Art Space Talk: David Stoupakis

David Stoupakis is a dedicated painter who has quickly earned international recognition for his art. David has stated that his paintings are about the strength of imagination, innocence, and the truth that children are are far more intelligent than most adults give them credit for. In a sense, David explores his own world through his imagery-- a world that often conveys a fairytale-like quality... yet it contains the essence of reality.

David's paintings, like fairytales, are open to interpretation. Viewers have had mixed reactions about his work. Some observe a sense of purity within David's imagery-- while others see only brutality. The reality of David's imagery is that what you see is in the eye of the beholder. Thus, his paintings have an aspect of psychology about them-- it reminds me of Carl Jung's theory about the 'shadow self'.

The Tea Party, oil on board, 24" x 24", 2006

Brian Sherwin: David, can you tell our readers about your youth? Do you recall any key events that helped guide you toward the direction your are going today?

David Stoupakis: When I was a young kid I found an old wooden chest while looking through the window of my neighbors ran down barn. While I was peering in I got startled by a noise and ran. That night I couldn’t stop wondering what could be in that chest. The mystery of not knowing was running all kinds of stories through my head. It was the first time I recall really feeling the power of what imagination and story telling can do for you. I feel it's moments in my life like that one that play a large part on the direction I take my art in today. The idea from a vision and the curiosity of the unknown.

Balance, oil on board, 16" x 19", 2005

BS: Do you have formal training in art? If so, where did you study? Who were your mentors?

DS: I did one year of art school at the Art Institute of Boston before making the choice to study on my own. I think art school can be amazing and be really beneficial. However, at that time I just wasn't ready to go through with another 2 to 4 years of schooling.

BS: David, what about early influences? Were you inspired by certain artists or musicians?

DS: My early influences came from fairy tales, horror movies, and most of all comic books. Almost all my early work was heavily influenced by comics. I also studied some of my favorite artists like Sargent, Vermeer, Bosch, and Goya. Music has always played a roll overall. After all, we all need soundtracks to are life.

Frozen, oil on board, 16" x 28", 2004

BS: I've read that you started out as a mural painter... do any of these murals still exist? Can you tell us where some of these can be found... or would you rather forget your early commercial work?

DS: I started out doing murals, signs, and video games. I'm not sure if any of the murals are still around because I haven't been back to visit any of them but in no way would I want to forget any of the early commercial work I did. I feel like everything I have done has helped me grow into how I am today.

Mary And Her Lambs, oil on board, 16" x 28", 2004

BS: What made you decide to make the jump from doing commercial art to personal art? Do you still do any commercial art on the side?

DS: I just had my own stories to tell. It wasn't really ever a jump over from commercial to personal. I've always done my own thing outside of the commercial art gigs. I think I was just still trying to find myself as a painter when I was taking on those jobs. Then when Aprella and I moved to NYC that’s when I made the decision to step way from the commercial art thing and really try to put myself out there with my own work. Now I only get involved in select projects outside my personal work that I believe in and truly want to do. That's not to say the commercial art world is bad. It can be a really amazing money making job. But, the long hours needed give no time for personal work and being my own artist was what I wanted most.

BS: David, in recent years your career has really had a boom- you've had interviews in Juxtapoz, Hi-Fructose, and have been very involved in the scene... does this form of success ever make you wary? Does it put pressure on you? Or do you just let the chips fall, so to speak?

DS: It's been a great year and I just take it as it comes and roll with it. I am extremely grateful to have the opportunities that I've been given. Sure, it's high stress at times, but it's not worth complaining about. Life can be truly amazing when you work hard at it and anything is possible if we just set are hearts to it.

The Day The Frogs Rain Down, oil on board, 18" x 24", 2005

BS: David, some people view your work and only see disturbing images of children... they miss the point of what you are trying to do. Based on what I know of your work- I'd say that you are trying to give voice to children who have never been heard- voice to the abused and broken. That is what I see in your work. Would you like to clear the air and say, in your own words, what your imagery is about and the motives you have behind it?

DS: I feel that most of the time people see negativity in things because of the conflicts they are working out in their own life. So they seek and dig for something disturbing or some sort of negativity in something. I have never seen what I do as disturbing. My works are about imagination, innocence and the truth that children are far more intelligent than most adults give them credit for. I work with antique photos of children that I find and purchase quite a lot. For me it's sad to think of these abandoned or sold off images of children just sitting in a box in a dusty store. So, I bring them home and paint a world for them to live and tell their story in.

BS: Can you go into detail about your process? How do you start a painting?

DS: Mostly I paint on board. I start out with a lot of gesso and sanding. Most of the time I do an under drawing then I just get into the oil paint. I always try to experiment with different ways to do the process. So I can try to keep it new and growing.

Red Ribbon, oil on board, 24" x 26", 2006

BS: David, tell us about your studio... do you work in a small space? Large space? What is it like to be in the studio of David Stoupakis?

DS: It’s a good size space. There's quite a good deal of antique photos, fairy tale books, misspelled writings and an overall trash pit of paper, empty coffee cups and supplies. The most important thing about my studio is that I share it with Aprella. We both work everyday-- as much as 12 hours or more a day sometimes. So if we didn't share the space we might never find the time to see each other.

BS: In many ways you remind me of Chet Zar in that you have created a unique world with your paintings. Like Chet, you don't really seem to care about what is popular at the moment... you continue to dig into the world you have created without looking back. I assume that you will continue to dig deeper into 'your world' no matter what fate brings you as far as success is concerned. Would you say that I'm correct in feeling this way about you and your art?

DS: It's just all about me trying to understand more about what I am doing. So, yep-- you got it. For me it’s never been about what’s popular. It’s always more about me working out whatever I am going through at the time-- as I am sure it is for many other artists as well. I'm on a quest to understand this world I have been creating and if it happens to put me on a path of being unsuccessful that will suck, but I'll still be me doing what I do. I am not selling paintings to match your couch.

The Messenger, oil on board, 36" x 36", 2006

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

DS: Make art all the time-- and really all the time. You won’t grow unless you do, and the art won’t make itself. If you have a TV-- get rid of it. When you feel you are ready figure out whatever field it is you would like be involved in and approach them. They don’t know about you so you need to let them know who you are. If you are trying to get involved in the galleries pick up this book "Taking the Leap" it's an insider's guide to exhibiting and selling your art by Cay Lang. Don’t let criticism get you down. The art world can be really overwhelming at times. You definitely need to work really hard at it. If one place turns you down keep moving on to the next place and just keep on hitting it and don’t ever lose site on why you make art. Your art is who you are. The most important thing is to just believe in yourself.

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

DS: I am so very grateful to be where I am today. It is a dream come true to be living from my artwork and I am so looking forward to the road ahead for Aprella and me. I'm an extremely fortunate person.

You can learn more about David Stoupakis by visiting his website, www.davidstoupakis.com. You can read more of my interviews by visiting the following page, www.myartspace.com/interviews.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

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 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: Tristan Schane

(Wolverine- an example of Tristan's work for Marvel Comics)

Tristan Schane jump-started his career in art during his teens as a comic book illustrator- eventually working for major labels, such as DC Comics and Marvel Comics. During those years he illustrated popular characters: Wolverine, Ghost Rider, The Midnight Sons... just to name a few. Since that time Tristan has worked to develop his own imaginative art in both sculpture and oil painting.

As a sculptor he draws a lot of technical and visual cues from the sculptural work being done in cinema special effects. It is that industry’s trailblazing use of new techniques and materials, and its exploration of radical new imagery, that has helped to fuel the direction of his own sculpture.

The painting style that he has been developing over the past few years has gone through a metamorphosis. When Tristan began working as a fine artist he was very influenced by Surrealism. From that starting point, he began to develop a language of imagery and a technique that he calls Subversive Realism. However, his work continues to grow as he searches for an art that is true to his own design.

Tristan's work was recently included in 'Metamorphosis'- a book containing the work of 50 surreal and fantastic artists- including Carrie Ann Baade, Chet Zar, and Alex Grey.


Brian Sherwin: Tristan, you have been a professional artist since you were 18 years old. You started out in your teens doing professional comic book illustration. You worked for DC Comics, Marvel Comics, First Comics, and Continuity Comics. You've even done work for Clive Barker. How did those early illustration experiences prepare you in your pursuit of creating fine art? Also, why did you decide to make the jump from your former professional to creating personal works of art?

Tristan Schane: Actually my first professional gig was when I was 15. I did a back up feature for a DC comic book.Well for one thing, I learned how to paint as a comic book artist, painting super heroes and monsters and what not for covers, posters and other comics related products. I don't know that my professional experiences prepared me specifically for the fine arts industry -- it certainly works very differently than the comics or book cover business, but it did give me some very specific strengths as an artist.

For one, the ability to make quick artistic decisions and follow them to completion. I am not an artist with many (or any) unfinished works in my studio. Comics have very tight deadlines and a lot of art goes in to each page so you have to have a very workman like attitude towards the creative process. That's a skill set that has followed me in to every medium I work in. Being creative under pressure is another constant factor in illustration of all sorts and another skill set that's useful I think in any creative industry.

Really, it was around 1993 that I started doing fully painted work for the comics industry. Up to that point, I never had any ambition to be anything other than a comic book artist. Once I started painting, though, the world of comics art started to seem very constraining and I became more and more drawn to fine arts as an environment I'd prefer.

BS: It is my understanding that you've used practically every medium under the sun. You now paint exclusively in oils. Why is oil paint your favored medium?

TS: In comics I'd often have to do a painting and hand it in inside of a few days, so acrylics or gouache were the obvious choice. There are some artists who can really get these paint mediums to express what they're after. For me with water mediums and acrylics it was always a wrestling match ending in a compromise between what I was after and what the paints would allow me to do. Oils work very naturally for me. For me, they perform as if they actually want to come out of the tubes and infuse the paintings. It's a wonderful medium.

BS: You also create life-size sculptures. Can you tell our readers about the process you use?

TS: The piece begins with an armature made out of aluminum armature wire and hardware cloth. The general contours of the piece is drawn three dimensionally with the armature wire, which is grounded in to some plumbing secured to a stand. Then I build it out the armature with the hardware cloth, creating the rough forms of the sculpture. A support structure of steel rod is designed and bent to contour invisibly to the inside of the sculpture, to carry the weight were it will be needed. This is attached at some point to a main support structure made from plumbing pipes and fittings. This whole process is an art in itself -- sculpting with wire and hardware cloth. Occasionally secondary supports will be attached if the pose of the sculpture requires it.

When the armature is all built out and secured, I cover the hardware cloth with aluminum foil. Over this I build the sculpture. I work in oil clays. After this i make a mold, either a rigid mold or a silicone rubber mold and then cast out the piece in various materials. Lately it's been polyester but I will be doing some silicone sculptures this year.

BS: You have stated that you draw inspiration from influences that are considered unorthodox for a fine artist. Can you go into detail about this?

TS: As a sculptor, I have been influenced more by the film SPFX industry than any other source. It is from reading about and talking with the those artists that I learned my sculptural technique. Generally I feel very disappointed in the technical abilities of fine arts sculptors and am always looking to the sculpts done for animatronic film effects characters as an inspirational resource for my work.

Lately as a painter, my influences are more traditional, though in my development as a painter I must confess that I have been influenced a great deal by conceptual design arts and Science fiction/fantasy book cover illustration. There are some masterful artists in those fields, and it's the amazingly imaginative way some of these artists can create realistic, but other worldly or future worldly scenes that look so comprehensive. There was a long period when this was by far the majority of the sort of art I looked to to inspire me in my fine arts paintings.

BS: Tristan, you call your painting style Subversive Realism. You have went on to say that Subversive Realism represents a fusion of the skills and sensibilities which you have acquired over the years working as an illustrator and as a fine artist. Can you go into further detail about Subversive Realism?

TS: Subversive realism was a term I came up with to try to describe the sort of visual language I am trying to develop. I am definitely an adherent of hyper realist technique, as a painter and a sculptor, but I am not a representational artist when it comes to subject matter. Neither do I consider my work surreal or visionary.

Sometimes in a painting I feel what I am trying to do with a concept is to use the image to dissect the perception of something without removing that perception so the perception and the object of the perception are both present. I don't often succeed, but that is something I wrestle with. I'm working on a new work right now which I feel may be the closest to this yet.

BS: Are you ever concerned that your art will not be taken seriously by the artworld elite due to your former profession? Or do you see the skills you learned during that time as tool to utilize in order to breathe new life into what is considered traditional methods?

TS: Yes and no. I don't know that people are less inclined to take me seriously because of my illustration background. I think my work is often dismissed for being hard to categorize as specifically this or that. Not surreal. Not hyper real. I hear the word "disturbing" a lot and I think that often signals someone's knee-jerk reaction of not really looking at the work beyond an instant and superficial response.

I have a bigger concern that not being a "trained" artist with an MA, it's very hard for me to crack in to established gallery venues. However, all I can do is pursue my artistic sensibilities where they take me and focus very hard on trying to develop the imagery and concepts that I'm after.

Beyond that I work very hard trying to establish myself as an artist in the industry. If I succeed, great. If not, well it won't be for lack of trying.

BS: So... would you say that working as an illustrator is a good stepping stone in regards of learning various skills? Does the industry teach artists more than what they may learn in school?

TS: I can't say one learns more in illustration. One learns the business of illustration and the artistic requirements of commercial, illustrative arts. There are certainly some skills there worth having. I think one has to be much more able to pursue the learning of different mediums and techniques when one learns as a professional. Anything you don't teach yourself or go out of your way to learn is just not there for you. No one shows you how to do anything.

It seems people are exposed to a greater variety of art mediums, art industries and and art styles in school. There is also a greater opportunity to network with other artists and arts professionals in the schools, which translates to having those networks after graduation. I think starting out as a professional freelancer can be a little isolating, especially from the avenues of fine arts.

Lastly, I have found that the fine arts business is very much like any other, and having gone to this or that school, studied with this or that professor and having a degree in fine arts helps open doors regardless of one's abilities which aren't nearly as accessible otherwise. Had I known way back when that I'd ultimately be a fine artist, I would have chosen to go to school rather than to work.

BS: You have stated that you started fine art painting as a surrealist (sample image above and below)... but you quickly felt that the visual language of surrealism was to atavistic for the modern world, too reliant on visual structures and styles that while beautiful were out of touch with the flavor and sensibilities of today's world. With that said, what is your opinion of Pop Surrealism and the lowbrow movement in general?

TS: Definitely. Early on it was all Dali and Magritte. When I was talking about surrealism being atavistic, I was referring largely as it applied to my own sensibilities. When I worked in surrealistic imagery, I felt I was borrowing from someone else's native millieu. An era when those sensibilities sprang from the world around them and belonged to it as a natural native. It was authentic for those artists, but it just didn't feel personal and genuine for me. It didn't resonate with my sensibilities and mindset. It didn't feel like it belonged to me or my world.

I still constantly get ideas for pieces that would make great surreal works, but I have no interest in producing them. What is called pop surrealism or low brow art are vague encapsulates that hold within those very broad band widths some very talented artists. I think the terms are very general and often not descriptive. I don't think to much in terms of this or that art movement. More in terms of this or that artist.

BS: So is it safe to say that you are searching for an art that is new... fresh... an art that does not have to hold on to old traditions even if those traditions and methods are relatively young in the span of art history?

TS: All life is progressive. I couldn't come up with an art form that owes nothing to the past. Nothing can exist in a vacuum like that. What I am looking for is within myself -- a visual language that is purely of me, my world and my time. As my world was inherited from the earlier generations and eras, so will my art, but it must be of my world and my time. It must feel to me to be genuinely personal and authentic. I am trying to find this language within myself and my relationship to my world, and I am constantly trying to avoid sensibilities that seem obviously inspired by earlier aesthetics. I have a long way to go. It's definitely a work in progress that is constantly stretching and reforming.

BS: Tristan, are you represented by a gallery or are you seeking gallery representation? Also, do you have any upcoming exhibitions of your work?

TS: No, unfortunately at present I don't have a gallery. It's been very hard for me to connect with a gallery that both appreciates my work and can sell it to their clients. Usually the galleries I have shown at do great shows, but make no money.

An artist who can't earn with his work winds up with very little time to create that work, having to work other jobs to pay the bills. It's very expensive for an artist to frame and ship work to and from a show with no sales. I have been represented by two different NY galleries in the past few years, both were in Chelsea, both very enthusiastic, but neither could promote me successfully. I am currently seeking for proper representation.

I have a collaborative show in the works -- several sculptures, but it is still in the planning/talking phase so until it's definite, it's more prudent for me to keep mum.

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

TS: I could give a fifteen page diatribe about how I wish there was something like the WPA still in existence with public funds going towards commissioning all sorts of artwork, but....

You can learn more about Tristan Schane by visiting his website-- www.tristanschane.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Tristan 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: Kim Scott

Kim Scott has been creating art as a profession since 1973. She is known for depicting conventional and unconventional figures that stem from different sources. Monster and Sci-fi movies and books from her youth have remained a constant source of inspiration in her work. Kim Scott's artwork has shared walls with many interesting artists: Alex Grey, Mark Ryden, Todd Shorr, the Clayton brothers- just to name a few. Her work can be found in several collections, including the Crocker Art Museum.

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

Kim Scott: I was always the "class artist" from the beginning, but at 19 I realized that I could make art for a living. " I was taking Marine Biology classes at the time, thinking about what to do for a REAL JOB, then I realized that making art IS a real job.

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

KS: I am a Vanitas painter. I paint topics relating to my own experiences and focus on impermanence and vanity. I have always been interested it this, but when I started doing Tibetan Buddhist practice 14 years ago, it really showed up in the work. I have taught art to adults with developmental disabilities, high risk youth and inmates in the California State Prison System on and off over the last 15 years. I've seen the power of positive personal expression. I think all my travel has added depth to my work too, all the museums, archeological sites, temples, mosques and Cathedrals..... seeing the rich and poor over time. Seeing the things that people make, that are important to them is really interesting to me."

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

KS: Between two days and two weeks. I paint pretty fast, but the oils and glazes take a bit of time to dry properly.

BS: Has your art ever been published?

KS: In a few Mags, I did the cover of Tower records now defunct "Pulse" mag, I have made images for some local mags and rags and get included in local newspapers quite often. I have a piece in the "Western SciFi" Catalogue from the SF Minna gallery show of the same name. I am a member of the Art Dorks collective, and we are going to put a book out later this year.

BS: Kim, what was your most important exhibition? Care to share that experience?

KS: One of my goals years ago was to get my work into a one person museum show. After 6 years of working on it, the Crocker Art Museum asked for work. It consisted of 18 miniature paintings I painted while in India. I received a letter while working there asking if I would like to do the show.... HELL YES!! I was so happy. Getting work into the Western-Scifi show was a boon too. I met soooo many fine artists that opening night and after... Mark Ryden, Ausgang, KRK Ryden, Mike Davis, Isabelle Samaras.... and the list goes on. It expanded the region my work was being seen in and started conversations with many artists living outside of my town.

BS: Kim, 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?

KS: I like Indian, Persian and African music, I listen to international internet radio stations, I like progressive talk radio and too much TV! (guilty pleasure) If I need inspiration, I clean the studio or gesso wood panels, I always feel like painting after that.

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

KS: Brave. So much of my work is a little hard to look at. I try to make it beautiful and authentic. To me, beauty is something that moves you, not just something that is pretty. Some people gravitate to this. They appreciate moving out of their comfort zone to reflect through the work. To have this intimate emotion. They are my collectors and fans."

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

KS: (Escape and Good Luck!- image above) I had this cut off funny little fragment of a starving artists "real oil painting" from the 99 cent store knocking around the studio. I decided to expand on it, so I nailed it to a piece of plywood and painted it close to the same background color as the painting fragment. I extended the landscape component out from the fragment onto the wood... and just looked at it for about a week, trying to see what else needed to be there. I almost always think of my work as self portraits, and had been using meat as character for a while. This bucolic setting just seemed ripe for a swim... the first title was "swimming Lesson" but quickly got changed to "Escape and Good Luck" ... the surprised and panicked look in the eyes cinched the name change. What is she running from...? Her past? The dogs? A mirror? The frying pan? Where was my fan brush when I needed it most?! Recently I have been approached by several guys with cannibal fetishes... I supposed it was only a matter of time...

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

KS: I have an MA in studio art from california State University at Sacramento. I also went to American River Community College, where I received some good basic painting training from Gary Pruner, and other Photo Realists. When I went to school at Sac State, the method of teaching was "go paint". Not much info into technique and such. This has its benefits, studio time is sooo important. Developing self motivation is key. I talked to a new younger painter friend the other day who said he had Eric Joyner for a background painting teacher in SF......BACKGROUND PAINTING TEACHER!!! I wish I would have had one of those!

BS: Kim, why did you choose the medium(s) that you use?

KS: Oil looks the best. The End. It stinks, you can develop allergies, it takes time to dry.... but the surface and color. Sorry... as good as acrylics can look, oils look a little better. More beguiling. I also use enamels on copper in the Limoges style now and then. It makes your work look like jewelry. Beautiful, and hard to control. Sometimes thats a good thing.

BS: Where can we see more of your art?

KS: www.feedyoureye.com , www.artdorks.com (new site opens soon) www.myspace.com/feedyoureye, www.davescave.com

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

KS: Toyroom Gallery in Sacramento lets me use their space for lots of fun stuff, I've had my own shows there and I have curated a couple of group shows there too. I just curated the "Everything Nice" show there and then it traveled to Thinkspace and Cannibalflower in LA, See the amazing artists involved at: http://www.sacforart.com/everythingnice.html The Art Dorks are having a few shows this year including one at McCaig-Wells in Brooklyn in June and at Thinkspace in LA also in June. I have showing some collabouation works at A Bitchin' Space in Sac this year. Toyroom in October... More in the works in NY, Phoenix, Philadelphia and Seattle.

BS: Kim, what galleries have you exhibited in? Can you provide links to their sites?

KS: Heres a few...

Toyroom Gallery (Sacramento) www.toyroomgallery.com
A Bitchin' Space (Sacramento) www.abitchinspace.com
Youngblood Gallery (Atlanta) www.youngbloodgallery.com
Feinkunst Krüger gallery (Hamburg) http://www.feinkunst-krueger.de/framefeinkunst.html//l
McCaig-Welles Gallery (Brooklyn) www.mccaigwelles.com
Thinkspace (LA) www.thinkspacegallery.com
Cannibalflower(LA) www.cannibalflower.com
Anno Domini(San Jose) www.galleryad.com
Subject Matter Gallery (Costa Mesa) http://visualsubjectmatter.com
Hope Gallery (New Haven) http://www.hopegallerytattoo.com/event.html//l
RX gallery (SF) http://rxgallery.com
Horsecow Gallery (Sacramento) www.horsecow.com
Shooting Gallery (SF) www.shootinggallerysf.com
Varnish Fine Art (SF) www.varnishfineart.com
111 Minna Gallery (SF) www.111minnagallery.com

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

KS: Thank Buddha that painting the figure is back. Cabinet painting is back. Art that can be collected and shown in a regular sized home or apartment. Technical excellence. The craft is way up, and when the ideas are there too, its magic.

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

KS: Go to your studio. Mature as a human being, or your work will suffer. Also, learn the business, no mater how good you are, if you can't interface with the business world, its hard to cleanly close the deal on your art skills. Stop that prima donna stuff. A little goes a long way. Let your art kick their ass, not your attitude. Don't forget to have fun! Not many artists make a full time living on their art making. Its not a crime to work a second job... make it something you like. "Those that can't do, teach" is a stupid saying.

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

KS: I was asked to cover up the nipples on a painting going on the front of a local newspaper... no problem. My other work? I have put up signs warning about content at galleries a few times.... I have had VERY explicit work up at college galleries and public shows several times without censor. I was pleased.

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

KS: Being an artists is its own punishment and reward. Hard to make a living, fun and rewarding to make stuff, Its great to contribute to the world authentically. Richeous livelihood is good when you can do it. When I feel bad about myself, if I don't believe in my intrinsic value as a human...my work suffers. Sometimes its hard not to cave into the pressures of the media about how you should look and such. Vanity causes a lot of suffering! Best not to buy into it. Go to your studio!

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

KS: I long to commune and the visual language is the language I use best.

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

KS: I was born, educated and raised in Sacramento CA. Also known as "CowTown", "the Big Easychair" ,"Sacatomatoe" and "Sacra". People who live here or who move here are under the old native "curse of the two rivers". (you will not be able to leave Sacramento, or if you do leave you will have to come back until all of your spiritual work is done) It houses the oldest Art Museum west of the Mississippi river (the Crocker, just had a radiant and bitchin' Irving Norman show), has the best farm fresh food and doesn't know how great it really is. Painting was NEVER dead here. There are lots of galleries, a fantastic 2 percent for the arts public collection, and the RCAF (Royal Chicano Air Force) makes it their home. During the early 70s, some of Chicago's coolest cats, the "Hairy Who" moved in, partied and intermarried with the locals, making a funny and funky mess of valley art here called Valley Funk. Influential Valley dignitaries have included Wayne Thiebaud ,Thomas Kinkade (!a little further up the hill...), Hudson River valley painters including Norton Bush and Thomas HIll, Funk artists Robert Arneson , Jim Nutt and Pop photo realist Mel Ramos. Plus a BIG bunch of other men and women making all kinds of stuff. Pop Surrealism and Lowbrow R us for the last 30 years. Huge car culture, Johnny crash'o'rama, and Bill Liberty Tattoo. Its an art vortex. Come and take the ride sometime...but if you need to brush up on your spiritual work, you may be here a while.

BS: Kim, has politics ever entered your art?

KS: It enters my life, so it can't help entering my art....This is Sacramento after all... gotta go to marches at the Capitol a couple times a year to defend the arts in CA, or other causes.

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

KS: A spiritual component is present in my expression.

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

KS: Give me more shows!

You can learn more about Kim Scott by visiting the following website-- www.feedyoureye.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Kim 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: Godfrey Blow

I recently interviewed artist Godfrey Blow. Mr. Blow is an artist who has had many solo exhibitions beginning with his first in London in 1976 and whose work is held by several major and regional galleries, principally in Western Australia. ln addition he has taken part in numerous mixed exhibitions in Western Australia, New South Wales and the United Kingdom. He has also won several prestigious awards in Western Australia.

Mr. Blow was born in North Hykeham, Lincolnshire in 1948. He trained as an artist at Sheffield Hallam University in England and came to Western Australia in 1982. He has painted for over 30 years. Godfrey's art was featured in The Stuckists Punk Victorian exhibit at the Walker Art Gallery during the 2004 Liverpool Biennial.

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

Godfrey Blow: Round about the age of fourteen. We had a free choice during an art lesson at school and I painted a landscape based on an area where I was born (North Hykeham, Lincolnshire) depicting fields, corn etc. I used different shades of yellows, mixing them and I really enjoyed myself. Prior to that I had got poor marks for art. My work was always too messy and I didn’t really look forward to art in high school. Anyway the teacher said how much he liked it, particularly the use of yellows, and how it reminded him of a Van Gogh. Of course at that age I didn’t even know whom this artist was let alone what his work was like. Anyway that evening I went to the local library and got a couple of books out on him. I was at first completely taken back, I thought they were really strange but they fascinated me and after reading the text I began to really identify with the work and Van Gogh has a person. After that art became so important to me and I learnt about other artists and painted and painted and it completely took over my life!

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

GB: I’ve always felt a bit of an outsider so I suppose I’ve never really related to what the majority of people think or do. I suppose in a way that’s an influence, because I like to be private and hold things in. Partly through suspicion of other people’s motives. On occasions I may use metaphors to express a political or social opinion, such as the war in Iraqi. Perhaps the mood in a picture will be darker and more sinister. I find social political satire or ironic stuff about society deadly dull and besides nobody remembers it years down the track. This is not to say I don’t care or have strong opinions about issues, I do!

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

GB: Up to 2/3 months depending on the size. I tend to work on about 3 at the same time, doing a bit here and here, gradually developing each piece. My work is very slow and painstaking, but I enjoy detail and adding bits and pieces until I’m completely satisfied. Some days I ‘ll spend what seems like hours just thinking/ meditating on the next step. It’s like being in a different world or different level of consciousness.

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

GB: I use natural forms in my work derived from nature. For me this is very important because it gives me a kind of connectedness necessary for producing art. I believe in doing several studies before attempting paint on canvas. For me it’s not just about doing a painting but a complete creation, part of my continuing personal and spiritual development. It’s not about money or being a celebrity, it’s my whole reason for existence. In my own work art is a combination of creativity and technical skill. Without both factors my art wouldn't exist.

BS: Godfrey, has your art ever been published?

GB: My work has been published in The Stuckist Punk Victorian, a catalogue or book to celebrate the first public show of the Stuckists in 2004. My work as also been published in the Who’s Who of Australian Visual Artists and on the front cover of Zahir a science fiction journal, based in America.

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

GB: I suppose there are 3 that stand out. My first solo show in London at the Barnet Art Centre, 1976, my first major exhibition in Western Australia at the Undercroft Gallery, University of WA in 1984 and the Stuckist Punk Victorian exhibition in 2004. My very first solo show because it was such a thrill to show all my work in one space! And the solo in Western Australia for a similar reason plus several public collections bought my work. The Stuckist show, because although I didn’t go for the show it was great to participate in an important exhibition of Stuckist paintings. You felt like it was ground breaking and really special.

BS: Godfrey, 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?

GB: I always listen to music when I work. I find it helps with my work and puts me in a reflective mood. I like anything classical really, but Bach is a favourite. I put out all the paints I need for the entire session, I don’t like to stop and start. I find this disturbs the creative flow.

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

GB: Quite a few Australian public collections have an example of my work. The University of Western Australia has 3 of my works, so I suppose they stand out! My wife’s family has been very supportive over the years. A few friends as well have bought my paintings but also complete strangers, clients of the gallery I am with have also bought work.

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

GB: Wounded angel (image above) is one of my most recent paintings. It’s acrylic on Belgian linen on board. One of the issues I have dealt with over the years is death and illness. I think we are reluctant to talk about these important things. Not long ago my wife had breast cancer and it was very traumatic at the time and it only just recently that I’ve felt able in some way to make sense of what happened. But I like to approach themes in different ways and in this instance I chose to combine the image of a woman, with the scars of a mastectomy and a 7th century Celtic cross in Derbyshire, after a recent visit to Eyam in 2004. Also Eyam is famous for the tragedy of the 16th century plague and how the villagers decide to quarantine themselves until the plague has passed. I also read a novel set in the area called "Year of Wonders" by Geraldine Brooks, a wonderful and beautiful work. Given my pagan beliefs I integrated pagan symbols on the cross and in the background I had one quite light side with dark passages on the right. For me light symbolises life, growth and the promise of another summer, creativity, whereas darkness is winter, the void, the unknown. Fro me the painting is about feminie beauty and how we can regard all females as kind of mortal angels. I hope the painting gives a positive message of hope and survival against the odds.

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

GB: I gained a BA Hons Degree in Fine Art from Sheffield Hallam University in 1971 attended Manchester Metro University, where I qualified as a teacher. I don’t think it helped me much as an artist if anything it held back my creative development. It was good from the point of view of mixing with other potential artists and sharing their hopes and aspirations. Even way back then I felt that universities are more destructive than creative and they seem to have got worse over the years.

BS: Godfrey, why did you choose the medium(s) that you use?

GB: I use oils and acrylics mainly but also use charcoal, pen and ink and pencil for drawing. For me painting is the one medium that is the most satisfying to use and the most difficult. There is something about the smell of oil paint and the whole painting thing that is so special, beautiful and wonderful. Each time I go in the studio I feel bonded with my materials and the desire to create. The act of painting combines the physical and emotional sides of my character.

BS: Where can we see more of your art?

GB: The Art Gallery of Western Australia, Artbank Australia, University of Western Australia and the collections of the cities of Bunbury, Albany and Fremantle are a few of the collections that have a piece of mine in their collections. Also if you are in Western Australia pop into my studio!

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

GB: I’m represented by Stafford Studios, Cottesloe, Western Australia. I had a solo show there in 2006 and plan on having another in about a couple of years time. Later this year I‘m taking part in a mixed show at the Gallery Gora in Montreal."


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

GB: The renaissance of painting through groups such as the Stuckists I think will gradually come to the forefront. That’s very positive!

BS: Do you have any advice for emerging artists?

GB: Yes, don’t listen to university lecturers! Work hard and focus on what is important – the art.

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

GB: Sometimes I feel that people do not really understand or have a clue what my work is about and this is always tough, makes you feel really isolated and alone. This happens quite a bit. I have quite a few shows where I feel like I’m on another planet, judging by people’s reactions, and I suppose I regard that as rock bottom.

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

GB: Without art I would starve inside and life would have no meaning.

BS: Godfrey, what can you tell our readers about the art scene in your area?

GB: Although Perth, Western Australia is much smaller than London there are quite a number of commercial and public galleries here. The interest in the arts in Perth is strong and compares well with London. Perth is perhaps a little insular and it takes a while for locals to accept anybody new. But many places are probably like this.

BS: Has politics ever entered your art?

GB: No not really, although I have made comments in my own way about things that have happened in the world over the years, in regard to things like Iraqi, the Balkans and other issues. The craziness of the world is certainly there in my work and I suppose this for me is politics!"

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

GB: Religion doesn’t but the importance of the spiritual is foremost in my mind. I find you can be spiritual without being religious.

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

GB: The meaning of everything I have done over the past thirty odd years is in the works and hopefully people will continue to look and explore. And I hope that others enjoy looking as much as I did creating it!

You can learn more about Godfrey Blow by visiting his website-- www.godfreyblow.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Godfrey 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: Heidi Taillefer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HT: To understand myself and life.

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

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

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

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

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

You can learn more about Heidi Taillefer by visiting her website-- www.heiditaillefer.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Heidi is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: K.D. Matheson

I recently interviewed artist K.D. Matheson. Mr. Matheson is known for his skill in painting and sculpture. He is interested in creating 'spaces' that serve as a bridge connecting the past to the future. The influence of the past is obvious in his art. It is as if he draws inspiration from several cultures.

Brian Sherwin: K.D., when did you first discover that art wouldbe an important part of your adult life?

K.D. Matheson: I remember when I was about 5 yrs old , my father showed me a book of famous paintings. While looking through it I came across an image of the mona lisa , by da vinci. I was so captivated by that painting, at that time it seemed so haunting and surreal. At that instant I knew I was going to become an artist.

BS: K.D., how has creating art shaped you professionally and personally?

KDM: For me creating artwork has been an ongoing journey, a continual path of self discovery and understanding, and at certain times a terrific substitute for psycho. Therapy! After a while you begin to understand that you are not only creating art but a way of life.

BS: K.D., how has society influenced your art?

KDM: About a year ago my artist friend Jorge Catoni, and I did an installation titled human inhumanity.....social and political themes dealing with war, political corruption, capitalism, poverty, racism and bigotry.....we transformed the gallery into a giant socio political collage!"
I think its hard not to be affected on some level by the social enviroment, but its not the driving force behind my work. I'm more at home with the intangible and the unseen.

BS: What are some of your artistic influences?

KDM: One of my all time favorites is Mati Klarwein, as well as a lot of contemporary artists on sites such as, society for art of the imagination, surrealism now, and the beinart collective. My greatest inspiration comes from my artist friends, really cool and talented people like Jorge Catoni.

BS: K.D., how long have you been a working artist?

KDM: I've been working as a full time artist in one form or another for about 20 years.

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

KDM: Usually I work on several pieces at a time , that way if I get hung up on something I can jump to another project and stay in the flow. sometimes I will finish a piece in one sitting, but normally it takes about 2 to 3 weeks to finish a piece.

BS: Do you have any studio rituals, as in, do you listen to certain types of music?

KDM: I always listen to music while im working, mostly r+ b, and some operas. Some of my favs are , Nina Simone, Sarah Vaughn, Miles Davis, and Ella Fitzgerald. Lately I've been listening to a lot of Gershwin.... and I love to have lots of choclate and caffine available!...

BS: K.D., if you could pin-point the characteristics of people who collect your art what would they be?

KDM: Its hard to catergoreize the type of people that collect my art, its such a wide range. I believe its a good thing when a work of art can cross over so many different mindsets.

BS: K.D., can you tell us about your artistic process?

KDM: For me the creative impulse is always in a sort of flux state, always in motion, never static, forever putting a new spin on things! I feel like I'm arresting small increments along the thought form freeway! Freeze frames from an ongoing process.

BS: Finally, why did you choose the mediums that you use?

KDM: I paint mainly in acrylics, they dry quickly, so I can work fast and at a nice pace. For sculpting my favorite medium is clay. Its so versatile, I love the way it responds to touch, to me it seems to embodie the essence of primal matter.

You can learn more about K.D. Matheson by visiting his website-- www.kdmatheson.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. K.D. 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: James Zar

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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

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

BS: How long have you been a working artist?

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

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

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

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

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

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


BS: Discuss one of your pieces...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Mark Ryden

I recently interviewed artist Mark Ryden (with the help of Alix Sloan, his assistant.). Mr. Ryden was one of a handful of artists who helped spearhead a return to traditional painting techniques within the context of surrealistic imagery in the 1990s. His masterful technique, along with the content of his images, helped to give new life to this form of art.

Mr. Ryden is best known for his surrealistic images that often obtain subject matter that are loaded with images of popular culture. Mr. Ryden forces us to ask questions about our society by placing symbols of our cultural familiarity into unsettling circumstances. These works often seem like a disturbing reflection of the 1950s Golden Books. They are a fine mix of innocence and brutality.

Mr. Ryden's work captures a sense of childlike honesty. However, the 'toy land' he creates is not one of 'shoots and ladders'... it is a place that questions the behavior of adults and society in general.

Brian Sherwin: Mark, you seem to be a very busy man. Do you ever get a break from working and exhibiting?

Mark Ryden: I don't seem to ever take a vacation! I simply switch modes. I am not painting right now but I am very busy taking care of business in other ways. Life is so busy for me right now and my career is very demanding. I have so many "Non-painting" things to do. Much of this work is related to my self-publishing.

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

MR: When I was young and in high school I was inspired by Dali, Magritte, and Bosch. I suppose this is fairly typical of most artists of my age (I was born in 1963). I eventually really got into Rosenquist and the pop artists. Slowly my deepest passion emerged as I began to look at more an more classic art. I really love early Flemish art. Some of my favorite artists now are David, Ingres, Carpaccio, Balthus and Bougereau.


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

MR: A small group of elitist individuals decide what is valid and what is not. These people overly intellectualize and academicize the arts to maintain their sense of superiority. This is not a new problem.

BS: Do you have any 'studio rituals'? Little things that help you to 'get in the mood', so to speak?

MR: When painting I like to listen to music that helps me focus and relax. I like movie soundtracks like American Beauty, I like Debussy, Pink Martini, Combustible Edison, Dead Can Dance.

BS: Mark, do you have any tips for emerging artists?

MR: I believe if you follow your heart and do what you love, success will follow. If you enchant yourself, others will be too.

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

MR: I suppose I would say that it is really great to see representational art given respect again. For the last 50 years or so an artist could hardly paint anything representational with out it being looked down upon by the "Art World". In this past century, art ran a course to an extreme of minimalism and conceptualism and now things seem to be more inclusive.

BS: Mark, do you have any upcoming exhibitions?

MR:

Solo Exhibition - March 10th - April 28th, 2007
Opening Saturday, March 10, 12pm-6pm
Michael Kohn Gallery
8071 Beverly Blvd.Los Angeles, CA 90048

www.kohngallery.com

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

MR: Just go to my website www.markryden.com or www.earlmcgrathgallery.com/galleryartists/ryden/

You can learn more about Mark Ryden by visiting his website-- www.markryden.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Thanks again to Alix Sloan!

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Rafael Navarro

I recently interviewed artist Rafael Navarro. Mr. Navarro works by instinct. He works with an internal dialogue that he can't ignore. His ideas dictate the medium he chooses to work with. Thus, he builds a strong relationship between the images and the materials used for their creation.

Mr. Navarro draws inspiration from his childhood memories, personal observations, and cultural heritage. He is known for altering these ideas by taking a different approach with various materials. This results in works that communicate in a poetic manner.

Rafael pays tribute to women with his art. Themes of conception and the birth of new life are common in his work. These visual themes flow like music set to the backdrop of the evolution of life.

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

Rafael Navarro: Since early age I just kept being drawn to my set of pencils and modeling clay, I remember just getting lost on my thoughts during playtime. But it wasn’t until I was an adult that I realized that art was an important part of my life. I deeply regret it not to have it realized long time ago, I never met an artist growing up so I didn’t think it was possible to be one.

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

RN: This is a very difficult question, I don’t know if art shapes you as a person or it is something that already exists in you, and art just brings all your human qualities afloat, it makes you more aware of your surroundings. All your senses absorb information, the stimuli of the environment and triggers something in you.

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

RN: My work deals more with the cycle of life. For now I keep to myself my social views, perhaps in the future I would explore more the crazy society we live.

BS: What are your artistic influences? Has anyone inspired you?

RN: Sure, we all at some point we have been inspired by other artists, the first artist that left an impression on me was Rene Magritte, when I was a kid in Mexico City, I saw a documentary on TV about his life. Other artists that have left an impression on me are Picasso and Henry Moore between others.

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

RN: I was born and raised in Mexico City, I am the oldest of five kids, we all had artistic inclinations but only one of my brothers and I pursued it, my brother works as a graphic designer in Mexico City. Yes, sometimes you can see the influence of my Mexican heritage, specifically the symbolisms of the cycle of life that keeps appearing on my work. But I would like to think of art as universal.

BS: How long have you been a working artist?

RN: I started making art more seriously around 1993, when I started entering my work in juried group shows, thanks to the encouragement of some friends.

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

RN: People with an open mind that tends to move away of the ordinary, they tend to be interested in finding out not only about my art but also they seem to be interested to know me as a person.

BS: Rafael, can you tell us about your artistic process?

RN: My ideas come from things I see or hear, my mind creates an image that evolves with time until it is ready to become more tangible. I admire artists that are able to keep a sketchbook, I would keep trying but it hasn’t work for me. I keep my ideas in my head, there is where my ideas get polished or get scraped.

BS: Rafael, why did you choose the medium(s) that you use?

RN: The idea dictates the medium. Sometimes I experiment with the same idea using different materials, colors and textures, I try to make it visually exciting. I work on wood, ceramic, metal, fabric and found objects. I would like to experiment some day with cast glass and also with stone, these are mediums I never have worked before.

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

RN: I don’t have an art degree, I am sort of a "self-taught artist", I have taken few art classes, I have worked with other artists and experimented on my own, my knowledge comes from the sum of all these experiences combined. I can agree that you don’t need an art degree to become an artist, but art education can give you more confidence and guidance, it can give you the tools to express yourself, that’s what I personally got from the few classes I have taken, I also enjoy being around other creative minds. Maybe someday I will be back to the classrooms.

BS: Where can we see more of your art?

RN: You can visit my website, and if you are near to where I am showing, I usually have information of my art exhibitions in my web page. www.navarroartes.com,
www.myspace.com/rafaelart

BS: Rafael, are you represented by a gallery? Do you have any upcoming exhibits?
RN: I have some friends that show my pieces sometimes at their gallery in Cave Creek, AZ, but for now I like to be independent. Right now I am showing at The Herberger Theater Center art gallery here in Downtown Phoenix and it will be running until January 1st, 2007. Also I am having a group show on the First Friday of December of 2006 at Tilt Gallery in Downtown Phoenix. For more information visit my website at www.navarroartes.com.

BS: Do you have any advice for other artists?

RN: Never stop learning, expose yourself to all kinds of cultural events, and experiment with new techniques.

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

RN: Not really, I have had people that right away decide that are not interested or make a quick judgment about my work, and that is OK, you cannot make everybody happy. I think it’s more damaging when we censor ourselves.

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

RN: Being an artist hasn’t been easy, it has being difficult to make a living from it, I have tried to stay away of the art I as much as I can, and because my stubbornness of staying true to myself I have suffered and I have starved. Many in this career move away to do other things that brings income to their families, which I think is a very understandable and necessary thing to do, but at the same time it is very sad. This society still doesn’t value its artists as much as it should. I also have moved away from art and I keep coming back to it, I always come back.

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

RN: Art is a very important part of my life, it keeps me centered and motivated.

BS: Finally, what can you tell our readers about the art scene in your area?

RN: The art scene in Phoenix, Arizona is still growing, and I am happy to see that. It has been moving away from the southwest art, created mainly for tourists to a something more diverse. We have art events called First Fridays every month and Art Detour which is one weekend a year in Downtown Phoenix, they started with only few art spaces and now there are about a bit more of a hundred art galleries and art studios showing art for all tastes. Certainly has revitalized this area once abandoned. My only fear is that, along have came the developers, and the prices of real state have been rising up, so my biggest fear is that many artist are not going to afford to have a studio here and we are going to have to move somewhere else.

Take a look to another interview and to what is happening in the Phoenix art scene:

http://phoenixartspace.com/viewarticle.php?ID=26

http://www.artlinkphoenix.com/ "

You can learn more about Rafael Navarro by visiting his website-- www.navarroartes.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Rafael is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Chet Zar

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BS: How long have you been a working artist?

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

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

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

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

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

BS: What is your artistic process?

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

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

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

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

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

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

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

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

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

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

BS: Where can we see more of your art?

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

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

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

BS: What galleries have you exhibited in?

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

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

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

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

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

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

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

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

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

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

CZ: Because it’s fun.

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

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

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

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

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

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Carrie Ann Baade

The art of Carrie Ann Baade has quickly gained recognition in recent years. I remember viewing her work over two years ago. Her images, with their 'eye masks', stuck in my mind. Sadly, I forgot her name at the time. What can I say...sometimes the art remains in the mind while the name of who created it slips away. One thing is for certain, the art and name of Carrie Ann Baade will become familiar to many people in the 'art world'. I doubt I will forget her name anytime soon. She has a successful track record and continues to develop as an artist.

In my opinion, Baade's art is a perfect example of what a surrealistic painter can accomplish today. Carrie's paintings have been called "Imaginative Realism" due to her strong skills in traditional painting. Her body of work captures the essence of Master works while embracing the heart of surrealism. This mix of 'old and new' comes together to create images that are both beautiful and alarming at the same time.

There is a mysterious beauty about her work. In my opinion, the world she creates is one of harlequins and jesters cloaked by a shroud of danger that can be observed just beneath the surface. When viewed as a collection, Baade's paintings become a masquerade: Anger, fear, humor, sadness, humility, and joy all wear their respected mask. They beg for the viewer to peer beyond their guise. Will you be so bold as to take a look?

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

Carrie Ann Baade: Shortly after becoming conscious at age 2 1/2. I had been quite ill and in the hospital, so my first memories were of being ill, the next memory was of returning home and drawing "The Snail in the Rain"...I figure it is peculiar or at least precocsious for toddlers to title their works. I still have the drawing.

BS: Carrie, how has creating art shaped you professionally and personally?

CAB: Recently, I have gone through several huge life changes. I quit my job and my marriage so that I could paint full time. The result is the realization that I will sacrifice nearly everything to continue to paint. My only other skill is that I am a decent professor and I am still trying to make that work to actually have a living wage.

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

CAB: I don't paint because I want to keep it. I paint to communicate. It is the desire to touch and connect with others that drives my work...however, there is a tendancy to be the sadder and funnier darkerside of life that I am attempting to illustrate.

BS: What are your artistic influences? Has anyone inspired you?

CAB: Judith Schaecter! Julie Heffernan, Colette Calacsione, Catherine de Monchaux, Liz McGrath, and Vermeer.

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

CAB: My life is definitely embedded or encoded into my work. The more trauma the more content. There are very real things that I am not aloud to speak of in polite society, the more I translate them into elaborate images to spell out my rage, my dissatisfaction, my pain, my secrets, and my loves which may also be secrets. Usually I let myself work cathartically but only so long as there is something funny about it. Technically speaking, I studied classical realism in Italy at the Florence Academy of Art and after I left, I then did many reproductions of artists such as Vermeer, Canaletto, Watteau, Manet, Belinni, Signorelli, etc. This shaped my desire to use paint with a similar authority to these past masters.

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

CAB: All the people who collect my work (who are not friends) are lawyers. I like that somehow lawyers see the complexity and are intrigued by the subject matter.

BS: Do you have an upcoming exhibit? If so, where and when?

CAB: YES! 3 in NYC opening at the end of October! Strychnin Gallery on OCt 27th, Fuse Gallery OCt 28th, and KMFK Gallery.

BS: Carrie, where do you see your art in 10 years? What are your plans?

CAB: Provided I planted my seeds correctly, I hope to have 4 or 5 nice galleries who represent me. My work is getting larger (at one point they had shrunk to 7inches). It is really my life's goal to make a humble living through painting....this is one of the few professions that one can continue til they are a little ol lady....but that is more like my 50 year plan.

BS: Carrie, discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

CAB: "The Teachings of Lilith," (image above) 18 x 12 inches, oil on copper, 2006, currently showing at PAUL BOOTH (The Dark Lord of Tatoos)'s Strychnin Gallery in NYC. This image is about the connections between women, snakes, and the moon. Specifically, I am intrigued by early Rennaisance artists depiction of the sepent in the garden of Eden having the head or torso of a woman. Since the serpent is not mentioned being female in the Bible, why have male artists chosen to show the serpent being part woman? The most famous example is in Michealangelo's Sistine Chapel frescoe. For me, this painting suggests that there may be more of these temptresses in training going out into the world to offer free will to more individual who were before locked in the bliss of ignorance.

BS: Carrie, do you have a degree or do you plan to attend school for art?

CAB: I have a BFA from the School of the Art Institute of Chicago and a masters from the University of Delaware.

BS: Where can we see more of your art? Are you involved with other websites? Do you have a personal website?

CAB: My website www.carrieannbaade.com and I'm involved with www.surrealartforum.com.

BS: Carrie, are you represented by a gallery?

BAG: Rosenfeld Gallery in Philadelphia, Richard Rosenfeld is my second father. I hope to gain representation with galleries in a few other cities/countries so I may continue to paint full time. I have been working with Stychnin Gallery in Berlin, but I also work with Ann Nathan in Chicago, Roq La Rue in Seattle, and I will have work at Sandy Carson in Denver next fall. Currently, I have work at Strychnin Gallery, KFMK Gallery, and Fuse Gallery all in NYC.

BS: Carrie, how many pieces have you sold in your career?

CAB: Of the works on my site, 3/4s are sold, so perhaps 40 paintings. I have been selling because I have had low prices to get my work out there. Only recently, have I raised them a little to attempt to make a living wage.

BS: Carrie, in your own words... why do you create art?

CAB: I create to make the work that I want to see. I am largely unsatified with contemporary art and art of the past. I yearn to make work that is mystical but contains elements that speak to the human condiditon. I wouldn't want to live if I couldn't create. It is who I am. It is what I do. I create art because I was a terrible waitress.

BS: Do you have any tips for emerging artists?

CAB: Pretend that each letter of rejection means you get to go out to dinner. I have decided that I will have an exhibit of all my letters of rejection as soon as I have enough to cover a gallery. I am only 1/3 of the way there. Beyond that, my credo is: IGNORANCE AND BALLZ! I say ignorance because I don't ask questions. Never ask why you are doing this. Never question your ability. Never wonder if you would be richer or happier doing something else. Ballz is the momentum to keep doing it despite impossible odds.

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

CAB: Yes, The Queen of Oblivion was not displayed in a public building because there were breasts in the image. I was gratful for the show so I complied and then my family laughed at how conservative and small minded society is.

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

CAB: Currently, I am pleasantly free falling with out a parachute. I could not have jumped from safe job and a safe existance with out the skills I have acquired and the painting I have done so far. I don't want to say I have seen the worst because there is always a new level bad one may fall through, only to find what they thought was hell was heaven by comparrison. This artists' living has dignity and I would not have dignity doing something that was not me. I know who I am, I know what I want, but how to make this practicle is nearly demoralising at times.


BS: Can we find your art on myartspace.com?

CAB: Do a search for CarrieAnnBaade on myartspace.com.

BS: Carrie, what can you tell our readers about the art scene in your area?

CAB: Philly is conservative, but it is a knowable art scene with possilbities. New York is so broad and expansive it is unknowable by comparison. I prefer to be a fish in a medium sized pond for now.

You can learn more about Carrie Ann Baade by visiting her website-- www.carrieannbaade.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Carrie is a member of the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin