrome tones. It is rare to find an artist who can draw as she does- I consider her to be a contemporary master.

Laurie's art has been exhibited internationally and has been widely published and documented- including Juxtapoz magazine and the book 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists'- by Jon Beinart.

Brian Sherwin: Laurie, can you go into detail about your youth? Can you recall any experiences that helped to guide you to where you are today with your art?

Laurie Lipton: My father used to take my brother and I to museums on Sundays so my mother could have the day to herself. I was enthralled, especially by the religious paintings. I wondered how the artists managed to create such beautifully detailed worlds. I thought it was the most magical thing I'd ever seen, and used to stand in front of a painting for hours, trying to burn it into my eyeballs so that I'd never forget it.

I begged for art supplies and used to sit in my bedroom for hours painting and drawing. My mother was quite worried about me and wanted me to go out and play with other children.

BS: Laurie, you were the first person to graduate from the Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). Can you tell our readers about the art program there? Who were your mentors?

LL: A professor called Herb Olds inspired me when I was a freshman at CMU to see objects as forms caressed by light. He taught my eyes to see differently. He also showed me how to use the composition of a whole page and how important each mark was. Otherwise..... I was bored. Everyone was splashing paint everywhere. So what?

BS: While in college you desired to paint like the 17th century Flemish Master, but no one could teach you. You took it upon yourself to study Durer, Memling and Van Eyck- cutting classes in order to copy their works at the university library. Can you go into detail about how you learned to draw in a manner that captured as much detail, if not more, than you could have done had your learned to paint in this manner?

LL: I was one of 3 students who were allowed to spend their Junior Year Abroad just traveling around Europe. It was an experiment CMU tried with us. At the end of the year, we were supposed to present a portfolio to the faculty and get a year's credit. They had to end the program with us, however, as the entire Junior year class wanted to leave and travel around Europe.... so we were the only ones who got to have the experience. It changed my life. When I saw Memling, Durer, Van Eyck, Michelangelo, Da Vinci in the flesh I felt as though I had seen a part of God. I know that sounds very dramatic, but that's how moved I was.

At first it depressed the shit out of me: how could I possibly hope to create anything near to those works of genius? and if I can't, why bother? Then I reasoned that I am not Da Vinci, Memling, Van Eyck, etc. I am Laurie Lipton....... and if I can somehow touch/leave behind my essence, my Laurie Liptoness, then I'll have done something unique with my talent.

I went back to the States to finish my year at University and worked so hard that I almost had a nervous breakdown. I didn't care. It was as if I was on fire. I went to classes in order to get my grades, but stayed up all night drawing. I was a wreck and looked like a zombie, but by the end of the term I had my own Liptonesque vision and unique technique.

BS: I've read that you see your pencils as "colours" and that "no one in their right mind would have the patience to draw in this way, which is why it works for me so well.". Would you say that your method is a mix of pleasure and pain? What reactions do you get when people discover how long you spend on your drawings?

LL: I am not a masochist. My work is pure pleasure. I am pleased by people's reactions to my work. It's hard to tell when you see photos of my drawings, but when you are actually standing in front of one, you can see all the zillions of little lines I've used to make the picture. It's very impressive. Even I'm impressed.

BS: Laurie, you were also inspired by Diane Arbus and her use of black and white. Can you go into detail about how she inspired you?

LL: I came across Arbus' work when I was a teenager and felt an instant affinity with her and her vision. Her use of black and white was a revelation to me. It made the subject matter even more bizarre and disturbing. The viewer wasn't being distracted by colors. Nothing got in the way of the image. Her grays were a stark, frozen almost nightmarish palette. I experimented with it and found that it was exactly what my imagination needed.

BS: What else has inspired or influenced your art? I've noticed that several of your pieces seem to draw inspiration from the traditions of Mexico... can you go into further detail about these influences?

LL: I think in images. My emotions get filtered in my brain and come out as images.

I was taken to the Day of the Dead festival in Mexico and was amazed. What a different approach to mortality! My culture tries to ignore death and aging. If you get old or die you're considered a loser. People spend billions on keeping death at bay. In Mexico, however, it was celebrated, embraced, made fun of. What a relief. I've experienced the deaths of many people that I loved, so I found the Day of the Dead a good playground for my repressed emotions.

BS: Laurie, you were born in New York... since that time you have lived in Holland, Belgium, Germany and France- you now reside in London. How has your travels enhanced your art? I will assume that each location has had an influence on your work.

LL: What a complex question! Well... just by leaving my "Comfort Zone" (as they say) and putting myself in a new situation and new culture, I was able to expand my life and reality. It not only enhanced my art, it enriched my life. When everything is new and unpredictable, even the language, it wakes you up. You become aware of everything.... street signs, shops, clothing, everything.

Leaving your country of origin also gives you a unique, outsider's view of your home. I always felt like an outsider, but actually being one has helped me to see things differently, more objectively, in the USA.

BS: Laurie, you have been featured in Juxtapoz and your work can be found in 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists' published by Jon Beinart. How do you feel when your work is reviewed or featured in a publication? Do you get excited? Nervous?

LL: I have been doing this for 30 years now so I'm a bit jaded, though it's always nice to be appreciated and noticed.

BS: What are you working on at this time? Also, can you tell our readers about your studio space? What are the conditions you need for working? Do certain types of music inspire you... do you prefer to have company when your working- or do you like to work alone? Give us the details.

LL: I live alone and work on an architect's table. I always put headphones on to cut out the outside world. I blast music all day, from opera to blues to folk to rock.... it depends on the mood I'm in.

I'm working on a 2nd Day of the Dead show for the CoproNason gallery in Los Angeles for October 2008. I have also just signed up with the Strychnin Gallery and have several group shows with them, as well as a solo show in Madrid this October inspired by the work of Goya.

You can see where and when my shows are on my website: www.laurielipton.com

BS: Laurie, do you think you will ever put the pencils away in exchange for paint or some other medium to focus upon? Or do you see yourself drawing until the day you die?

LL: I have painted. I have worked with sculpture. I have done lithography and etchings. I will draw till the day I die. Hopefully.

BS: Do you have any suggestions or advice for artists who have chosen to focus on drawing? What kind of pencils do you use? Can you suggest a certain brand? What about advice for artists in general? Any suggestions for emerging artists who are just starting out?

LL: The only advice I have to give artists just starting out is this: work. Work. Work. Experiment with all the pencils and papers you can find and see what fits you best. The more you work, the more you try, the better you'll be. It's simple. There are no short cuts. If there were, I would have found them by now.

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

LL: No thank you, Brian. I think that just about covers it all.

You can learn more about Laurie and her art by visiting her website: www.laurielipton.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Laurie 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: Nancy Baker

Nancy Baker was born and raised in Brooklyn, NY and received a BFA from the School of Visual Arts in NYC. Nancy maintains an artblog called Tireshop, and is a team member on the Anonymous Female Artist artblog- she speaks out for gender equality in the artworld.

As for Nancy's art, Luis Camnitzer said it best: "Over the years Baker’s work has shown her knack for what looks like a perilous travel on the borderline of kitsch. Though this line is a swampy one, she managed to give the feeling of being perched up somewhere, her feet remaining clean, and still stomping with assertion. Kitsch, for her, seemed not just an exploration of dubious taste. The enterprise was also about play with forbidden taste, subversion of highbrow arrogance, poking the provincial attitudes of hegemony that determine and separate the good and valid from the bad and invalid.

Baker is and always has been a really good painter, an academic painter who at the same time keeps a critical distance from academic painting. Or maybe, a non-academic painter who, in her wish to poke her finger in the wrong places, fakes academic painting. She manages to have it both ways, doing impeccable work and also making fun of it. In this way she effectively blurs the division between art and kitsch, but not completely letting on which of both she is enriching."



Brian Sherwin: Nancy, you graduated with a BFA from the School of Visual Arts in NYC. Who were your mentors at that time? Also, how important of a role did your education play upon graduation?

Nancy Baker: SVA has become one of the name brand, prestige art schools. It wasn’t when I went; although it had a great reputation for being a truly professional art school, preparing artists for careers in the arts. Most art colleges emphasized a more structured academic approach, while SVA launched their students directly into the New York art world snake pit. A lot of it was pretty wild. That was in the days when it was okay for the faculty to date their students, or invite us up to their lofts for a hit on the bong.. One of my 3D design projects with artist Steve Gianakos was to design and create a water pipe. I got an A.

No one followed the rules too much. I never did any figure drawing in college, because my drawing class voted against it. I also learned how to paint after I left college.

Joseph Kosuth had a big impact on my work, probably because I thought he was such a pompous ass, and I was determined to do the opposite of what he suggested. Brice Marden, Robert Ryman, Marcia Tucker, Bill Anastasi were there, but my mentor was Michael Lowe, a wonderful painter, and a wonderful man.

BS: I understand that you maintain a studio known as The Tireshop... and that you've had a few exhibits there. Can you tell our readers about this space?

NB: I live in Raleigh NC. There’s a dearth of interesting, contemporary art in this city, so instead of getting all whiney and bummed about it, I opened a small white box space street level gallery, right next to a popular hipster bar. We had our own little island of cool. My own studio is in the same building, but separate from the gallery. I’ve curated a lot of shows, and I have invited other curators to install exhibitions there as well. Deconstructing Santa was my favorite exhibit. (Santa is big in the south: it needed serious deconstructing). Ephemera was an exhibit that required the artist to work in materials that changed or decomposed. Luis Camnitzer, the New York artists had a wonderful installation at the Tire Shop. I recently moved from this space to a more secluded location, and have been concentrating more on my own work.

BS: You also maintain an artblog called Tireshop... you are a team member on the Anonymous Female Artist blog. Your moniker is Rebel Belle. Can you tell our readers about these two blog?

NB: Anonymous Female Artist(www.anonymousfemaleartist.blogspot.com) was created by Edna V. Harris. Edna is a fictitious persona, but she does exist and she is an artist. The blog focuses on the inequality of female representation in New York art galleries and art institutions. "Edna" invited me to be a team member two years ago.

When I had a solo show in NYC, only 13% of all exhibitions were girl shows. If you don’t believe me, ask art critic Jerry Saltz. (New York Magazine) Mostly everyone posts comments anonymously in order to avoid unpleasant professional consequences from the male dominated art world; except for me, because I enjoy watching the air rush out of my rapidly deflating career.

Tire Shop (www.tireshop.blogspot.com) is my personal blog, where I bitch and moan about personal art stuff.

BS: So, you would say that there is still a form of gender equality in the art world? Can you share some of your experiences in regards to this issue? Also, do you think there will ever come a time when art is seen for what it is instead of who created it?

NB: The gender equality in the art world in short, SUCKS. There are so many galleries that have one or two women out of a roster of twenty artists. No one feels the need to explain or defend this, the arrogance is monumental. I suppose women are left to assume that we are just crappy artists, when in fact a lot of this is driven by the fact that collectors think men’s art appreciates in value at a higher rate. This is all about the MONEY. I didn’t sign up for this as an artist. I’m still kind of stunned by the hedge fund mentality of the art world. Everyone’s waiting for the whole thing to collapse, and collapse it will.

BS: In regards to museums and gallery spaces that are used to only display the work of female artists- do you think that these ventures actually further the divide? Or do they open the door toward gender equality in the art world? I've spoke with a few artists (who happen to be female) who feel that said spaces are a "step back" in the direction that art should be going. What do you think?

NB: Louise Nevelson was once invited to be in an all woman artist’s show. She declined, saying that she was an artist, not a woman artist. I have mixed feelings on this. There are a lot of girl shows going on right now, and they are thematically based on bringing attention to this inequality.

Mery Lynn McCorkle put together, Pillow Talk at Ruth Bachofner, LA and Carole Cole curated "What F Word" at Cynthia Broan in NYC. Femme Fantastique will open at Volitant Gallery, Austin, in September. (I have been invited to exhibit in some of these shows and I am happy to participate). The new Elizabeth Sackler Center for Feminist Art at the Brooklyn Museum is a good beginning, and the WACK show at MOCA in LA was really important.

I think the issue here is fundamentally about being marginalized. As working artists, women want to participate in the big game and enjoy the same compensations as the boys. We don’t want our own separate island of vaginal values. Separate but equal is a big lie.

BS: You believe that solipsism is the best strategy for survival. Can you go into further detail about your philosophical position and how it relates to your art?

NB: "My mind is the only thing that exists". This keeps me from going crazy. I don’t want to obsessively wonder about what everyone else is doing or making out there. Of course this is my own special interpretation of solipsism. A severe Narcissistic disorder is probably in there too, as well.

BS: Your work seems to be directly linked to early European paintings that involved battles... yet you give these scenes a modern twist by adding spaceships. Is this a way of stating that we- contemporary society- are creating our own myths and legends just as people had done in the past. The dragon has been replaced with a little green man, so to speak?

NB: Yes. You are dead on.

BS: Cartoon characters, such as Casper the Ghost, have been known to enter your work as well. Why do you choose these characters for you work? Or should I say... how do you decide which character to use?

NB: I have a huge inventory of images on my computer. I collect images compulsively. A lot of selection is intuitive, guided by some intenful thought. The cartoon characters have a kitschy sentimental iconography for me. They are signifiers of a time and place; American, mid century, hegemonistic global power. I’m very nostalgic. Art is always informed by personal experience.

BS: Name three problems you see with the art world today. How can these issues be resolved?

NB: Money, money, money. When the revolution comes, gonna be no more limousines. Seriously, we’re talking about such a huge machine, powered by so much greed, it will be fun to watch the collapse. When a guy like Damien Hirst can make an arrogant piece of shit thing encrusted with diamonds, you know the end is coming.

Art money used to be an oxymoron. I guess it’s naive to think that artists will continue to take a vow of poverty, when there is so much money out there. They deserve a piece of the action. And good work is being done, in spite of all the craziness. Art will go on, funded or unfunded.

BS: Nancy, I read that you are represented by the Winkleman Gallery in NYC. Is that so? Are you represented by other galleries? Where can our readers find your art?

NB: I’m not with Winkleman anymore. I’m too old for them now. I’m over thirty five.

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

NB: Viva Las Vegas.

I hope that you have enjoyed my interview with Nancy Baker. You can learn more about Nancy and her art by visiting her website: www.nancysbaker.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kathy Goodell

Kathy Goodell is a former West Coast artist now living in New York. Kathy's multi-media sculptures (glass, wood, copper, steel, fabric and magnifying lenses) and works on paper have earned her rave reviews with art critics. Her exhibits often consist of floor and suspended pieces- as well as drawings.

Peggy Cyphers, art critic of Arts magazine, has said of her work,"(her sculptures are) ethereal in their implication of a space that is inhabited by the unseen, matter which looks to have left its skeletal structure for a new form. Baroque and constructivist devices merge in Goodell's works, their efficacious natures obsessively hand-made and exacting in their symmetry and biological patterning."

Goodell has had numerous one-person and group exhibitions. She has also been the recipient of numerous grants and awards, including a Pollock-Krasner Foundation Grant, two from the National Endowment for the Arts, and two from The New York Foundation for the Arts. Goodell currently teaches studio art at SUNY.


Brian Sherwin: Kathy, where did you study art? Who were your mentors at that time? Also, when and why did you decide that art was your calling, so to speak?

Kathy Goodell: My first couple of years were spent at Sacramento State University. It was near my home, so I was able to live at home for a year or two, to reduce expenses. I studied with the painter Jim Nutt, who was there for a three year teaching position. I had several teachers, some from the San Francisco Bay Area, that were inspiring, but Mr. Nutt possessed qualities that I found compelling and life changing, to me, as a student.His involvement with his art was devotional and nearing obsession. I felt this and saw my commitment needed to be fully engaged if it was to be at all.

In my third year of college I decided to transfer to The San Francisco Art institute. It was a great time for the institute and studying art. We had free tuition to third world students, so it was a multi-cultural environment, and very cross- disciplinary, as well. The film archives were located on campus with weekly films open to the public. Poets regularly came to our seminars to discuss our work as well as their own work.

Gregory Corso was a regular, and several other beat poets. Also, the Anthropologist Gregory Bateson, who regularly was a professor at Stanford, taught a course or two. I took one in which he brought a lobster claw to the first day of class, and said we would spend the entire semester talking about how we could tell that it had once been alive. I still think about that class-it was pivotal on many levels. The light show impresario, and artist Bruce Conner was a mentor, as was the painter, Jay Defeo.

My first gallery representation was when I was 21, at the Berkeley Gallery, an artists cooperative gallery in San Francisco, which included, Jay Defeo, Bruce Conner, Judith Linhares, Joan Brown, and Robert Crumb. The process of joining the gallery was by nomination, and then a vote by all the membership. It was a great experience-we were not in competition with each other but in support, and there were strong friendships made and some of those bonds are still there.

When I was a child, at about the age of ten, I began to feel a powerful sense of wonder in regards to the natural world. I think I gradually began to realize that my questions about why things were as they appeared to be, couldn’t be answered satisfactorily by others. Then when I began to attend college I took a class in far eastern philosophy concurrent with my art courses. My interest in becoming an artist became clear. I accepted that it was the place for me to work out my inquisitive nature.

I liked that art was like an envelope for all of ones interests. Nothing is irrelevant- it can all exist together. So, I could take my interests in biology, philosophy, music, and it could all affect my work in a profound manner. I consider my work a poetic visual questioning.

BS: Kathy, I notice that you've won several impressive grants, awards, and residencies. You have obtained a Pollock-Krasner Foundation Grant in the past for Sculpture and you have also obtained fellowships from the National Endowment for the Arts. Do you have any suggestions for emerging artists who are seeking awards and grants? Any tips for placing their best foot forward?

KG: My advice would be to stay steadfast in your goals and interests as an artist, in spite of fashion. To trust in your individual instincts, and avoid distractions. The images you present are of course critical. Learn how the work is best photographed. How does your vision project. This is especially critical for sculpture. It is much more difficult to capture. And have patience with yourself.

BS: Your drawings often take on a biomorphic form... they seem alien in their design. The same can be said for your sculptures in that they look like artifacts from another world or time. I'm interested to know what influences your work. Can you tell our readers where these ideas stem from? Do you have an interest in science? Do you dream of other worlds?

KG: It is curious that my drawings, or the particular drawings that you speak of, seem to appear alien. The drawings began with my curiosity to magnify the unseen. I began to look through the microscope at cellular structure, from either my own body or plant life-and then I drew them through magnifying goggles. My scientific examination wasn’t really that scholarly as my imagination tended to take hold and subvert any accuracy.

What attracted me to the lens of the microscope, or in fact to my uses of lenses in general, is that it signifies time, looking into our deep past or our subconscious. I then stopped looking outward and used chance and stream of conscious structural elaboration to evolve the drawings. They almost make themselves out of a trance state. In both the sculpture and the drawings, I want the work to be palpable, to have a life force of its own. I have a desire to transform our perceptions.

There are both references to the Modern and the Archaic in my work. This longing for the Archaic shows itself in a search for certain values abandoned by Industrial Machine Age; the handmade and a regard for form. The Modern aspects of my work regard a desire to implode form, for both form and its dissolution to exist simultaneously. I think I search out inner worlds and unseen worlds.

I am interested in the links between the macrocosm and the microcosm, in how structures grow, how entities relate. I am interested in fleeting forms, perception and the penetration of inner unconscious spaces. I am primarily interested in the revelatory experience. My interest in lenses, glass, fluids, reflects my attraction to optics, how space becomes amplified or imploded. Water, fluids, mercurial surfaces represent the unconscious, memory, depth of emotion, and the transitory nature of the physical world.

BS: Kathy, your sculpture installations sometimes involve hanging pieces. Observers bump into them or move awkwardly around them (fulfilling Ad Reinhardt's definition of sculpture). Is it one of your goals to challenge the conditioned view of what a sculpture can be? We, as a society, are often taught to look and not touch as far as art is concerned... why do you challenge this notion with your sculptures?

KG: I am not setting out to challenge the conditioned view but fulfilling my interests related to gravity and viewpoint, and the ‘gut’ relationship to our bodies. Sometimes a piece is meant to move freely and occupy the air space, and then it is suspended. I’ve always resisted the pedestal, because I feel the pedestal itself is a dominant form and can compete or merge with the form that sits on it. I prefer the floor to the pedestal as it is an architectural support more than a form.

BS: I've read that you were involved with an artists' colony. Can you describe that experience?

KG: Yes-I went to Costa Rica a little more than a year ago. I was interested in the volcanoes, especially, but also the cloud forest. I did a piece before going, called ‘sounding’-a big green void made from stacked and etched glass. The void in the center is indistinct, varying with the light and draws you in but leaves you desiring because the surfaces are different but so close.

When I went to Costa Rica I took a trip with the other artists to ‘Arenal’-a majestic place-a massive volcano filled with green fluid the color of an emerald one moment and then pea soup the next. We stayed and watched the light change and the fog drift into the hole-it would merge with the fluid in the crater and really mess with ones perception. It is at an elevation of 12,000 feet. My time at the residency, the entire month, was speckled with revelatory experiences.

I traveled about one fourth of the time and the rest I spent making work in the private cabana’s that were provided us. We would have group dinners often. It was beautiful weather and I was able to work outside and escape February in New York. There were seven artists in total and a few of us remain in contact still.

BS: Kathy, you have shown steadily since the 1970s. Which exhibits have stood out in your mind? Or are they all equally important? Also, do you have any suggestions for emerging artists in regards to exhibiting? Sometimes the hardest obstacle for a young artist is to obtain his or her first solo exhibit. Should emerging artists show anywhere and everywhere? Or is it an issue of quality over quantity as far as exhibits are concerned?

KG: My first few solo shows were very exciting, of course, nerve racking also. But it is really a thrill to have total control over a space and when you are just beginning to exhibit and probably coming from working in a relatively small space, as a young artist . It is really empowering. For myself, I am always excited about future possibilities for exhibitions, and I think most artists would tell you that.

I would suggest that young artists avoid showing in restaurants and coffee houses. Food always wins over and the audience is not focused on the art. I would suggest looking for alternative spaces run by artists. There are many, all across the country, run by committed teams of artists and arts administrators that are devoted, appreciative, and who have a vision.

Look for listings, open calls for submissions, and then check out their websites to see the spaces or past shows. It is a good place to begin. Showing everywhere just to be s howing. isn’t necessarily going to produce the best experiences.

BS: A few months ago I had an interview with Norman Carlberg. I'm curious, was he an influence? Did you study his work?

KG: I loved that interview and really his work is quite beautiful but as a young artist I was influenced by a group of artists (the Arte Povera movement) that were more interested in materials and processes and breaking away from a focus on form.

I believe it was a necessary move for sculptors beginning to work in the seventies-to break away from the Brancusi dominance. There was a sense of freedom to invent with new materials, and to use the architecture of the room in fresh ways. And as a woman artist I wanted to break away from male dominated forms, like the forging of steel that my teachers were doing. Not that woman are not capable of these modes, but we were out to discover our own vocabulary.

Early Lee Bontecou, Eva Hesse, Janis Kounnellis, Mario Merz, Kurt Schwitters, Calder, could be considered influences.

BS: Your career has been well documented. Articles about you can be found in publications like ARTnews and The New York Times. How do you feel when your work is recognized in this manner? Do you handle the press well?

KG: I like hearing what others have to say. An artist friend of mine often said there is no publicity that is bad. I am not sure I agree with that assessment. But I do enjoy getting feedback especially if there is a new point of view that I hadn’t recognized before.

BS: Kathy, what are you working on at this time? Can you reveal any insight into your future plans?

KG: I am continuing to develop stacked forms made from glass which is acid etched or treated in other manners, such as leafed, and which contain a void within them and are porous, so that the light is a crucial factor. I plan on working these stacks in other materials, and developing new ways of holding voids in space. Water is ever present in my mind, for the parallels with our subconscious and its healing qualities.

I’m also working on some new drawings which relate to the sculptures as they utilize geometry, and the flow of water to create an organic presence. They are helpful in finding new forms for sculpture but exist as self evolving entities, also.

BS: Do you have any exhibitions lined up? Also, where can our readers see more of your art?

KG: Yes-my drawings are presently being exhibited at the Turchin Center for the Arts, in Boone, North Carolina.. the exhibition is called the halpert biennial and I won the first place award.

In September I will have a drawing installation at the Aferro Gallery in Newark, New Jersey and also opening on September 1-a sculpture will be exhibited in a seven person show at The Alpan Gallery in Huntington, New York... I have some other shows pending and then in January I will have a large piece at Connecticut College, entitled in an exhibition entitled “The Object in View: Considering Light and Image.

This exhibit is particularly exciting because the context is a subject matter of primary interest to me, and the other artists are simpatico with my work. Most of the work includes, movement, light, or lenses and spans sculpture, animation, installation with film. It should be a magical show.

The viewers can see a selection of my work, spanning 1977 to the present, on my website- www.kathygoodell.com

BS: Finally, do you have anything else you would like to say about your art or the artworld?

KG: Just that the wonder is still there!

I hope that you have enjoyed learning about Kathy Goodell and her art. Again, you can learn more about her work by visiting her site: www.kathygoodell.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Amy Sol

Amy Sol is a Korean-born/Las Vegas- based artist. Her paintings depict Asian inspired themes with a contemporary edge. Known for having a trance-like quality, Amy's soft-toned paintings of sleepy-eyed girls and beast-friends transport the viewer into her imaginary world. You can learn more about Amy Sol by visiting her website: www.amysol.com


Brian Sherwin: Amy, You spent much of your childhood in Korea. Can you go into detail about specific Korean traditions or customs that inspire your work? Do your images depict stories of your childhood? Or do you create your own stories with your art?

Amy Sol: The people, customs and nature of South Korea have certainly left curious impressions on me. Though... I would not say my work is directly related to one particular culture because I've been exposed to such a variety. Bits of everything, this and that seem interspersed throughout. I feel most comfortable when the work builds itself in a nonlinear fashion, sort of like a daydream and can be interpreted subjectively.


BS: Amy, the style of your work is greatly influenced by a combination of manga, folk-art, vintage illustration and modern design... however, you are a self-taught artist. You taught yourself to mix pigments and mediums to achieve a unique color palette of subtly muted tones. Why did you decide not to have a formal education in art?

AS: School is a good thing for those who are seeking it. I truly believe if a person desires an education from school and posses a great passion for it they will benefit the most. I also believe the same for those who seek to learn independently, all you need is to put the effort behind anything to achieve it. I owe much to the studying of traditional methods such as life drawing and color theory, though I choose to put most of my energy into developing techniques that work ideally to translate my visions.


BS: Amy, I've read that you find inspiration in the desert- having lived in Las Vegas. Can you go into detail about how the desert has inspired you? What is the link between your work and nature?

AS: I am very familiar with the desert, the quietness offers an open canvas to my imagination. Walking through a silent desert at night, under a full ceiling of stars is extremely transporting - and also my favorite pastime. My interpretation of the city itself isn't flattering... all I can say is it's a great place for a hermit like me.

BS: Can you name some artists who have inspired you? Are you influenced by any artists from the past?

AS: I think I owe much of my own development to illustrators who have grabbed hold of my imagination as a child. The late 1800's to early 1900's artists like Jessie Willcox Smith, Charles Robinson, and Kay Nielsen are among my favorites. I am intrigued by the mysterious, tapestry like illustrations and the way they perfectly interpret the lushness and karmic magic of folk-tales.


BS: Amy, you work on wooden panels instead of a canvas surface. Why do you prefer wooden panels over canvas? Also, can you describe your process? How do you start a painting?

AS: I think I prefer the wood panel because I've developed a psychological attachment to it. In my case, working with wood is an experience of it's own because of the complications involved. Most of the time, the work is developed and changed by the pattern, flow, and color of the grain and it's a concentrated and delicate process. I feel that wood is a precious thing and it can't be wasted. This seems to add or force more sincerity on my part. Before I begin working on a panel I size it with a clear water based compound to prevent acid wear on the paints. Then I begin working immediately or use a study that I intended for the panel as reference. I do not know if every work I do in the future will be on wood.. but for now I love it, its grown on me.

BS: Can you describe a typical studio session? Do you listen to certain types of music while working? What are your 'studio habits'? Do you have a routine, or do you go where the paintings take you, so to speak?

AS: My typical studio session lasts all day or night rather. I wake up in the evening when its cooler outside and work until around mid-morning. I take a look at everything in natural light and make mental notes before I go to sleep. I find that self discipline works much better on me when I follow ritual-like routines. I usually work 12 hours + a day with little tea breaks in-between and a walk. I always have sound going in the background, anything that can stimulate my mind a little. It's usually whatever record I'm hooked on for the week, science podcasts, or an audio book.


BS: Your first show was at Cannibal Flower [in L.A.]. Cannibal Flower is known for showing greats works by Chet Zar and other pop-surrealists. How did this show come into being? In other words, how did you learn about Cannibal Flower and at what point did you decide that you desired to exhibit there?

AS: I have to look back at all my e-mail messages and see how it played out, hehe. I was in contact with LC the director/ founder of the Cannibal Flower collective and drove all the way into town (LA) to drop off my painting. He ended up purchasing it and was very supportive of my work. Because it was one of the first, very few times to share my work outside of local galleries, I was very nervous. To my fortune, he was incredibly sweet and funny. LC is one of the most generous persons I've ever met and he's full of genuine humor.

BS: Amy, your first invitation to have a solo show came from the Copro Nason Gallery in Santa Monica. Can you recall how you felt when the gallery invited you to exhibit?

AS: The director of the gallery contacted me through the internet on myspace. I talked with him over the phone shortly after and felt incredibly lucky when he offered me a solo exhibit.


BS: You had your first New York solo exhibit in March at the Aidan Savoy Gallery. The exhibit was titled "The Most Blissful Sorrow". What themes did you tackle with this exhibit? Also, did the New York scene embrace your art? Were you nervous?

AS: Whenever I title a body of work, it randomly materializes in my mind and when "blissful sorrow" appeared it seemed right. I asked the gallery permission and advice for the idea and it was approved. I was very scared about exhibiting in New York. After being cooped up for so many months working alone and then having to present everything in a place I was completely unfamiliar with, it made for difficult sleep a few nights before. The young ladies who operate the gallery were very personable and friendly, it made the whole experience surprisingly easy.

BS: What are some other themes that you deal with in your work? Can you go into detail about your artistic philosophy?

AS: I think every painting represents a part of something whole but I have yet to determine what it is or if it is. There are so many things that I love in life and in nature and these are what primarily drive me to create. Everyday new things present themselves in waking life and in dreams, and they are waiting in line to be part of a new painting.


(www.hifructose.com)

BS: Amy, I understand that you were featured in Juxtapoz Magazine. Also, your art is on the cover of Hi Fructose (Volume V). What have those experiences been like? Did you ever expect your work to be embraced as it has been?

AS: I am surprised and very grateful for the invitations to publish my work. I feel eternally obligated, even indebted to those who support my work. I am thankful each day. Through creating I find the greatest source of adventure, enlightenment, and sense of being.

BS: Do you have any upcoming exhibits? Also, where can our readers view more of your art?

AS: This year 2007, I am participating in two group showings with Roq La Rue gallery of Seattle-Washington, and Lineage Gallery of Philadelphia. 2008 and 09 I will be focusing on two exhibits per year. I update my website as often as I can.

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

AS: Umm, I think I said enough myself.. the artworld is something I am yet in the process of discovering. Thanks Brian, for taking the time to ask such thoughtful questions.

I hope you have enjoyed learning about Amy Sol and her art. Feel free to leave a comment for Amy. Also, be sure to check out other interviews by clicking on the following link- www.myartspace.com/interviews/

Take care, Stay true,

Brian Sherwin

Sign up for the Weekly Featured Art Edition

The myartspace Weekly Featured Art Edition is an "opt-in" only publication. Sign up for it and you will receive a new edition each week. I will also be posting links to new editions on the blog.

Weekly Featured Art Edition

Take care, Stay true,

Brian Sherwin

Art Space Talk: Martin Greenland

Martin Greenland is an explorer of the landscape- both real and invented. In his paintings he explores the illusion of landscapes made by the tactile breadth of oil paint. Martin does not utilize photographs in his work nor does he paint while observing nature directly. His paintings are about inventing a landscape that has never been seen.

Martin boldly states, "It may seem futile to make the works seem as though they have been observed or taken from photographs, but inventing gives the work reason for existence – what is shown exists only within these painted illusions...".


Brian Sherwin: The art critic David Lee mentioned you to me when I asked him about British artists that I should look into for the purpose of interviewing. Obviously you have made an impact in the British artworld. People are taking note of your accomplishments. Did you expect your work to be embraced in this manner? Or is it still kind of a shock?

Martin Greenland: I am pleased that David Lee should mention me to you. I am pleased also that it seems to you that I have made an obvious impact on the British artworld and that people are taking note of my accomplishments. The interest shown in my work has come so slowly, has taken so long to trickle down to me, that it doesn't come as a shock. I don't often hear of it, but its nice to know that people are talking about me.

BS: Martin, you were the First Prizewinner of the John Moores 24 Exhibition of Contemporary Painting (Liverpool, 2006). How did you feel upon learning that you had won? I will assume that it has helped open a few doors for you. Do you have any upcoming exhibitions at this time?

MG: The shock you talked of in the first question came when I was told that I had won. I knew that I had been awarded one of the prizes and that it could be the first prize. When I was told this I was overjoyed - I had had four consecutive showings at the John Moores in the late 80s/early 90s but I had never been amongst the prizewinners. At last I felt that I was getting the recognition I wanted and perhaps deserved.

I had always held the John Moores in the highest esteem and still do. I really felt that it was too much to expect to win the first prize (though I considered that my painting had as much reason as any to win). When I was told I had won I suddenly felt oddly naked. It was just after lunch on the day of the private view and I was surrounded by what I felt to be very knowing, urbane paintings and similar people. I had come down from a life isolated from the rest of the artworld (partly by choice).

My reaction on winning was not what I expected of myself and I was not prepared for it. It was more a case of "Why, paintings like mine don't win the John Moores?". In front of a barrage of reporters I tried to answer questions as honestly as I could, but I never knew their reactions because they never reported it which I now think was shameful. The only thing that I can tell myself, even now, is that they just didn't get it. With others I reckon that it wasn't what they wanted to see, which is their problem of course, and which I feel is a lovely quiet victory for myself.

Most of the doors I expected to open, haven't. There has been some interest and I have certainly been busy. Some that showed interest expected to see more of the same as my winning painting, which isn't the way I work. I have been constantly working, as I have since I graduated, Surprisingly, most of the work I have sold has been in my local area, and much of it has been due to my own efforts. I would like my work to be viewed by the wider public and I am disappointed that no public galleries have come forward to offer me exhibitions or collaborations.

Times have certainly changed for painters; its probably due to my isolated position but I didn't really expect to do all the running. I was represented by a couple of London galleries for several years, but I have been without an agent for five years now. There have been a few galleries interested and there is still at least one definite hopeful which I don't want to talk about until the situation is more certain.

What I'm most concerned about is that an agent is properly interested in what I do and is prepared to get that across to the public, as well as being able to sell work. Most galleries are very tightly restricted by category or style and I know I am very difficult to categorize, which ironically pleases me. A lot of art, as we all know, is only salable because of the reputation, fame or as is too common now, the infamy of the artist. Had I been given the due publicity of the John Moores win, I don't think I would still be hunting success.

I am also disappointed that no national publications (except for The Jackdaw) have sought to feature me, as I have plenty to say and I have a very large body of work behind me. Perhaps its all what I should be happening to me, the battle is not yet won nor is it likely to be won in the present climate. I don't set out to do the expected, I don't paint what people want to see, and I suppose I shouldn't expect what usually comes with success.

BS: You have stated the following: "It’s a perfectly levelling thing to do, exploring landscape both real, as on a walk, or by completely inventing it – exploring the illusion of landscape made by the tactile breadth of oil paint. The first instance is about absorption, meditation, analysis; the second about realization, connection, revelation – a show of things more or less understood." Care to go into further detail about your art and the philosophy behind it?

MG: A walk is an exploration for me. It is perfectly levelling because I become completely absorbed in it in the same way that I do when I'm painting successfully. On a walk I'm scrutinizing everything; it all has relevance and when I'm in this position, ideas fire back at me. I may engage in what is before me by drawing (very rarely do I paint outside now) or I may just look, and it is this constant looking and adding to my knowledge of things, understanding the nature of things, that enables me to invent in the studio in a way which convinces me.

I don't paint the places or landscapes I encounter; I paint about them. They are the catalysts for my invention because invention gives me the true power of being an artist, like a composer. I need the power to be able to make changes and yet keep the paintings convincingly rooted (enough) in our 'real' world. On a walk I'm in the real world but I'm wonderfully lost in my own world which is my own interpretation of it. Here I'm taking it all in. In the studio I'm letting it all out; realizing what I have encountered, in both the understanding and making real sense of the word.

A lot of what I set out to do starts of as insistent images which enter my head. I live my life often as though I'm experiencing a waking dream, with recurring images, often very clear but fiendishly difficult to put down, flying at me, quite often unexpectedly. Many of these images evolve slowly, giving me different possibilities, and they are all somehow based on something within my experience.

I get cross pollination of idea. I will see something and it will hint at me of something else, thus a potential painting is born where I try to amalgamate both or even several visual or conceptual ideas in a work which ultimately must work as whole and must not diminish the power of any element wihin it.

As far as 'a show of things more or less understood' is concerned, I'm deliberately setting out to be ambiguous. What I really mean is that I am prepared to try to paint things or about things, some of which I had a lot of understanding and some of which I had less understanding. I'm not going to pretend that everything I paint about (including the actual paint) I understand.

BS: Martin, you have went on to say the following, "Completely inventing is an obsession, but not a chore. It may seem futile to make the works seem as though they have been observed or taken from photographs, but inventing gives the work reason for existence – what is shown exists only within these painted illusions. It’s a deeply satisfying thing to do, and oil on canvas is still the broadest, most perfect vehicle for this." Again, can you go into further detail about this... in your opinion, why is oil on canvas the best method of capturing nature?

MG: As far as a painting medium is concerned, oil is for me (and I don't think I'm the only one) the most versatile thing. Oil has gradually evolved; it has stood the test of time. It is not broken so there's little point in trying to fix it. I'm always discovering something new in it and it pleases me that technically there is still so much that I have yet to find and hopefully will find. What I do know about it, I enjoy.

I like being able to be on the edge of being in control of it, to allow the paint to dictate, to control me from time to time. I don't care for acrylic and I don't care for new developments in oil (eg. water based or heat dried). Watercolor can be beautiful but it is a medium where really all the processes and really the ideas have to be worked out beforehand and doesn't suit my need to make changes.

For my own work where realizing the unseen is paramount, a medium like photography, even with digital manipulation is out of the question. I am dedicated to producing the single image which has been carefully molded, altered, improved, enhanced, built up, considered; where every element has been brought from within me; where every illusion is an invention.

As far as canvas is concerned it is the most responsive surface and is still excellent for large paintings which makes practical sense. I continue to use it except for the smallest paintings and a well prepared canvas has a touch, a tactile quality which is so necessary for me. Increasingly I'm not afraid to embrace or acknowledge tradition.

I went into painting partly because I liked the smell of the paint, the atmosphere of the studio, the feel and sensation of all of the paraphernalia of the studio surrounding me. I was given and I used my first set of oil paints when I was eight. I entered the grown up world for the first time and I wanted to continue in that world and I will only change if I become tired of it, which I cannot see happening.

I really cannot say if oil on canvas is the best for capturing nature which is a little more specific than what I have said, but for making real what cannot be seen or what I have remembered, the medium of oil continues to be the best for me.

BS: Martin, when I view your work I see a strange connection to some of the work by Odilon Redon. Maybe it is just me... is he an influence? Also, what artists from the past have influenced you?

MG: I've certainly been interested by the oddness of Redon. I have grown to find an affinity in so much Symbolist work. My interests and what influence they have had on me come from far and wide.

I was introduced to painting from a young age and my father used to have a large collection of art postcards and he would put up one every week and after a while we (the rest of my family and myself) had to guess the name of the painter, so that eventually we became quite familiar with many artists, especially the Dutch (Hals was one of my Dad's favorites).

We also were taken to art galleries, another exciting step in experiencing grown-up things. I always had a private fascination with Vermeer. I always felt that his paintings were so different, so pure and real and unassuming, but at a young age didn't really have the ability to be able to express such thoughts.

On foundation I became interested with Hopper. I've always thought his technique to be a bit ordinary, but what interests me still is his desire to paint about the commonplace, his compositional inventiveness and his success in displaying atmosphere and time of day.

The artist who grabbed my attention most at that time was Michael Andrews, from whom I learned about metaphor and symbol and who I thought was so bold and fresh, yet was a modest artist. I really admire his ability to create a narrative and a personal language and to let his painting work on many levels, and yet never let it be dull, even if his subject might sometimes seem mundane. Only now do I find it odd and a bit funny to see how he struggled to piece images together.

His information was right there in front of him in the form of photographs. It seems that he couldn't survive without the photo. Even if the photo was the catalyst, why the compulsion to stay with it? If he had decided to eschew the photograph his inventive facility would have developed.

It was while studying Andrews that I discovered William Coldstream, who's work I really disliked. It was this dislike that made me study him for my degree. I wanted to find out why he was so admired and was such a big influence. I still find much of his painting to be unpleasant and pointless but some I like very much (I think its the subtle and the ordinary in them) and I do understand the man and why his work is as it is and of course why through a necessity a language was developed which has been adopted by so many.

Necessity and purity of reasoning has been important to me. The Renaissance and the Baroque, which I was properly introduced to at the end of my foundation really opened my eyes. After studying the 20th for two years, suddenly, at the end, my tutors were waxing lyrical about artists that modernism was supposed to have rejected. The sheer brilliance of Titian and Velasquez taught me to work hard. Seeing what they could do at the age of 19 made me try even harder to follow suit and I knew that whether they liked it or not it was all done through dedicated, manual mastery, and it was this which set me on my present course.

Anachronistic it may be but I cannot get away from the idea that the the direct use of the photo. to be a) unnecessary (why not just have the photo?) and b) a softening of potential. When many people now see my work and they admire it they usually cannot believe that I invent everything directly on canvas, as indeed Michael Richardson of Artspace thought when he came to visit me. Naturally this doesn't always help me - many people refuse to believe, but then this apparent trickery, this ability to invent is hardly the sole reason for my art's existence.

Other quite important influences range from the obvious, like Caspar David Friedrich, Corot, Courbet (as much for his revolutionary non-conformity as his painting) Theodore Rousseau, Constable (a provincial with a dedication to the honest who is still underrated and who influenced the likes of Rousseau to set in motion the change which paved the way to modernism) and Turner for his invention and non-conformist experimentation. Less obviously I admire RB Kitaj, who is another artist who visually crafts the aesthetic with the intellectual narrative and who's draughtsmanship is so sure.

BS: Robert Clarke, of The Guardian, described you as being an "eccentric neosurrealist". Do you agree with this statment? Can you describe yourself in your own words as to the connection you have with surrealism?

MG: When Robert Clarke wrote that, I wasn't so sure. When he also said that I was the 'best (neo-surrealist) we've produced', I was flattered though still unsure. It sometimes seems like damning with faint praise, when one considers the attitudes of contemporary critics not only to surrealism but also the eccentric in the age of conformity and internationalism.

The eccentric bit I do (increasingly) like. The country needs even more eccentrics in this age of sociopolitical sterilization. The surrealist bit I'm not so sure about. I have always had my own 'brand' of surrealism, but I'm not convinced by much of the rest of surrealism which when its not simply about shock its embarrassingly corny. I like to make people uncertain, but if I intend to shock it has to be very subtle and subversive.

I was never convinced by the surrealists attempt to paint dreams, although some of Magritte's (I love the Empire of Lights series and The Black Flag) feel like (some of my) dreams, and the unnerving quality of Delvaux and DeChirico work on the same level. What I do identify is the surrealists admirable attempts to make real the subconscious, though this was also done effectively by the Symbolists.

The problem with using surrealism in its more obvious visual sense today is that, unfortunately, the advertising execs. now have the means via CGI to ram the stuff down our throats - talk about using every color in the paint box. I always used my surreal attempts to create a 'suspension of disbelief ' (to quote Robert Clarke again) and I used them as metaphors to let the work say more about itself. I never used surrealism for the sake of it. Now the surreal is kept very much more in check, yet it exists in a much more powerful way because it is about tension of a certain peculiarity or oddness.

With 'Before Vermeer's Clouds' (the JM's winner) it was just this oddness, a not-rightness, which was able to make the judges do a double take. The surrealism which exists in that painting is there again for very particular reasons, but there's no space to expand on that here. Much of my new work contains even less obvious surrealism, yet there exists, I hope, that indescribable other-worldliness which makes people stop and look that necessary bit longer.

I use Robert Clarkes quote still because I find it useful for people to have as a starting point when looking at my work.

BS: Speaking of influence- where did you study art and who were your mentors? Have you kept in contact with your former instructors?

MG: I studied at Nelson & Colne College on Foundation. It was an ordinary, provincial College of FE, which at that time, (really the two years when I was there) was dedicated and vibrant and run by a large staff of committed professionals, most notably Steve McDade who is now senior at Chichester and who's pure ideology and enthusiasm along with the Photography tutor, Liz Nicol (who also taught me at Exeter - she got a post there when I started as a student) and the textiles tutor Vicky (the essence of integrity), sort of made me who I am. I am also indebted to my Dad's honesty and conviction in all things and his dedication to the common, the overlooked, the ordinary, I suppose.

On Fine Art at Exeter College of Art there was much less enthusiasm. Actually there was a casualness which wouldn't be allowed now (sadly the college as an independent institution and as a building cease to exist, having become part of the University of Plymouth, in Plymouth). The rather lax attitude at the time actually helped me in my development. It not only made me think more independently and fight for myself, it also enabled me to spend most of my time absorbed in the Devon and Wessex countryside developing my way of seeing.

I suppose the tutors could have been more demanding, yet when they spoke, what they said hit home even when it was condemnation. I recall a couple of occasions such condemnation making me sit up and start to prove myself. It was advised that I spend some time in another discipline and I spent two rewarding terms involved in photography, not to use directly in painting, but as a pure medium and it was while I was here that I know my way of looking was influenced by Walker Evans and the photographers of the American New Topographics.

I cannot thank the painting tutors enough for testing me and making me refresh my attitudes at a critical time. I especially think of the Head of Painting, Mike Mayer. His discussions about looking and drawing, color relationships, investigating through drawing, the respect that is due to everything when approached with an even gaze and so much more, mean more and more to me.

I haven't met them since I graduated (in 1985) but I was in touch with a couple of them for a while (Mike Gorman, our year head, always reminded me that it was I who chose to be an artist and that I had to work at it - nobody owed me a living. He wasn't afraid to tell us that if we wanted to carry on being artists we had to learn about how to make it in the world of the art market)

BS: I'm sure you have heard the saying, "painting is dead". Those three words have popped into the world of art on more than one occasion in the last few decades. How would you reply to that charge?

MG: Painting is Dead - for those who have stopped looking, for those who need the adulation of readers (or other followers) who will so admire their witty way with words. It makes me cross but I mustn't care. I'm not about to stop my life because those for whom art is a fashion, an entertainment, tell me to.

I also don't care when people say that painting is making a comeback. This is the age of the fast turnaround and if painting makes a comeback this year it will be dismissed again next year. I want painting to be admired for its independent qualities and if it is thus constantly unfashionable, so be it.

The fact that painting is still around, not just amongst amateurs, is proof the phrase 'Painting is Dead' is itself dead. The worst thing is the number of publicly funded institutions who partly for sociopolitical reasons and partly to put shows on that are 'callenging', are artificially denying painting to re-position itself in the artworld.

There is, it is true, a lot of repetitive, poor and pointless painting. A lot of pretty, polite decorative painting and a lot of otherwise clever and technically able artists producing very safe, very obvious work. The main thing is that for me, painting is not dead. How could something that when it flows is so thrilling, so rewarding, be dead?

Painting allows me to do what I need to do. You see I don't regard myself as an art servant, needing to satisfy the demands of influential critics, curators and collectors. I never wanted to be just an artist; I wanted to be a painter. I often consider working in other mediums, but part of my discipline is to restrict myself to painting because I have too much to do and have yet to develop and discover.

I will return to emphasize that because the illusions I create in my painting couldn't have been created using any other medium, this justifies (if justification is needed) the existence of my paintings and my practice as a painter. If I want to make real something which solely exists within my head, how else am I to do it?

BS: Finally, is there anything else you would like to say about yourself or the artworld?

MG: Sometimes I think that calling myself an artist is pretentious and sometimes I think that it is a good thing. It is on one hand a good thing to be central in a world which has no controls (in a country which is increasingly controlled) has no boundaries, no limitations, and purely reflects the individual human spirit. On the other hand this world has thrown up so many chancers, frauds, amateurs, so-so artists, copyists and show offs that sometimes one craves for regulation. However I have no wish for any return to the era of say early C19th France, with a hierarchy dictating what I can and cannot do.

Much of the time I dislike the artworld for its shallowness. I dislike the political agenda of public institutions where there is too much band-wagon jumping. I dislike that large part of the commercial world which can only sell art by category and how so much of it is run by people who really have no idea what it is like to be an artist and spend little or no time actually looking at the art ( at how many PVs does one see people actually looking, properly looking, at the art?).

I especially dislike an artworld where most people are looking over their shoulders to see whether their colleagues have made a decision as to whether a piece of art is good or not. But this is the artworld, this is its nature, and it sort of gives me a cause to work harder to bring my influence on it.

I hope that you have enjoyed my interview with Martin Greenland. You can learn more about Martin and his art by visiting his website: www.martingreenland.co.uk

Take care, Stay true,

Brian Sherwin

Art Space Talk: Adrienne Outlaw

I discovered the art of Adrienne Outlaw while observing the Featured Artist section on myartspace.com. Adrienne Outlaw explores the often conflicting dialog among science, nature and religion. Exploring a world she observes as beautiful yet dangerous, nourishing yet cruel, Outlaw considers the contradictions that develop as people grapple to balance the dichotomy between emotional and intellectual thought in an increasingly technological world.

Manipulating and reassembling naturally protective materials, such as porcupine quills, human hair and beeswax, with industrial products including metal, plastic and high-tech fabrics, Outlaw references emotions "best contained in polite society." Understood in this light, the works reveal our fear of the unknown and our desire for transcendence.

Outlaw has guest taught and lectured at schools and museums including the School of the Art Institute of Chicago, SUNY Stony Brook and the Nashville's Frist Center for the Visual Arts. Outlaw holds a BFA from the School of the School of the Art Institute of Chicago, and an MLAS from Vanderbilt University.

Brian Sherwin: Adrienne, you hold a BFA from the Art Institute of Chicago, and an MLAS from Vanderbilt University. Who were your mentors at that time and how did they help direct your path as an artist?

Adrienne Outlaw: My mentors at SAIC were professors Park Chambers, Joan Livingston and artist Lindsay Obermeyer. My professors encouraged me to go straight to grad school, but I wanted to take some time out for real world experience. It’s easy to be an artist in art school – I wanted to see if I would keep making work once I got out of school.

When I kept making and showing art after a couple years, I looked into going back. Just about everyone I talked to said don’t bother with an MFA unless I wanted to be an art professor. Because I focused so heavily on art in undergrad, I decided to get a liberal arts degree for my masters. It was great decision for me because it opened up new fields of knowledge and allowed me to meet a wide range of intelligent and cool folk.

BS: Adrienne, I read that you often explore the conflicting dialog among science, nature and religion with your art. Your art considers the contradictions that develop as people grapple to balance the dichotomy between emotional and intellectual thought in an increasingly technological world. Can you go into further detail about these views and how they shape your art?

AO: People living in developed areas are able to keep their bodies alive via artificial means. Prenatal tests such as amniocentesis and Chorionic villus detect chromosomal abnormalities such as Downs Syndrome and other genetic disorders. Women can choose to abort a fetus that tests positive for such abnormalities. Doctors now recommend "pregnancy reduction" for women carrying multiple fetuses. What technology allows makes for very difficult decisions, especially when religious beliefs are also considered.

The rate of plastic surgery has risen dramatically as people choose to "fix" their exterior rather than accepting themselves. I question if we are being smart to take advantage of what science and medicine now offer us or are we playing God? At what point do we draw the line?

BS: You use materials in a manner that creates a form of 'shell' around your work. You installation figures seem to be cacooned... as if they have a physical layer of some symbolic protective force. What are your characters, for lack of a better term, protecting themselves from? Are they being protected...or are they hiding the complex nature of the human condition?

AO: Insightful question. A couple friends of mine recently told me that while I am very social, I am really an introvert, in part because I fiercely guard my privacy. The creatures (what I call the characters) have a protective shell, or cocoon, to help protect themselves, but there is always an opening for them. Also, many of them possess the means to defend themselves via sharp metal pins, porcupine quills or other measures.

BS: Adrienne, in 2005 you were commissioned to make several pieces for the new U.S. Embassy in Abuja, Nigeria. Can you recall any of your experiences from that event? How did they learn of your work?

AO: It seems like most opportunities I get come three years after something else. For example, I was recently invited to participate in a Biennial in South Korea. I asked the curator how she learned of my work and she said it was from a FiberArts review three years ago. Likewise, I contacted the Arts in Embassies program about three years prior to the Nigeria commission.

Kresta Tyler Johnson, their curator at the time, happened to be making a trip to Nashville so she paid me a studio visit. About a year later she moved to Africa and began work as an independent curator there. She remembered me and asked that I propose some work for the embassy. I did a lot of research and proposed several ideas. She asked me to make six pieces. The other great part of this was that they sent professional art packers to my studio to crate and ship the work. That was cool.

BS: You have also instructed art. Have been a guest instructor and have also lectured at schools and museums including the School of the Art Institute of Chicago, SUNY Stony Brook and the Nashville's Frist Center for the Visual Arts. Can you share some of those experiences?

AO: I love to teach, but dislike bureaucracy so I teach my own way via my internship program, writing and reporting on the arts and lecturing. I think most schools leave out crucial aspects about becoming a successful artist. When I left undergrad I realized I had learned how to make art, but not how to show it. Luckily for me, just before I graduated, SAIC offered a class called Career Issues in Art.

I also interned with artists and curators (wish I had also done so with gallerists). Artist Lindsay Obermeyer taught me the most. She taught me the most about how to get my work out there. I’ve patterned my internship program after how she mentored me, and add on further experiences for the interns when I can. For instance, when I have several at a time, I host guest speakers in the arts to talk about what they do and how they do it.

BS: You were included in a book called Faith and Vision: Twenty-five Years of Christians in the Visual Art. The art world is known for being spiritual as far as art is concerned, but very secular in practice. As a Christian do you ever find obstacles in the art world that contradict your faith? How has your faith influenced your art?

AO: My faith is probably more broadly defined than some Christians. In particular, I believe there are many forms of authentic expression of faith, that they are all acceptable and may be equally legitimate. That being said, yes, my faith has influenced my art and no, I have not faced obstacles. I’ll bet however, that artists who make work only about their faith may well meet the obstacles you mention. However, if the art is great, then I would also imagine people would overcome their prejudices and accept the work.

BS: Adrienne, you are known for extending your art practice beyond the studio. You regularly involve hundreds of participants in your community-based works. You have also served on the arts advisory boards of six arts organizations and have reported extensively on the arts for newspapers, magazines and radio. Do you see yourself as a facilitator of the arts? Would you like to say anything about the importance being involved with local art communities?

AO: I think we all have some unique knowledge and by connecting to and helping others we can share that knowledge and become stronger not only individually but as a group. Artists and scientists lost funding at a similar time for similar reasons. The scientists, unlike the artists, got together and formed a united front, educating the public as to the value of their work. Artists have not done that on a large scale. I believe that the more we work together and with others about the value of art the stronger we can be.

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

AO: I think free listing websites such as myartspace, neoimages, callforentry, Irving Sandler and Saatchi are doing artist a great service. They make it quick and easy to list our work, find and apply for shows. They’re also allowing artists to get their work out there to more people in a more democratic fashion rather than relying on the old school method of who you know for exposure. Thanks!

You can learn more about Adrienne Outlaw by visiting her website: www.adrienneoutlaw.com or by visiting her space at www.myartspace.com (sample gallery below).

Take care, Stay true,

Brian Sherwin