Spring Exhibition at NYAXE Gallery in Palo Alto, CA

Catherine McCormack-Skiba, the founder of www.myartspace.com, speaks with a NYAXE Gallery visitor.

The opening of the Spring Exhibition at NYAXE Gallery was held on May 21st. The exhibit featured works by myartspace.com members Jane Fulton Alt, Leah Tomaino, and Miles Holbert-- the finalists of the most recent NYAXE Gallery representation competition on www.myartspace.com. Seventeen artists from the myartspace.com community were represented digitally at the gallery space.

The exhibit opened at 6pm and came to a close at 10pm. A steady flow of gallery visitors were present-- over 100 people were counted during the early hours of the opening. The technology, powerful works of contemporary art, and music set the pace of the environment as cocktails were served. The event was yet another successful example of the meshing between the physical and online art world.

NYAXE Gallery visitors view a work of art by Leah Tomaino

NYAXE Gallery in Palo Alto, CA officially opened on February 26th, 2009. The exhibit on May 21st marks the second exhibit featuring www.myartspace.com members. The represented artists are chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation. For more information visit, www.myartspace.com/nyaxegallery.

The digitally represented artists for the May 21st NYAXE Gallery exhibit:

Lisa Mistiuk, Edie Nadelhaft, Martin H.M Schreiber, Hans Meertens, Carla Falb, Jovan Villalba, Reka Nyari, Syed Zaman, Viviane Vives, Bill Bosler, Pau Guerrero-Prado, Bob Martin, Jagna Wesolowska, Jason Wolfe, Lucille Dweck, Thomas C Chung, Peter Tankey

NYAXE Gallery in Palo Alto, CA positions myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

myartspace.com is the leading online social network for the contemporary art world. Dubbed "the biggest network you never heard of" by The Next Web and as one of the top six social art sites according to Mashable, the site continues to experience dramatic reception by the art community. myartspace was the first site to offer compelling, integrated presentation technology -- the ability to blend images of art, music, video and audio narration all online. The company also distinguishes itself by being a free and open community in that all members can upload an unlimited number of images, videos and music.

The competition is free for Premium myartspace.com members to enter. You can learn more about Premium membership on myartspace.com by visiting the following page, www.myartspace.com/premium. You can learn more about the current represented artists by visiting, www.myartspace.com/nyaxegallery/winners

Link of Interest:

NYAXE Gallery Representation Winners. May 21, 2009 Exhibit

www.myartspace.com/blog/2009/05/nyaxe-gallery-representation-winners.html

Art Space Talk: Carla Falb (Part 3)

Roller Coaster Series: Nitro by Carla Falb

This is Part 3 of my interview with Carla Falb. To read Part 2 click, HERE

Brian Sherwin: Carla, what are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the Internet?

Carla Falb: When I began making art, in order to gain exposure, we had to take slides, which meant: hanging a black backdrop on the wall, lighting the work so there would be no glare, bracketing the shots, finding a studio that would process slide film, then selecting the best slides to have duplicates made. After making the slides we would need to label them – either with fine tipped Sharpies or clear address labels cut to size, and then finally mail our information out to galleries and competitions. So much has changed in so little time!

Now with digital photography and the opportunity to post our work on sites like My Art Space – the world has opened up for artists. People from all over the world have the opportunity to view our work! Through My Art Space, we can connect with other artists that have similar interests. I also know that I don’t feel nearly so isolated with my art making as when I wasn’t connected to the World Wide Web. I have a sense that people are interested in my work and want to see more.

BS: Will you be involved with any upcoming exhibits?

CF: As a matter of fact, I happy to say that I was just selected as one of twenty artists that will be exhibiting their work in the Spring Exhibition at the NYAXE Gallery in Palo Alto, California. Selected drawings and paintings from my Roller Coaster Series will be displayed digitally.

Roller Coaster Series: Viper Triptych by Carla Falb

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

CF: When I decided that I wanted to use roller coaster structures in my artwork, it occurred to me that I could just use images that I would be able to find online and in published books. However, even if I combined and transformed the images to make them my own, to get around the copyright laws, it simply felt unethical and phony – like trying to pass off someone else’s experiences as my own.

In addition, I decided that perhaps most importantly, I wanted viewers to have a visceral reaction when looking at my work – to actually feel as if they are on an endless ride. I realized that if I wanted to create this experience for my viewers, I would have to go to amusement parks, wait in line, ride the coasters, sit in the front car, and take my own photos – an industrialized/pop version of J. M. W. Turner’s habit of riding out storms at sea.

On the other hand, what about work that is about the mass media and our popular culture? Can you imagine if Andy Warhol hadn’t deliberately used copyrighted photos? His famous image of Marilyn Monroe was originally a publicity shot by Gene Korman for the film Niagara, made in 1953. Did Shepard Fairey do anything that different from Warhol when he used an Associated Press photo as a basis for his recent “Hope” portrait of President Obama? The following link is to a Washington Times article explaining the suits and counter-suits between Fairey and the Associated Press:

www.washingtontimes.com/news/2009/mar/12/iconic-obama-hope-portrait-hung-up-in-court/

When considering the question of copyright infringement, it’s also essential to look at the work of contemporary representational painter, Damian Loeb, who uses movie stills as source material. At the beginning of his career he was involved in several lawsuits because of his use of copyrighted images. Currently he is considered one of the preeminent Post-Modern representational painters and is represented by the prestigious Acquavella Gallery in New York.

There is an excellent article on Loeb’s website by Charles Giuliano that mentions the suits and describes Loeb’s commitment to film as a resource for his paintings:

www.damianloeb.com/history/bfa101408.html

On the Acquavella website Loeb explains his choice of using images from films: www.acquavellagalleries.com/artists/damian-loeb/

Do I have a stance on these copyright issues? I imagine the simple answer is that it depends on the artists’ intent. I agree with Shepard Fairey when he explains that artists’ use photos of public figures for “reference as a part of social commentary should not be stifled.” When copying serves a higher purpose, it seems ethical, and in some cases, essential to the meaning of an artists’ work.

Roller Coaster Series: Medusa by Carla Falb

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

CF: Actually, the economy has always been an issue for me. Rather than placing my career as a painter first, I’ve been teaching in public schools for twenty-two years to earn a steady income and that job has always come first as far as prioritizing my time. As a consequence, most of my artwork has been accomplished over the summer. On a positive note, my work with students gives me so much fulfillment and joy; it has played a huge role defining my identity and giving my life purpose.

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

CF: Look for some new work this fall on My Art Space and on my website: www.carlafalb.com. I plan on having a productive summer!

This concludes my interview with Carla Falb. To return to Part 1 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Carla Falb (Part 2)

Roller Coaster Series: Statosphere by Carla Falb

This is Part 2 of my interview with Carla Falb. To read Part 1 click, HERE

Brian Sherwin: Carla, what about other influences? For example, are you influenced by any specific artists?

Carla Falb: The idea of combining roller coaster tracks from various viewpoints in a single composition is derived from Cubism. In Gertrude Stein’s words, I am attempting to create a world where there “There is no there, there.” This notion can also be likened to Einstein’s imagining that he could travel on a beam of light where space contracts, time dilates, and now enlarges to encompass the past and the present.

The Futurists were also interested in creating this experience of simultaneity in their work while using imagery that glorified technological advancements, speed, youth, and violence. My subject matter certainly seems to fits the Futurists’ iconography, and simulates the experience of traveling the length of the roller coaster in a single instant. However, being a Post-Modernist, I use the imagery of the rides with a sense of irony and wonder of the need to experience extreme thrills and fear as a recreation in our twenty-first century pop culture.

In graduate school, during the summer of 2001 when I was just beginning my series, I saw two exhibits that would profoundly influence my work: Wayne Theibaud’s retrospective at the Whitney, and architect Frank Gehry’s models and sketches at the Guggenheim. Prior to viewing these exhibits, I always considered constructed/man-made forms and natural forms to be diametrically opposed.

When I saw Gehry’s spiraling wave/shell-like buildings and Theibaud’s plummeting waterfall San Francisco streets, I realized that natural and constructed forms could be melded. My roller coaster tracks could become strands of DNA, circulatory systems, explorations of time and space, wormholes, and universes. In addition, partly because of Theibaud’s influence, I enjoy employing roller coaster imagery in my work so that it can be appreciated on a variety of levels: by the general public, young and old, as well as the art world.

BS: So what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

CF: In Meyer Schapiro’s essay, “On Perfection, Coherence, and Unity of Form and Content,” the concept of unity in a work of art is likened to the “mystic’s experience of the oneness of the world or with God.” What does this have to do with roller coasters? Certainly on a formal level, I focus on uniting my compositions through use of color and repetition of forms. But the question remains, how can spiritual awe and the thrill of amusement rides be compared when they are on entirely different planes of existence? Perhaps like the process of art making itself, each is associated with a need to transcend the mundane experience of everyday reality.

A critic once described my roller coaster drawings as twenty-first century versions of M. C. Escher’s work. After hearing this, I did some research on Escher and found that his complex black and white prints are influenced by an unlikely combination of Mathematics, Cubism, Futurism, Surrealism, and Eastern philosophy. According to Leonard Shlain in Art and Physics, Escher’s depictions of Mobius strips in several of his works vividly illustrate the Chinese concept of Tao. On the site, www.thetao.info, Robert Friedler states that “common dictionary translations of Tao include: road, path, way, means, doctrine.

In the Tao Tee Ching, it is generally used to indicate the unseen, underlying law of the universe from which all other principles and phenomena proceed.” Roller coaster tracks can be viewed as pathways and equated to a complex Mobius strip, since at the end of the ride, the cars arrive back where they began. This cyclical law of the universe, where opposing forces are unified, is the philosophical core of my work.

Roller Coaster Series: New York, New York by Carla Falb

BS: What are you working on at this time? Can you give our readers some insight into your current work?

CF: I recently received a Dodge Foundation Visual Artist/ Educator Fellowship and will use part of the funds to travel to Los Angeles this summer to photograph roller coasters and various amusements at Tomorrowland in Disneyland, Knotts Berry Farm, and the Santa Monica Pier. When thinking about the next progression in my Roller Coaster Series, I considered that even though I have always lived on the East Coast, the imagery in my Roller Coaster Series has more of a West Coast/ pop culture vibe. So I decided that LA would be an ideal location to gather new source material for paintings.

I’m looking forward to being taken by surprise by the unexpected amusements or images I will encounter, not just the rides I’ve viewed online. I’m also interested in photographing the parks at night. This is something I have never tried before, and I think I might like the disorienting effects of the colorful lights and the blurred motion.



To read Part 3 of my interview with Carla Falb click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Carla Falb (Part 1)

Don’t be mistaken by Carla Falb’s art. Falb is not a roller coaster fanatic and doesn't consider her work as literally depicting specific rides. Instead, Falb thinks of her Roller Coaster Series as being more about the layers of metaphorical meanings based on the various coasters' physical structures, sudden turns, extreme drops, and cyclical ride. Falb was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is operated by Catherine McCormack-Skiba-- the founder of www.myartspace.com and www.nyaxe.com.

Roller Coaster Series: Medusa Storm by Carla Falb

Brian Sherwin: Carla, tell us about yourself. At what point did you gain an interest in creating visual art?

Carla Falb: In junior high I was deeply involved in music. At home I spent hours practicing classical piano and even auditioned to play with the Philadelphia Orchestra. When I got to high school, my piano teacher emphatically explained that I needed to decide if I wanted to make a commitment to become a concert pianist.

At the time, I was searching for a more creative outlet, so I decided not to continue with music, and began to take classes in visual arts. By my junior year I decided that I wanted to be a painter, applied for early admission, and was accepted to the Philadelphia College of Art at age sixteen.

BS: What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

CF: After spending three semesters at the Philadelphia College of Art (PCA), I realized that I wanted to learn traditional painting techniques, so I began studying at the Pennsylvania Academy of Fine Arts – the oldest art school in the United States. Looking back, I realize that since I was a classically trained musician; it made sense that I desired a more formal approach to painting.

While at the Academy, my most influential instructors were Arthur DeCosta, and Sidney Goodman. DeCosta’s demonstrations in Basic Color class focused on understanding the history of various palettes as well as skill development of alla prima painting techniques. His classes were engaging and informative. On the other hand, Goodman’s classes were intense. On the days he instructed, we were given the task to complete an entire figure painting in three hours.

I now see my undergraduate education as being the best of both worlds. At PCA I received a solid background in design and composition, and the Academy developed my formal/ technical skills. Today as a fine arts teacher in high school, I bring both of these approaches to my classroom instruction.
Roller Coaster Series: Circus Circus by Carla Falb

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

CF: When I decided to focus on the visual arts back in high school, my choice was driven by a strong desire to work in a tangible medium where I could further my quest for self-knowledge. Later, in graduate school, before I came up with the idea for my Roller Coaster Series, I deliberated about who I was as an artist and as a person: what could I paint that truly expressed my personality, energy, and philosophy? Without a particularly interesting ethnic background to explore, and with no strong activist leanings, what unique vision I could share with the world?

After some soul searching I realized that the person who had the most profound effect on my life was my father, a Methodist minister. He shared his beliefs as well as his eclectic interests with me: i.e. the writings of Carl Jung and Herman Hesse, the humor of Charles Addams, and music ranging from Beethoven to the Beatles.

Overall, I see the work I produce as a metaphysical journey that connects the complexities of our physical existence with the emotional/spiritual realm – albeit from a pop-culture perspective. Simply stated, I’m trying to paint the visual equivalent of rock and roll. Summers spent at the Jersey shore and my quirky sense of humor lead me to use roller coaster tracks as means to create movement and depth in my compositions -- to take the viewer on a ride. However, underlying the general euphoria is the unsettling absurdity of the controlled-fear catharsis inherent in thrill rides coexisting with the sense of transcendentalism in my work.

Roller Coaster Series: Batman by Carla Falb

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

CF: When I first began my series, I would construct compositions by making collages of Xeroxed photos of roller coasters. Now, I use Photo Shop and have found that even though the physical process has changed, the creative process is similar. Since I usually don’t have a firm idea of what I want when I begin a new work, I play with juxtapositions of the segmented forms – sections of tracks plummeting downward, spiraling and looping through space; lattice/leg-like supports; bits of ground with pathways, blurred buildings and trees; and pieces of sky.

As I am assembling the collages I feel as if I am finding my way through a maze. I want the tracks to travel effortlessly through space and appear as a never-ending ride –using perspective and shifts in scale; yet also have areas of incongruity and disjointedness when examined closely.


To read Part 2 of my interview with Carla Falb click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Miles Holbert (Part 2)

Soldier Boy by Miles Holbert

Brian Sherwin: Miles, you also create sculptural forms and installations. The Strength of 1,000 Babies and The Preservation of Intolerance captured my intention. Can you discuss these specific works and what they symbolize for you?

Miles Holbert: The strength of 1,000 Babies represents strength in numbers. Babies are naturally seen as weak and fragile. But you get a whole mess of babies and they can become overwhelming. When I look at one of the babies by itself I think “This is a cute little guy” but when I started bunching them together it became a little sinister maybe even creepy. There was definitely a shift in power from one to many. I just thought the idea of taking something that symbolizes innocence and powerlessness then giving it power buy increasing the number was an interesting idea.

The Preservation of Intolerance has to do with unwanted or haunting memories of negative events and people I have cut out of my life. I kept having dreams about these people and when I woke up I found myself thinking about them all day. Something would happen that would trigger a memory and there it would be fresh in my mind. I just made me think, that even though these events were over and that I would probably never see these people again, I would probably never get rid of these memories. That’s part of life dealing with the negative and not looking back.

Larry Davids Biggest Fan by Miles Holbert

BS: So would you say that you adhere to a specific philosophy as far as your work is concerned? Tells us more about the thoughts behind your work… perhaps you can go into further detail about society, the concerns you have, and how those concerns are reflected in your work?

MH: I don’t follow a particular philosophy more like anything goes. I do believe that art can be used to inform, educate and transform. I also feel that as an artist and as a human being I have an obligation to try to make a positive contribution to society in some way. And that’s what I try to do.

BS: Can you discuss some of your influences? For example, are you influenced by any specific artists or art movements?

MH: I am influenced from about everything in some way or another, but I don’t subscribe to any particular movement per se. Advertising is a major influence that I can think of. As far as artist go I would definitely have to say Warhol. I live about 70 miles from the Warhol Museum in Pittsburg. As a kid I would visit the museum as much as I could. Other contemporary artist I feel influence me in many ways would be Matthew Barney ,Kris Cinalli, Matt Ritchie, Jennifer Boggess, Jeff Greenham, Sarah Maple, Richard Phillips and Kehinde Wiley.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

MH: I live in a small town in West Virginia. There are plenty of talented artist around here. From music, to theatre and visual arts but there is virtually no exposure, the local newspaper that’s it. The internet is really the only means of getting your work out their and be able to stay in a place which I personally love. It has also exposed me to so many artists and has probably influenced my work more than I realize. Artists need to embrace the internet for the simple fact that it is building a stronger art community and creating a means of exposure.

The More You Ignore Me The Closer I Get by Miles Holbert

BS: Do you have any concerns about the art world at this time?

MH: The major concern I have is how the recession is going to affect art. I think about how employment in the fine art fields is going to be affected and how work is going to sell.

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

MH: Thanks and I hope you enjoy my work.


This is Part 2 of my interview with Miles Holbert. To read Part 1 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Miles Holbert (Part 1)

Miles Holbert paints portraits of rapists, killes, and pedophiles. In a sense, the portraits appear 'normal'-- they play on the viewers perception. Holbert states that he is trying to convey the idea that we as Americans are overloaded with so much stimuli that it is sometimes difficult to determine what is of importance and what is not. He goes on to say that when you view his paintings there is a killer staring you in the face, but all you can seem to concentrate on are the brightly colored flowers or the silhouettes of bunny rabbits.

Holbert was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is a brick & mortar gallery that is managed by Catherine McCormack-Skiba, founder of www.myartspace.com. The gallery serves as a bridge between the physical and online art world.

Roulette Juliet by Miles Holbert

Brian Sherwin: Miles, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Miles Holbert: I live in a small town with very limited avenues to display work. I wanted to introduce my work to a broader audience so I have been looking for a way to show. I then saw the NYAXE Gallery’s call for artists, thought I would take a chance.

BS: You have stated that in your work you explore how Americans are being overloaded with stimuli. Thus, in your paintings there seems to be a fight for dominance between the portrait and surrounding imagery. Can you go into further detail about that-- as well as the general message you strive to convey with your paintings?

MH: This battle is waged purposely to undermine the power of the portrait. The portrait is meant to represent certain ideals that are of importance when regarding information. There or other sources of information in the painting such as color intensity and opposition, scale, line, plants and animals. These decorations are used as a distraction from the importance or meaning of the source image.

The cultural recognition is somewhat obvious in many of my paintings such as Pigs in Zen and May God Bless You and Keep You. These portraits are easily referenced in society and can be associated with serious symbolic representation. Other paintings in this series seem less important due to the normalcy of the portrait. The face seems average and even though it is treated with iconic qualities it doesn’t achieve the same level of recognition.


Death by Color by Miles Holbert

These portraits, normal as they appear, are actually taken from mug shots of rapists, killers, and child pedophiles. I am trying to convey the idea that we as Americans are overloaded with so much stimuli that it is sometimes difficult to determine what is of importance and what is not. There is a killer staring you in the face but all you can seem to concentrate on are the brightly colored flowers or the silhouettes of bunny rabbits.

We are so heavily addicted to stimuli that we sometimes overlook what is crucial and attend to the inconsequential. I feel this goes on way to much in America. For instance when I first started this series the war in Iraq was being heavily scrutinized. Instead of our nations leaders responding to the peoples concern about our involvement in Iraq they decide to go on a crusade to clean up steroid use in professional baseball. The media coverage and press on the steroid topic overshadowed the status of the war. Some Americans were outraged and some Americans were distracted by, in my opinion, the inconsequential.

The Apist by Miles Holbert

BS: Would you mind discussing one of your paintings? I’m Not Johnny perhaps?

MH: Funny story, I took this painting to class for critique and one of my class mates said “How cool, its Johnny cash! I absolutely love Johnny Cash!” I could see a slight resemblance, hair style, man in black that type of thing. I told her the only thing Johnny Cash and this guy have in common is that their both dead. I began to tell her that the gentleman in the painting was executed awhile back for multiple murders one involving a pregnant woman. Her look went from excitement to disgust in a matter of seconds.

This painting is a good example of the struggle for crucial information. It seems my classmate wanted to associate the image with a culturally iconic figure thus missing the real importance of the information. The Information is lost again.


This is Part 1 of my interview with Miles Holbert. To read Part 2 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Leah Tomaino (Part 2)

Recycled Paper Collages: Smith Mums by Leah Tomaino

This is Part 2 of my interview with Leah Tomaino. To read Part 1 click, HERE

Brian Sherwin: Tell us about your process in general. For example, do you work from nature, use reference photograph, or do you create your images in an intuitive manner?

Leah Tomaino: I do all three! I enjoy working outside during the summer months, however my camera is a very important tool to me. I take photographs as often as I have the opportunity and use my photos in my studio during the colder seasons. I start with brown grocery bags which I rip and adhere to canvas. I also paint additional bags, tear them, and then apply them to the canvas into the image of my subject.

BS: Leah, you studied at Cooper Union, William Paterson University, and abroad. Can you tell us about your academic background? Did you have any influential instructors?

LT: I studied painting during my years at The Cooper Union. I did have influential instructors, one in particular, Mr. Don Kunz. He was a painter and he also taught calligraphy. It was through the study of calligraphy that I learned of the serious discipline that is required in order to fulfill my artistic goals.

Recycled Paper Collages: Canadaigua Lake by Leah Tomaino

BS: What about influences in general?

LT: Asian art has always been a influence on my work. I also have been greatly influenced by the American artist, Selina Trieff. I met Selina while at Cooper, for she was the mother of my good friend. I was enthralled with her work and way of life. She has been the biggest artistic influence in my life.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

LT: The internet has been an incredibly valuable tool for exposure. I have had many opportunities presented to me that otherwise would not have happened if not for the World Wide Web. One thing tends to lead to another. It is very important to get your work out there!

BS: Do you have any concerns about the art world at this time?

LT: I am mainly concerned about the economy at this time. I am concerned that funding for important art programs for children may be cut.

Recycled Paper Collages: Sincerely, The Curator by Leah Tomaino


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

LT: Only that I am currently looking for gallery representation! Thank you for this wonderful opportunity!



Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Leah Tomaino (Part 1)

Leah Tomaino states that her work is grounded in her soul. She explains that she is taken aback by the beauty and intangible qualities of natural flora: the various textures; the amazing flowers and fruits and foliage; and most of all, the spectacular rejuvenation after what appears to be a most definite death in the bleakness of a cold, dark winter.

Furthermore, she states that in our largely urban society, the ability to appreciate our natural surroundings has become dulled-the ability to see the wonder in a tree, the magic and the mystery in a flower, the indescribable peace and contentment that can fill one’s heart. She says, “I try to show this to the viewer as my work is a surreal reminder of the peaceful, centered energy of the miraculous, natural living world which surrounds us.”

Tomaino was recently selected for representation at the NYAXE Gallery in Palo Alto, CA. NYAXE Gallery is a brick & mortar gallery that is managed by Catherine McCormack-Skiba, founder of www.myartspace.com. The gallery serves as a bridge between the physical and online art world.

Recycled Paper Collages: Blooming Cherry by Leah Tomaino

Brian Sherwin: Leah, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Leah Tomaino: I submitted my work to be reviewed because I believe that it is important to always be involved in a couple of good competitions because they offer different valuable opportunities. The NYAXE Gallery competition seemed to me to be a great competition because of the potential press coverage that the winners could receive. In addition I have been a member of www.myartspace.com for quite a long time and have found the site to be user friendly as well as having integrity.

Recycled Paper Collages: Tyler by Leah Tomaino

BS: You have stated that your work is a surreal reminder of natural world that surrounds us. You are concerned that the day-to-day life of urban society has dulled our perception and appreciation of nature. Can you go into further detail about that and how you strive to, in a sense, wake people up to their surroundings within your art?

LT: I find everything about nature to be fascinating. The color that surrounds us especially thrills me. For example, as I drove up to New England last Friday, I was so inspired by all the various different budding Spring greens that I found the highway to be surrounded by. There were yellow greens, emerald greens, olive greens, dark greens, white greens, hunter greens, hooker greens, sap greens…they just went on and on…and they were surrounded by beautiful hues of browns and purples that peeked through from the surrounding trees that had not yet budded.

The highway view was actually delicious! In my art I try to make the viewer be aware of just how beautiful the natural world is in terms of these naturally occurring popping colors. I think that I also wake people up when they realize that they are looking at recycled brown grocery bags!

Recycled Paper Collages: Looking Up by Leah Tomaino

BS: On a philosophical or spiritual level one could suggest that your work explores the idea of life after death-- or the concept that there is something more to life than just living. Can you go into further detail about that and how it is conveyed within your work?

LT: I am very interested in the possibilities of life after death. I love to work with trees as subject matter because they are a great visual symbol of death in the winter and life in the spring. Also, I find that there really is more to life than what we can see. I often choose to paint the roots of the trees as well as what we see above the ground to represent this.

This is Part 1 of my interview with Leah Tomaino. To read Part 2 click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

NYAXE Gallery Representation Winners. May 21, 2009 Exhibit

Congratulations to the www.myartspace.com artists selected for representation at the NYAXE Gallery. 3 artists-- Jane Fulton Alt, Leah Tomaino, and Miles Holbert, will have their work physically represented at the gallery. 17 others will be represented digitally.

Jane Fulton Alt

NYAXE Gallery is located at 818 Emerson St. in Palo Alto, CA. The represented members were chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation. The gallery serves as a bridge between the online and physical art world.

The NYAXE Gallery in Palo Alto, CA marks myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

Leah Tomaino

Catherine McCormack-Skiba, Founder and CEO of myartspace, notes "It's very exciting to energize the creative spirit in Silicon Valley with world-class contemporary art. The blend of the technology innovation center of the world, and compelling art is very inspiring".

The competition is free for Premium myartspace.com members to enter. Standard members pay a $25 submission fee. Myartspace.com pays shipping expenses to and from the exhibit for artists who are selected for NYAXE Gallery representation.

Miles Holbert

The exhibit will open on May 21st . NYAXE Gallery is managed by Catherine McCormack-Skiba, the founder of www.myartspace.com and www.nyaxe.com. For more information about the winners visit, www.myartspace.com/nyaxegallery/winners.

For more information about Premium membership on myartspace.com visit, www.myartspace.com/premium. To learn about past and current myartspace.com competitions please visit, www.myartspace.com/contests.

The digitally represented artists for the May 21st NYAXE Gallery exhibit (click to view their myartspace.com profile):

Lisa Mistiuk, Edie Nadelhaft, Martin H.M Schreiber, Hans Meertens, Carla Falb, Jovan Villalba, Reka Nyari, Syed Zaman, Viviane Vives, Bill Bosler, Pau Guerrero-Prado, Bob Martin, Jagna Wesolowska, Jason Wolfe, Lucille Dweck, Thomas C Chung, Peter Tankey

To view the prior winners, February 26, 2009, click HERE.

Two Weeks Left To Submit Work For London Calling!

Two Weeks Left To Submit Work For London Calling! Save The Dates -- 14 May and 25 June -- Palo Alto and London

Scream Gallery London, Bruton Street W1J 6QX -- www.screamlondon.co.uk

Our Call for Artist for our London Calling Exhibition will be over in less than 2 weeks. Opening night in the west end of London will be Thursday, June 25th.

We believe our Exhibition in London will be our best ever. The jury panel, with representatives from the Tate Modern, the Hayward Gallery and the Barbican Gallery are poised and ready to begin reviewing your work.

The jury will select 50 finalists and 3 winners to have their work live in London. An additional 17 artists will have their work shown electronically!

Save $25 on registration:

White Hot Magazine has become an anchor sponsor for the London Calling Exhibition, and have provided a $25 discount coupon for those artists that still wish to register. The normal registration is $50, but with the White Hot Magazine Coupon, it cuts this in half to $25. White Hot Magazine will be covering the Exhibition with the best contemporary art critics in the industry.

Located in the heart of the West London art district, Scream is just a moment away from Sotheby's, Cork St and the Royal Academy, and rubs shoulders with some of London's most established art galleries in the traditional hub of the capital's art market.

Visit,

www.whitehotmagazine.com/index.php?action=articles&wh_article_id=1829

Or click the link below:
www.myartspace.com/londoncalling/coupon

SAVE THESE DATES:

Our NYAXE GALLERY Spring Exhibition will kick off on May 14th in our gallery on Emerson Street in downtown Palo Alto, California. Opening night will run 6-9PM, and you are invited to attend. If you are out on the west coast, we would love to meet you!

Five weeks and 5,600 miles later, the London Calling Exhibition will be kicking off on Thursday, June 25th, 2009. If you are in or around London, we would love for you to stop by from 6-9PM at the SCREAM LONDON Gallery on Bruton Street.

We hope you can attend our upcoming events, AND we hope you submit your work for consideration.

Visit, www.myartspace.com/nyaxegallery/register/

Links of Interest:

Social Art Site Has Offline Presence: myartspace.com opens NYAXE Gallery in Palo Alto, CA www.myartspace.com/blog/2009/02/opening-of-nyaxe-gallery-in-palo-alto.html

Whitehot Magazine becomes anchor sponsor for MYARTSPACE London Calling 2009 Competition www.myartspace.com/blog/2009/04/whitehot-magazine-becomes-anchor.html

Kind regards,

Catherine McCormack-Skiba
CEO and Founder, www.myartspace.com

&

Brian Sherwin
Senior Editor, www.myartspace.com

Art Space Talk: Fanne Fernow

Fanne Fernow is an encaustic painter. She uses copious dots and shapes to make her paintings. Fernow suggests that art should be experienced slowly. She has stated that a work of art should engage a viewer for more than just that first split second look that we all have when we look at art. In a sense, she strives to open a window of exploration with her paintings-- so that viewers can discover the meaning for themselves while reflecting on their own individuality. Fernow was recently selected for representation at the NYAXE Gallery in Palo Alto, CA.


Mantra Series No. 24: Oh No. 2. by Fanne Fernow

Brian Sherwin: Fanne, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Fanne Fernow: First, I want to say that I am so pleased that I was selected. My entry in the competition, for lack of a better word, was totally a freak accident. A friend of mine was on the myartspace.com site, saw the announcement, and sent it to me. I had been entering a few shows, mostly encaustic shows. So when I saw the announcement, I entered really without thinking about it at all. To be honest, I didn’t even know what MyArtSpace.com or NYAXE.com were.

When I was selected, I … well, I had to look into it more, thinking that it might be one of those vanity situations or something. Since then, I have done a lot of exploring on both sites. A lot of it is pretty amazing. When I got the letter saying “Congratulations!” I was amazed. I know tons of people who enter everything and never hear a word again. I was so happy!
I have been a big believer in the idea of internet art marketing for a long time. I know that having a website, www.fannefernow.com, really helps people who are following my career. This is a few steps more advanced than that.

mono10 by Fanne Fernow

BS: You are an encaustic painter-- you use copious dots and shapes to make your paintings. My understanding is that you call these dots “mantras“. Can you discuss the thoughts behind your paintings?

FF: Sure. When I am asked to describe myself, I say that I am a “theologian, artist, writer,” in that order. My education is largely in theology, and I am very interested in the spiritual journey. A long time ago, an Episcopal priest named Jennifer Phillips asked me to describe my own piety. I had not really thought about putting it into words before. Subsequently I wound up in divinity school, and really started thinking about my own personal vision of holiness.

In Writing Down the Bones, Natalie Goldberg tells a story of a Buddhist teacher telling her that her writing, which she did every day, was meditation. Reading that was a big moment for me. I began to look at my studio, which is always a mess, as a holy place, and my paintings as an extension of what I was experiencing on my spiritual journey. I went through a period of time where I wanted to be a Buddhist, but I am not a Buddhist, I am a painter.

At first, I used words in my paintings to express what I was feeling. I was working in oils then, and I developed my own iconography: a funny little toothy dog named Fearless who was always standing on mountain peaks, great little women with what I call flower heads because of their hair who wanted to give advice. I was letting them say things that I wanted to tell people. I think they were more of a simplified intellectual approach to a spiritual journey.

This took a serious turn for the better after I switched from oils to wax. The wax, maybe the smell, or the sensuality of it all… I think that my paintings have become my image of holiness, or at least, what I think holiness IS. They are expressions of feelings themselves, not my explanation of what I feel. That is the best way I know to describe it. I have to be careful here, because it has always been important to me to not push my understanding onto other people. I want the people who experience my work to bring their own stories.

I have been incorporating my spiritual journey into “art” for as long as I can remember. Working intuitively is spiritual. I have always made intuitive art. I made things out of rocks and mud as a little girl in the woods behind our house in East Aurora, New York. I used to knit sweaters without patterns; bake bread without a recipe. I used to say that making bread was “a feeling, not a recipe.” And now I basically start with a wooden panel, perfectly made by a man I know to be on his own spiritual quest, and let the rest happen. As I ponder on with my work, this idea becomes safer and safer.

Working from the soul is a lot scarier than working from the brain, but the results are so much fun. I feel like my work is growing in leaps and bounds right now. Mantras, which I am supposed to be talking about right now, are still there, but they are now in the background, while before, they became the whole painting.

Metaphorically, I think that means that my journey with the holy is integrating with my practical walk. Now that is something really great. It is the idea of BEING peace or BEING holiness. People who know me would be surprised to hear me say this, I think. I don’t talk about it a lot. But in the core of me, that is who I am, and I think it has begun to shine through in my art.

The dots have a history. I have always loved circles and dots. I discovered the idea of the swirling dots a number of years ago when I was looking for a way to do a good background on a painting I was doing. I decided to do the dots. It was a big deal since the painting was 50 x 60 inches. I got bored just making rows of dots, so I started improvising, and before the painting was over, the dots had taken on a life of their own, and the painting had a totally new dimension! It was one of those great breakthrough moments that I will never forget.

The dots in that painting sang me to sleep that night. They climbed inside of me the way that I had climbed inside the dots that very day. I have had other moments like that as an artist, but that was a day my life as an artist took a whole new turn. Art was life. Life was art. Art became an expression of how I felt, not how I think.

Soon after that, my mother was diagnosed with cancer, lived 111 more days, and died. I had gone to Scottsdale to be with her and did not make any art during that time. When I returned home, I was not able to paint. I was working, but not taking any risks, not doing anything new.

Ultimately, my friend Anita Elliott invited me to take a class with encaustic artist Daniella Woolf. I took the class, felt like a bumbling idiot the whole time, did not make one painting in the class, and left feeling like I would never be doing that again. And when I was not even thinking about it, I realized that I wanted to do more of it. And I figured out a way to make my dots and keep going. Ultimately, I gave up the oil paint and worked exclusively with wax.

Making art to me is about having the courage to put down on the support what ever pops into my mind. And my evolution as an artist has happened because of this every once in a while, and I mean every once in a WHILE, I have courage.

So, the “copious dots” you asked about … each dot is a prayer, You might call it a wish, or a hope. Some times the mantras are about peace and other worldly ideas. Sometimes they are about my own evolution. I have to confess that some of my mantras are about wanting to win the lottery, or create bounty through my work! But the dots are filled with hope. I think that is the main thing.

Hall of Mirrors 4 by Fanne Fernow

BS: What about other influences? For example, are you influenced by any specific artists?

FF: I love artists who have been courageous leaders …. Jackson Pollack, Andy Warhol, Jean Dubuffet. In the modern world, I love Squeak Carnwath, Marlene Dumas, Jenny Saville. In my own life, I am really inspired by my teacher Daniella Woolf, who really has inspired me to “play” in my studio, to take more chances. And my friend Roberta Lee Woods, whose studio is right next to mine… well, she is a waxer too. More of an asemblage, collage waxer. We are always bouncing ideas off of each other. And that is a great thing. I have my studio in an old grain warehouse called 17th Avenue Studios in Santa Cruz. There are about 40 of us in that space. The place has a great art vibe, and there is a lot of support there. I think I would have to say that just being a part of that group has been the most influential experience for me.

So many people I have known along the way have helped me. Sometimes by telling me to keep going, some have bought me paint, and given me money when I really needed it. People who buy my paintings, and keep coming back to see what I am doing now. My mom, who never discouraged me from making art.

waiting no one by Fanne Fernow

BS: So what is the specific message you strive to convey to viewers?

FF: I don’t know. I want their experience of my work to be an evolution. Art should be experienced slowly. There should be enough there to engage a viewer for more than just that first split second look that we all have when we look at art. Right now, I just want to invite people in, let them climb around in a painting, one at a time. Where does the painting take you? What is your “hall of mirrors”? I hope people want to wander in and search out all the nooks and crannies.

People often ask me what my paintings mean. I am often hesitant to tell them for fear that it will alter their own personal experience of the art. I don’t’ mean to be rude when I don’t want talk about it. I want to give people something to think about. But I want it to be about what they want to think about. Because that is more important for them, though they don’t always know that.

BS: What are you working on at this time?

FF: Right now I am doing a series called “Mantra Series Redux.” It is a re-consideration of some of the early Mantra Series paintings that didn’t quite work. I go back into them with encaustic medium, a little paint, and dry pigment. The dots, and the holes that I create when making the mantra paintings are persistently present. And so the paintings get a new dimension. They become translucent and dimensional in a whole new way. I am having blast.

mantra Series No. 10 by Fanne Fernow

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

FF: One of the really hard parts of experiencing art is that art is very intimate. For the true art lover, there is a relationship that must be established with a painting. The internet lets us hangout with art work that we might have only been able to see for a few moments at best. Maybe if a painting calls out to me enough, if I keep going back to it.. well, that might be the painting I want to own.

I had that experience myself while looking at the website of the Conrad Wilde Gallery in Tucson. I saw a painting by an emerging artist named Elee Oak. I kept looking at it. I called them, and we had a lot of back and forth about it. I asked a lot of questions about how the painting was put together. They were very patient with me, and finally I made a decision to go for it. I love that painting. We have been given a new way to find artists and art that really touches us.

One thing that is really important to consider is that a computer monitor is not the best way to see art. There is nothing like the real thing. I think that some prints are amazing – I particularly like “Iris Prints” which are water-based Giclees. But they give a painting, at least my paintings, a whole different personality.

BS: Will you be involved with any upcoming exhibits?

FF: I don’t have any concrete plans right now. I am still entering shows, and competitions. I think that the NYAXE experience has really given me the push I needed to be able to send my work out more. One of the great things that “internet galleries” do is help artists expand our geographical limits. I know I will never be able to really make a living as an artist if I just sell in Santa Cruz.

My studio complex is having an open studio event May 2 and 3 in Santa Cruz. I suspect that will be my first public showing of the new work. I’ll also be participating in Open Studios which is sponsored by the Cultural Council of Santa Cruz County.
Red Sky Before Rain by Fanne Fernow

BS: Do you have any concerns about the art world at this time?

FF: Of course. I am concerned about what the economy is doing to artists. I am concerned that public projects will not include art as a way to reduce costs. I hope that there will one day be more federal funding for artists and public art projects. I am worried about censorship. FEAR NO ART.

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

FF: Yes. I would like to say that I am so grateful to be an artist. I think I am very lucky to have figured out that I am artist. And I am lucky that people actually pay money to have my work, either on original paintings or on three-dollar greeting cards. It doesn’t matter. On some level, I know that my work has touched people. How cool is that?

You can learn more about Fanne Fernow by visiting her website-- www.fannefernow.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. You can learn more about the artists selected for NYAXE Gallery representation by visiting the following page, www.myartspace.com/nyaxegallery/winners.

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

New York Art Exchange

www.nyaxe.com

myartspace blog on Twitter

www.twitter.com/myartspace_blog

Art Space Talk: Jennifer Wasson

Jennifer Wasson was born in Manhattan and began painting at an early age under the tutelage of her mother, an artist and art teacher herself. As a young adult, she studied oil painting at The Art Students League of New York for 2 years before moving to the West Coast. For the past 7 years she has been living and painting in San Francisco, CA. Wasson was recently selected for representation at the NYAXE Gallery in Palo Alto, CA.

Mission Dawn by Jennifer Wasson

Brian Sherwin: Jennifer, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Jennifer Wasson: Shortly after a friend turned me on to Myartspace, I stumbled upon the NYAXE competition. I'll admit that I submitted my portfolio on a whim, but I feel honored to have been chosen for NYAXE representation. I'm finding that Myartspace is a valuable tool to reach out to other artists, potential buyers and and galleries. Already, I've made connections with artists all over the globe, and have seen a lot of inspiring work.
23rd St. 5 by Jennifer Wasson

BS: I understand that you were born and raised in Manhattan and that you began painting at an early age under the tutelage of your mother. an artist and art teacher herself. As a young adult, you studied at Boston College and The Art Students League in New York. Can you discuss your early years and academic years and how they have impacted you as an artist?

JW: My mother is an adamant believer in "learning through experience". So, her teaching was mostly hands-off. Starting at a young age, she'd set me up with an easel and paints, but the rest was up to me. The golden rule was "no coloring books and no copying". Aside from that, I could do whatever I wanted. I went on to spend countless hours of high school and college drawing, but it was at the Art Students League in Manhattan that I really immersed myself in oil painting. I gravitated towards the "uninstructed" classes (known for little talk and long model poses), carrying on my early imprint that art should be primarily "self taught". As much as I've learned from my wonderful teachers had, there's just no substitute for years of quiet, patient, studio time.

101 Sunset by Jennifer Wasson

BS: My understanding is that you are interested in balance. For example, in your art you seek the balance between form and formlessness. The process itself is one of creation and destruction. Can you discuss your art and your process of creating art in regards to the idea of balance?

JW: Finding the equilibrium between form and formlessness is a constant battle for me. But, I see beauty hanging in the balance... somewhere beyond true form, but before total abstraction. In my painting, this means leaving much up to the imagination. Every window, every car, need not be rendered in detail. Just a hint of a shape, or a glimmer of light, is often enough. So, what's left out ends up being just as important as what's left on the canvas. Like in a dream, your mind fills in the rest.

Sometimes, I feel drawn to sharpening my focus, but I don't want to merely replicate a scene. If a piece starts becoming too detailed, then it's time to make sweeping brushstrokes of destruction. Often, an entire painting will get destroyed and re-worked several times. But, what's gratifying about the process is that each session leaves ghosts of colors and shapes behind. These unintentional layers create depth and generally lead to a more interesting painting in the end.

Outer Sunset 4 by Jennifer Wasson

BS: Give us some further insight into the thoughts behind your work…

JW: The vacancy of the urban landscape can be haunting and mysterious. So many closed doors and closed worlds. But, shift the lighting, and the landscape becomes warm and enveloping. I'm fascinated by changes in atmosphere. Given the right atmosphere, even the most pedestrian scene takes on a sense of drama. The ordinary becomes mysterious.

Unfortunately, the bulk of the day (with it's hard forms and full-spectrum colors) holds little interest for me. But dusk, dawn, a gleam light through fog... those fleeting moments are heavy with mood and meaning. The world takes on a surreal quality, and I feel a longing to connect to something greater than myself. I feel inspired to paint.

Caesar Chavez by Jennifer Wasson

BS: What about influences? Can you discuss your influences in detail?

JW: Do I feel more influence looking at a master work of art, or simply gazing at sunlight on the pavement? I really can't say. I find inspiration in most art movements from the early Impressionists to the California Tonalists to contemporary geniuses.

When I'm feeling un-ambitious, I'll grab one of my favorite books like "Facing Eden: 100 Years of Landscape Art in the Bay Area" or "Chasing Napoleon" (a compilation of Tony Scherman's dark encaustic works). I rarely read the words, but I do "read" the paintings, sometimes spending 5 or 10 minutes on each one. But, again, I find just as much inspiration walking the streets of the Mission District at dusk, watching buildings blur into abstraction.

I'm also influenced by the many unique people in my life, namely family, close friends, and teachers. Most of what I've learned about the creative process itself, I owe to my long-time teacher Michael Markowitz. He taught me to feel my way through a painting, rather than just forging ahead with my mind. (Sometimes, the ego needs to step aside to open up a channel for the creative flow.) I learned that a good painting is born, not out of the perfection of academic techniques, but out of the struggle to engage the experience of painting.

Irving Sunset by Jennifer Wasson

BS: So what is the specific message you strive to convey to viewers?

JW: Rather than conveying a "message", I strive to generate a "feeling" through my artwork. If I'm successful, I create a mood that triggers an emotional response. Fleeting moments of the day, blinding in their beauty, remind us of the impermanence of everything we love. Perhaps that conjures up a sense of longing, appreciation, or transcendence. If you feel something, even just the smallest stirring, then I've conveyed what was needed.

BS: What are you working on at this time?

JW: I'm primarily working on my "Crosswalk Divinity" series. It's a continuation of the urban landscapes that I've been working on for years. But, in these paintings, there's a subtle undercurrent of religious symbolism. The telephone pole becomes the cross, the steeple of a church or mosque comes out of the shadows. Yet, the emphasis is always on the light and the atmosphere, rather than the man-made buildings of worship.

This juxtaposition raises questions about our relationship to what's sacred and unknown. For me, it's the mood created by the natural world that inspires awe and serenity. When the late day light casts an ethereal glow on the landscape, I sense my own connection to the divine.

Cole Valley Lights by Jennifer Wasson

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

JW: Although I've had mixed feelings in the past about selling art on the internet, I think that web exposure can only help you an artist. Although a potential buyer is unlikely to purchase an original painting over the internet, looking at web images might prompt someone to buy a print, visit your studio, or attend your next show.

I think that I can speak for a lot of artists when I say that one of our biggest problems is reaching an audience. We spend a lot of time in isolation, working on our art, and don't have the means to promote ourselves. So, we rely on gallery exhibits and "word-of-mouth" to reach people. I think it would be wise for artists to embrace the internet to connect to potential buyers, galleries and other artists. Stay open to new media opportunities when they come your way. The fact that you're reading this now means that I've reached you through the ether, and that's pretty amazing.
after the rain by Jennifer Wasson

BS: Will you be involved with any upcoming exhibits?

JW: I hope to be involved in further shows through NYAXE as well as with the galleries that I show work at in San Francisco and Atlanta. At the moment, I'm preparing for Spring Open Studios at Hunters Point in San Francisco (May 2nd & 3rd), where I will be showing a new body of work. I'll know more about Spring and Summer exhibits soon and will update my web site with the details (www.wassonart.com).

BS: Do you have any concerns about the art world at this time?

JW: I've read the doomsday art buying reports, and I've watched some good galleries close down. But, I'm not really worried about "artists". Artists are used to living on a shoestring budget. We're survivors, industrious and creative with our options. We'll continue to paint, write, play guitar, and dance our way through this recession.

I'm sure that patrons will be tighter on the purse strings, and money harder to come by. But, the silver lining in this recession could be a diminished emphasis on soulless consumerism. That might even translate (stretch your imagination), into someone buying a painting that he loves, instead of a new TV. A girl can dream after all.

fog shrouds downtown by Jennifer Wasson

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

JW: For me, making art is not about imposing my ideas or ego on the canvas. It's about turning off my thinking mind and engaging the creative process. At it's best, the experience feels like I'm moving out of the way and allowing something more universal flow through me. It's a patient, quiet, and deeply challenging process that I rarely put into words. So, I feel honored and humbled to have shared my art and my thoughts with you.

Visit Jennifer Wasson's myartspace.com profile

You can learn more about Jennifer Wasson by visiting her website-- www.wassonart.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. You can learn more about the artists selected for NYAXE Gallery representation by visiting the following page, www.myartspace.com/nyaxegallery/winners.

Take care, Stay true,

Brian Sherwin

Senior Editor

myartspace.com

www.myartspace.com

New York Art Exchange

www.nyaxe.com

myartspace on Twitter

www.twitter.com/myartspace

myartspace blog on Twitter

www.twitter.com/myartspace_blog

Social Art Site Has Offline Presence: myartspace.com opens NYAXE Gallery in Palo Alto, CA

Eighteen members of the www.myartspace.com community were represented digitally during the opening of the NYAXE Gallery. Six were physically represented at the gallery.

The grand opening of the NYAXE Gallery in Palo Alto, CA on February 26th was a great success. The exhibit opened at 6pm and was met with a steady flow of visitors. Art collectors and other attendees observed artwork by 24 members of the myartspace.com community. The exhibit space was filled with good conversation, exquisite music, and powerful works of contemporary art. The event was a meshing between the physical and online art world.

Steve Benjamin entertained NYAXE Gallery visitors.

The represented members were chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation.

Six of the gallery representation winners were selected for physical representation at the NYAXE Gallery: Murray Hidary , Jennifer Wasson , Fanne Fernow , Chadney Everett , Nick Weber , and LeRoy Howard . Eighteen winners were selected for digital representation: Stuart McCall , Jesse Benson , Pau Guerrero-Prado , Alex Jarosz , Paul Ruiz , Dirk Franke , Terry Amburgey , Manny Rodriguez , Aldo Bertolini , Andrew Johann Salgado , Thea Pratt , Lorella Paleni , Douglas Newton , Kevin Sharkey , Angel Plata , Michail Parlamas , Jon Barwick , Kirk Lanier .

Visitors enjoy viewing art at the NYAXE Gallery opening.

The NYAXE Gallery, located at 818 Emerson St. in Palo Alto, also featured two guest artists from the myartspace.com community. Lucy May -- the first place winner of the 2008 myartspace.com graduate art scholarship competition, and Sarah Sisun -- first place winner of the 2008 myartspace.com undergraduate art scholarship competition. You can learn more about the 2008 art scholarship winners, which involved $16,000 in cash scholarships, by visiting, www.myartspace.com/scholarships/winners.

The opening exhibit also featured art by the late Lois Foley . Mrs. Foley is the mother of Catherine McCormack-Skiba and has served as a constant source of inspiration for the development of the myartspace community. Catherine McCormack-Skiba, the CEO, founder and Creative Director of myartspace.com, was on hand to meet visitors.

Collectors gathering at the bar…

The opening of the NYAXE Gallery in Palo Alto, CA marks myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

myartspace.com is the leading online social network for the contemporary art world. Dubbed "the biggest network you never heard of" The Next Web, the site continues to experience dramatic reception by the art community. myartspace was the first site to offer compelling, integrated presentation technology -- the ability to blend images of art, music, video and audio narration all online. The company also distinguishes itself by being a free and open community with unlimited upload of images, videos and music.

Catherine McCormack-Skiba, Founder and CEO of myartspace, notes "It's very exciting to energize the creative spirit in Silicon Valley with world-class contemporary art. The blend of the technology innovation center of the world, and compelling art is very inspiring".

The NYAXE Gallery involves an ongoing competition that allows members of the www.myartspace.com community to submit work for gallery representation consideration. The competition is free for Premium myartspace.com members to enter. For more info visit, www.myartspace.com/nyaxegallery

Catherine McCormack-Skiba, the CEO, founder and Creative Director of myartspace.com, was on hand to meet visitors.

You can learn more about Premium membership on myartspace.com by visiting the following page, www.myartspace.com/premium. You can learn more about the current represented artists by visiting, www.myartspace.com/nyaxegallery/winners

Take care, Stay true,

Brian Sherwin
Senior Editor
Myartspace.com
www.myartspace.com
New York Art Exchange
www.nyaxe.com