Table Of Contents January 2013
Stuff Check out some cool items from a 4 variety of different boutiques and brands! Check Out Find out about influential books, 88 movies, and documentaries involving art.
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Artists Joshua Oliveira
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Phyllis Ewen
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Landon Richmond
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Southern New England Artist Association
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Larry Kwong
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Founder/Editor-In-Chief
Darius Loftis
Associate Editor
Claudia Puccio
Contributing Writers
Lisa DeBenedictis Carina Wine
Marketing
Pete Cosmos
Graphic Designer
Darius Loftis
Web Designer
Nick Rachielles
Photographer
Nicklaus Pereksta
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Stuff
13” x 9” Melamine Rolling Tray Don’t smoke? They’re also great for change, jewelry, snacks & more. Dishwasher safe. DO NOT MICROWAVE Available at: www.minutiastudios.com Medusa design printed on hot pressed 7-ply Canadian maple. Made in the USA. Available at: www.minutiastudios.com
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Printed on 100% ringspun cotton. Buy a shirt, and they’ll throw in a bunch of stickers. Available at: www.minutiastudios.com
We are psyched on this brand because of the emphasis they put on the creative side of skateboarding, and bridge the gap between artistic expression and riding a skateboard. Aside from awesome board and clothing graphics, they make some of the most unique and enjoyable videos with an identifiable style like no one else. We have some exciting projects in the works with them coming up this summer and into fall. Source: www.orchardshop.com
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Magenta is an independant skateboarder owned and run company established in Paris in 2010 by SOY PANDAY,VIVIEN & JEAN FEIL. Every person involved in the company is a skateboarder, there is no middle-man or business-person involved from outside of skateboarding. Soy does all the brand’s graphics (from logos to boards to ads etc.).Vivien does all the business, Jean does all the shippings and shoot photos. The first person to join the project was LEO VALLS in 2010 about 6 months before we officialy launched the brand. Followed by Florida’s favorite son JIMMY LANNON and filmer YOAN TAILLANDIER. And in 2012 Magenta expanded to include ZACH LYONS from Washington DC fame and KOICHIRO UEHARA from Osaka, Japan. Magenta was started to promote and focus on the creative and meaningful side of skateboarding, while offering the best products possible. All our boards are made in the USA from the best Canadian wood in the best factory known to man, all our wheels are made in USA, all our clothing are printed and embroidered in France or the US. Source: www.orchardshop.com
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Marker T The marker T is printed on American Appearel for your pleasure. These T’s are hand printed by us so if there are any mistakes love them like we do. Available at: www.gorillasnowdesign.com
skull trucker T The skull trucker T is printed on an American Apparel 50/50 baseball T. These T’s are so soft and comfy you’ll swear you are being hugged by care bears! these T’s are hand printed by us so love them as we do. Available at: www.gorillasnowdesign.com
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Joshua Oliveira Written by Carina Wine
Tell me about your background growing up. I didn’t go to art galleries as a child, my parents, family or friends didn’t collect art and I didn’t see my first Picasso until 2011 in Boston.
tion takes place. This does not take place if the art is premeditated or copied from a photo because no feelings are being generated in the creation process; they are being duplicated. For me, a freestyle subconscious process is the way I like to make art. Why did you choose painting?
I’m blessed that I didn’t grow up with much, it forced me to use my imagination to create entertainment as the neighborhood kept us indoors. When we finally did get an Atari gaming system, I electrocuted my lip trying to pry the plug free with my jaw. At seven years old I had a near death experience, getting off the ground with black blood running from my nose and a burnt hole in my lip. I started boxing in high school then transitioned into experimenting with psychedelics, maybe because I found life too boring or that I just couldn’t appreciate the norm. I always thought there had to be more to life and I got a taste of that when I visited a Franciscan Monastery to have lunch. The peace I felt there was not nothing compared to all I had experienced in the world beforehand. The contrast was so stark that I eventually left my family, friends, and all that I owned behind to chase after it. After spending several years there I got mysteriously sick and was forced to leave at the age of 23. I eventually regained my health, got used to normal living and started getting back into art.
Over the years I started spending more and more time in that other world known as painting that I found myself not as happy when I wasn’t there. That’s why if I had a worry it would be to spend my workweek doing something else rather than creating art. While most artists biggest fear is selling out mine is not being able to sell enough to spend my life painting.
Why did you choose to incorporate performance into your painting? I watched Bob Ross freestyle landscapes on TV as a kid, he didn’t plan; he created a world in front of our eyes in 30 minutes. He was also the anti-stuffy art guy with a luscious fro and a peaceful demeanor. My cousin invited me out of the art closet to paint on stage with his band Cadbury Diesel in 2006 and it became the way I found my calling in art; 100 plus shows later.
Tell me about the experiences you have had with art and how they shaped you.
The most exciting thing about live art is the fact that nothing is planned and that the moment itself within a specific environment is the driving force behind creation, not an elaborate scheme preplanned by the conscious mind. Pre-planned art is not live art to me but it is still art and still as beautiful.
If your feelings have been repeatedly suppressed, over time you lose touch with them. The creation of art has been a platform where that re-connec-
The constant anticipation of what direction the art will head in, in public inspires a kind of creativity that doesn’t take place in the safety of the studio.
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The crowd, the music, the assault on the senses, the pressure all makes for ideal conditions for visual expression. It is a great way to make a personal connection with people and my work. It inspires other artists who have put down the brush to pick it back up and create again. So in the end I am not really performing like the greatly talented speed painters David Garibaldi and his predecessor Denny Dent. I have been told to paint that way but I want the art to take place in a free state. I have always loved the creation of art more than the finished product. And ironically my ability to be 12Abstraks January 2013 Page 14: Chewing the Fat Copy - Acrylic Page: 14: Socrates Under The Bridge - Acrylic Page 15: Public Perception - Acrylic
able to create more art is contingent upon how finished that product is. The creation of art is like living; the finished product hung on the wall is a photograph of that living. And if we are not expressing, we are not fully living; whether we are playing guitar, gardening, writing, or cooking a meal. Who do you like to work with when doing live shows? I am grateful to work with anyone; from DJ’s to instruments, death metal to Reggae and all in between. Just happy to be able to paint in places where paint shouldn’t normally be.
How do you go about deciding what to paint and what to perform? I don’t decide; the decision is felt one piece at a time when I start. I have recurring symbols and imagery that I may use from time to time. Like ties, which represent the constant urge to be professional; daisies that represent purity contrasting edgy compositions. Or figures showing only one eye which represents partial trust or partial exposure of true feelings to another. I like creating humans, they embody more life to me; tell a deeper story than any other subject matter. Bodies often connected in their composition represent monotheism of humanity. Have you had anything unexpected or surprising happen to you during your work?
solid image that could represent two things at the same time. It inspired me to create shapes that represent 3 and 4 things at the same time. I also love Picasso because he had the talent to paint realism but he found success with his free form brand of art and whose last name has become almost synonymous with his profession. Where do you see yourself in five years? I have some a mbitious goals completed but ultimately I hope to be creating a deeper form of art and reach a level of success that will enable me to share it with other artists and inspire them to do the same. What is something you wish people would know about you, that most people might not? Great question?
That I can mention, yes, I was doing a live show in a fancy restaurant filled with well dress folks eating their dinner. I was painting with a band near the entrance and a woman walked over to me and in front of everyone said “Can you paint these?” and her huge breast bungeed out of her top for a while until she collected them back under her green shirt and walked off with a big shameless smile.
Contact: joliveiraart@gmail.com www.oliveiraart.com
What other art or artists inspire you? If you’re speaking visually – Dali If you’re speaking career – Picasso If you’re speaking politically – Banksy If you’re speaking dedication – Michelangelo If you’re speaking personally – Bob Ross I find inspiration in every artist in some form, but I get excited about art that stretches the imagination. For this reason when I saw Dali’s work for the first time it was a paradigm shift for me. I never saw a
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Phyllis Ewen Written by Lisa DeBenedictis
Phyllis Ewen: Taking Art to a Science One doesn’t usually associate science with art, but for Phyllis Ewen, the two are inextricably linked. “Even my first pieces [of art] were more organic and about nature,” says Ewen, taking pause to sip her cup of tea. “I never took science. My son, though – he is a scientist.” Ewen herself has silvery curls and a soft, soothing voice. Her art studio is located in Somerville. She was among the first to purchase the space at Brickbottom, a local warehouse and artist collective. Inside her studio, the light filters in a pale yellow glow through the opaque shades – a necessary addition, according to Ewen, who admits that the sunlight can actually be too strong to work sometimes - not to mention hot. Her workspace consists of a small kitchen, an office, and a center room with high ceilings and a massive panel of windows (hence, the shades). Her favorite pieces are hung on the white-washed walls, scattered piles of CDs line the windowsill, and on her large work table lies a few scattered papers and a copy of the book Water Matters. Her dog, Django, dozes off in the corner. Ewen leads me through the evolution of her work chronologically, beginning with Brandeis, where she studied painting during her undergraduate years. Her mother had wanted her to go to a women’s college, but as Ewen notes with a wink, “they didn’t have studios.” In her early twenties, however, after getting her masters in art history from Harvard, Ewen took a hiatus from painting and turned to photography.
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“Because of my social interests, photography seemed like a way that everyone could understand it,” she explains. “I stopped painting for a while. Then I realized that it wasn’t a choice. I had to do it.” Since then, Ewen has not only returned to painting, but also expanded her choice of mediums to wood, latex, wire, glass, mixed media and even outdoor carpeting. “I was always taking materials and not using them the way I was supposed to,” she explains. Among Ewen’s most famous series is Pipeline Dreams. (She’s got a knack for clever titles.) These sculptural installations are funnel-shaped latex cast26 Abstraks January 2013 Page 25: Global Currents 2 Page: 26: Water Globes2 Page 27: Split Africa
ings that are then coated in resin. The latex is pigmented, resulting in bursts of burnt orange, bright robin’s egg blue and pale, delicate greens. Colored wires not only string the pieces together, but also take the latex castings to a greater three-dimensional level: in Pipeline Dreams, the wires help to represent the flow of the Alaskan pipeline. Behind them, wall text references the effects of oil on the area’s wildlife, as well as the politics of drilling. “Pipeline Dreams was political…but I didn’t want to do it in a heavy way,” says Ewen. Indeed, another common thread in Ewen’s work is a subtle, dry humor laced with commentary on politics, society and particularly, nature. But at the same time, Ewen is the first to admit that she
doesn’t take herself – or her art -- too seriously. Whether it’s a lighthearted pun on the title of the piece, a splash of unexpected color, or a clever double entendre, Ewen’s pieces are never without a bit of humor. “There’s a wit to my work,” she admits with a smile. “A pointed wit.” From Pipeline Dreams Ewen drew a lot of inspiration in subsequent projects, such as Turbulent (e) Motion, in which she combined castings of laboratory equipment in latex, sketches and scientific equations and texts to examine the relationship between physics and personal expression. “I was reading physics books – old ones – and I felt they were speaking to the body,” Ewen says. Ewen has also collaborated with several other artists over the years, including Cuban artist Janette Brossard on her series Azul y Blue and Las Botellas de Agua as well as with local writer Denise Bergman when the two bridged the gap between visual art and poetry in The Space Between. “What I like about collaborating is that I suspend my ego about my work,” says Ewen.
“I was asked to be in a show about water on the Cape. They were going to be shown in two locations, so I couldn’t attach them to the wall, like some of my installations,” says Ewen of her inspiration for these 3 dimensional map-like structural drawings. “In this journal translated into Spanish, there was an article by an American, Donald Worster, and it was amazing. It looked at the control of water. So, I combined articles about dams, and that kind of centralized control of the land through water, and cast printed maps, used meteorological books for maps of water currents, and weather graph paper.” From there, the project took off, and the sculptural drawings continue to evolve to this day. She has created a huge four-part piece on the Amazon river, another on oil spills, water control in Iraq, and others on drought and other water-related issues. Ewen’s most current works are smaller versions that incorporate puzzle pieces into the process. The 3-D map-like pieces are exquisite, delicate sculptural drawings in vibrant blues, and their attention to detail leaves the viewer in a tug of war between an aesthetic appreciation and an intellectual challenge. Before I leave, I attempt to ask Ms. Ewen some lofty questions about life, the meaning of art, and her choice to be an artist. She laughs me off for the most part, but pauses at my last question:
From her sculptural installations, Ewen progressed into a new series of sculptural drawings, Global Currents. These pieces consist of a collage of maps, “If I could choose, I might be something else,” she graph paper, wire and occasionally text, and focus says, “But it’s not a choice.” primarily on the politics and issues that surround water. Contact: phyllise@phyllisewen.com “Inspiration comes when you’re working and not www.phyllisewen.com when you’re not,” she says with a smile. Water has long been a source of inspiration for Ewen, and for her, these series often feel like a natural progression, particularly because, in a way, they happened by accident.
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Landon Richmond Written by Carina Wine
Tell me about your background growing up. I grew up in Sarasota, Florida, which was a pretty conservative town, and the same town Pee-Wee Herman got arrested in for masturbating in a porno theater. It was a mostly retired community, and the kind of place that banned Halloween from public schools for glorifying the devil. From since I could remember, I was really attracted to a darker side of things, and my first memory was drawing monsters. I loved horror movies, especially anything involving Godzilla or zombies; so I would draw those things. It’s always been the things that scared me most that I found the most attractive. That kind of mindset, coupled with crippling shyness made me the weird loner, and resulted in a horrible alienation for me from the rest of society. I spent most of my childhood lonely and depressed for everyone thinking I was crazy based off what fascinated me. I was bullied, and it felt like drawing was my only escape. I was eventually kicked out of middle school for self-mutilation when I started cutting myself on my chest and arms. Looking back, it seems really stupid that when you have a kid who is displaying some pretty serious signs of depression, the institution does things in reaction that only increases their depression. I felt like I was dust swept under the rug, and stomped on. It was around that then I discovered rock and roll, and for the first time I found something that showed me to not be ashamed of who I was, but to be proud of it. It was then I sold my soul to rock n’ roll. Tell me about the experiences you have had with art that shape you.
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The first thing I can recall shaping me artistically was when my mom told me not put my hand on the stove once while she was cooking. I remember thinking to myself, “ Well, am I gonna do it?” and it seemed like I had a path to chose. So I put my hand on the stove, and burned myself. It was like a baptism. It began a path to learn things my way, and never let myself be lead. That mindset very quickly found its way into my drawing too, and my first experience sharing my art in kindergarten got me sent home; it was a picture of Superman violently destroying a city, complete with fire and pools of blood. It was shocking to see how things I put on paper could have such an extreme reaction from my viewers. My teacher was appalled, my mom was disappointed, and the kids were scared of me. It made me very self-conscious of the art I made, and I rarely showed anything I made to anyone. In terms of my art education, I learned to draw in school. Not to say I learned it in art class. Every art class I ever took, I was kicked out of, or quit. I mean that during class, especially math, I would draw. I had many teachers do that thing when they saw me drawing, they would walk up, take what I was drawing, crumble it up, and throw it away in front of everyone. Of course, when they weren’t looking, I would sneak into the trash, fish it out and get back to work on it. Despite all the trouble I had with art classes growing up, I thought it would be a good idea to go to college for art. I almost went to an art college in my hometown of Sarasota, called Ringing School of Art, but on my way to my portfolio review, the car in front of me got into a fatal car accident. The traffic jam it caused resulted in me missing my review, and I took it as a sign I wasn’t suppose to go there.
So I ended up going to school in Boston, but didn't get to far. College made me uncomfortable, and the structure made me lose sleep at night. The breaking point was when my professor told me I was the worst student she ever had.
Since then, I’ve sold art to over 8,000 people, had countless art shows, ran galleries of my artwork in multiple states, and most of all, made a living making the art I want to make. Life is pretty good now a days.
I lost it, and stormed out of the classroom in a strange mixture of fury and tears. I went to the men’s bathroom and locked myself in a stall, deep in a shit-show of self-loathing, anger, and hurt.
Why did you choose painting? My imagination has always been pretty strong and vivid. At times it was more than I could handle, and I think that’s why I was instantly drawn to making art, because I wanted and needed to let that stuff out. Although there are so many directions you can go with art in terms of medium, as a kid with no instruction, I was pretty much restricted to a pencil.
College is weird, because we throw kids into this overly expensive playground and say “figure out what your gonna do with your life, but make sure it makes you money.” But here I was in college, locked in a bathroom stall tying to figure out what the fuck I was going to do. My face was buried in my hands for a while. When I finally looked up, I saw written on the stall in cursive, “Everything will be ok.” It was like the words of god, whatever that is. I stood up, walked out of school and never went back. But then I had to figure out what I was going do with my life. The universe helped me out with that one too. As I said, I never really showed my art to people. I had been burned too many times that it didn't feel like it was a worthwhile venture, but a friend convinced me to join him in selling artwork on the streets of Boston. I agreed to do it; despite the fact I knew he literally was schizophrenic. The first day, selling art on a crowded street I sold nothing until the end of the day. Still, I resolved I would go back out there, and try again the next day. That time, I sold nothing until the end of the day. It was to a guy named Aaron (who I still talk to, to this day), and he bought a piece. It was the first time I had ever sold art to a stranger, and from there I was hooked. That was five years ago. 38 Abstraks January 2013 Page 39: Stay Calm - Acrylic Page: 40: The forbidden fruit wasnt enough - Acrylic
I don’t know how it turned to painting throughout the years; it was just a natural progression for me. I couldn’t pinpoint any great discovery of it. However, after having done thousands of paintings, I will say I have tasted enough paint to never want to give it up. Why did you choose to incorporate performance into your painting? I proclaimed my love for rock n’ roll already, and truthfully I always wanted to be in a band. Unfortunately, I am in no way musically talented, and my love for painting rules my heart. Still throughout all my life, the urge to rock on stage screamed loudly inside me. The “give it all you got” level of expression and release was so alluring to me, and it called to me. I think that’s why most people love performance, because of that intensity you can bring to the stage. I have done live paintings at concerts across the country for years now, but that never really felt like performance. I was just to the side making art while a band played, and although I felt the rush of energy from the live music, I didn’t feel like I was able to give it all I had.
I wanted to find a way to combine rock n’ roll with art in a way few have ever done; last spring, I was finally given an opportunity. For a group art show I was in, I saw the venue had a stage and I was able to convince the curator to let me do the finale stage show. When she agreed, I came up with this whole spectacle. At the time of this show, I had just gotten over a pretty bad breakup, and had a lot of demons deep down inside crawling at my heart. I wanted to do a performance that exorcised all those demons by doing a show that was an explosion of aggression, sexual energy, and paint. I amassed 4 girls to join me with the stage show. I got them to get naked, and then I covered their bodies in paintings but left the 4th bare. Of course, while all this happened, we were all drinking heavily and doing drugs, so we were all pretty messed up. While I was working, they called us over to the film crew, because they wanted to interview us on camera. I remember being completely wasted in front of video camera with all the lights in my face, surrounded by half naked women covered in paint, and I had to talk about all of it. Needlessly to say, I slurred my words. So the time came for the girls and I to come on stage. The idea was the 3 naked, painted girls were going to dance, thrash, and make out while I did a live painting on the 4th girl’s back, while aggressive rock music blared on the speakers played, complete with flashing strobe lights. I went in with no plans with what I was going to paint on her, but I had only 5 minutes to do it on a stage, in front of a large audience.
Towards the end of the song I started throwing and breaking things on stage, overwhelmed with a lust for destruction. Something deep inside of me that I was knew was always there exploded. I threw my cup of paint water at the crowd, which apparently upset a lot of people when their cocktail outfits where stained and I got paint all over the venue. It was like a paint bomb went off. I stormed off stage before the audience had time to react, because I didn’t do it for the applause. What I wanted to happen to the audience happened. They didn’t know what to think. I could feel the shock in the air, and knew that half the audience loved us, and the other half hated us. I said I wanted to do performance where I did an exorcism on myself, and removed my demons. I let my demons out, but they stayed around. And I love it. How do you go about deciding what to paint and what to perform? I usually get my ideas for performances while listening to music. Sort of like making a music video in my head, I sketch out ideas for concepts I think would be visually interesting. I also think about things going on in my life, and how I can make something symbolic enough to be understood, but cryptic enough to be mysterious.
After the initial idea, I do some more concept sketches, then start getting people on board for the performance. We select the songs, which have all been pre-recorded. Because I get some pretty complex ideas, we make all the costumes, and props then we rehearse. When working with dancUltimately, it turned into an orgy of violence and paint. ers, I give them a very clear idea of what I want, but also make sure they have space to apply their own I pushed the girls around, they wrapped their legs around my neck, and I rubbed paint all over myself; all creativity to the project. of this while doing a painting on the other girls back.
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We are also usually fucked up on stage, but I dunno if I should tell you that.
All those aspects promote the zombie mentality, and I feel that my art’s presence fights that.
As for what I decide to paint, I never know till the spotlight is on me when I’m stage. I bring absolutely no plan to what I am going to make, and I like it that.
With each gallery I’ve run, I aim to provoke, inspire, offend, piss off, cheer up, and question anyone who sees it. I aim for the extreme reactions.
Who do you like to work with when doing live shows? For the most part, I prefer being surround by women on stage. I think they’re nicer to look at, and I like painting them. However, I usually have my assistant, Tyler DiTomaso, on stage in a suit and sunglasses to observe, look like a bad ass, and make sure nothing goes wrong. Last performance, while I was doing a painting my easel broke, but before the canvas could even move, he quickly yet subtly caught the canvas and held it in place. No one, including me, was even aware he did that. I would really like to start having a live band play instrumentals based off concepts I give them. What do you hope to accomplish with your FL gallery? This is the 3rd year in a row I’ve run the KnowNoTruth Gallery in Sarasota, Florida for the holidays. I also ran one in Boston this past summer. I like doing temporary galleries because it allows me to connect with a great deal of people, and share art with an audience that wouldn’t otherwise see it. Every gallery I’ve ever run has been in a shopping mall, and I think it’s important I set up there. In most malls, at least the ones I’ve been to, there is nowhere to buy a book. Nor is there anything that is emotionally or intellectually challenging. From the music, to the signs, to the stores, everything is made to be easily digestible, forgettable, and empty.
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This being my 3rd year in a row running the gallery for the holidays in Florida, people come to expect me and await my return. It’s a real nice feeling. Have you had anything unexpected or surprising happen to you during your work? With my life, the unexpected occurs so frequently that it’s no longer surprising. Usually I’m the one causing the unexpected surprises. Where do you see yourself in five years? The fog is too thick to see that far down the road. While it is fun to speculate what, or who I will be doing, I like to map things out in a way that allows planned spontaneity. For example, I know I want to get from point A to point B, but how I get there I’ll figure out along the way. For the most part, I just want to take what I’m doing now and expand in size and scope. It’s what I did last year, the year before that, and so on. I feel like I have a lot of opportunity in front of me right now, and the current the plan is to work hard. I want to make as many things as I can happen. I have some tricks up my sleeve, but I’d rather make things happen than speculate on it. In the meanwhile, I’m just drifting with fate. What is something you wish people would know about you, that most people might not?
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The biggest frustration to me is when some people only see my art as dark, scary, fucked up, or all about death. It makes me feel like they didn’t really look at it, but just looked upon the surface. I call my company/organization/gallery/whatever KnowNoTruth, and it means to always look deeper without ever accepting something as a conclusion. And when they just settle on bland labels, I feel like they could have seen more but chose not to. With every painting I do, I’m very deliberate and have a real reason behind everything I’m doing. Sometimes I feel like being seen in such a twodimensional way is really insulting. The truth is that my art is about positivity, not ignorance. And true positivity means looking down the tunnel till you find light, not thinking every day is going to be a sunny day. Although there are elements of aggression and destruction in my work, those are aspects necessary for creation, and I will not shy away from what scares me. Contact: knownotruth@gmail.com www.knownotruth.com
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48 Written by Lisa DeBenedictis
SNAC: A South Shore Salon and Artistic Community You know you’re hanging out with artists when they pause to remark on the beauty of a folded gum wrapper on the table. It was three artists, to be exact. I met with Sean Brady, Steve Gaul, and Holly Carruthers of the Southern New England Artist Community (SNAC), and even just being around them and watching them bounce their ideas and creativity off each other for a few short hours made me realize how beneficial it can be for an artist to surround himself with likeminded people. As Brady explains, that was the basis for SNAC from the beginning. The group was founded by Filipe Miguel, an artist and part-time professor at Bridgewater State University, in 2008. Miguel came up with the idea of creating a community of artists in the south shore of Massachusetts to both support and challenge each other – in a region where outside of seascapes and nautical watercolors, the art scene was scarce. Originally SNAC consisted of only four members (Gaul and Brady have been there since its inception), but from the get go, the group’s goal was to seek out other local talent and encourage and support it in any way possible. When it came to Carruthers, for example, Miguel saw her work at a local show, and invited her to join SNAC. “It took me a couple of months to get involved,” says Carruthers. “But the fact is I was making art all alone, in my dungeon in Bridgewater.” Carruthers is a mixed media artist. She works with color and texture, and often incorporates antiques and other found objects into her work. 50 Abstraks January 2013 Page 51-52: Carla Carey Page: 53-54: Carlo Marchione Page 56-57: Charlie Robinson 1
“I do have a connection with things. Unusual things. Things that are rusted, torn, imperfect. I like to take them and create environments for them,” she explains. “I then incorporate traditional artistic environments with them, that are usually small in scale. Very engaging and problem-solving, like a puzzle.” “Each one is like it’s own conversation,” says Gaul of her work. For Carruthers, her involvement with SNAC provides, among other support, an opportunity for regular feedback on her work, which is not only important, it’s also difficult to come by. “These people are good at encouraging me to make something,” says Gaul, who works with molds of clays, resins and rubber, and is inspired by pop culture icons and in particular, the human form. When Brady, a painter, joined SNAC in its early stages, it was more of a critique group, which is still the basis, but it’s also grown into a community of support, camaraderie, networking and friendship. As Brady notes, religious iconography and symbolism creep into his work in ways one wouldn’t expect. For example: a painting of Jesus and the Apostles playing poker. “I feel that there is a lot of symbolism in your work,” notes Gaul of Brady’s paintings. Brady and Carruthers nod earnestly. “I also try to put humor into everything I do,” adds Brady. “But I want the humor to be subtle. It doesn’t take itself super seriously.”
The fact the each of the artists can speak so candidly and confidently about each other’s work demonstrates the closeness and support that SNAC members have for each other. Of course, honest feedback on each other’s work is a big part of it. “The group is good at guiding people,” explains Gaul. “We would never tell someone to not do something, but we will tell them when we screwed up.” The group has grown from the original four members to thirteen in just a few short years. In addition to weekly critiques, the members show their art together regularly at SNAC art shows at local galleries across southern New England. “We usually have about eight to nine shows a year,” says Gaul. But despite the fact that their styles and work is often very different (SNAC currently consists of several painters, a mixed media artist, a wood worker, a photographer and a gallery owner, among others), the members agree that somehow, their pieces always cohesively work together. 58 Abstraks January 2013 Page 58-59: Fil Miguel Page 60-61: Holly Wood Page 62-63: Jenny Jope
SNAC members pay a yearly due to cover the cost of gallery showings and their print publication, but they’ve also stepped up their sense of business savvy: the group also meets once a month to discuss financial issues and to work on advocating themselves and their work more effectively and in a more professional manner. But there’s something special about creating a community of fellow artists, as Gaul, Brady and Carruthers agree. “Every artist coming into the group brings something unique,” says Brady. “And every artist has had an affect on each other.” Adds Carruthers: “I have lots of friends who are supportive of my art, but they don’t want to hear me talk about it, ad nauseum.” Just watching Carruthers, Gaul, and Brady interact makes it easy for me to see that SNAC provides a much needed opportunity for their creativity to feed off each other.
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From encouraging each other’s work (“Oh, don’t ever give up on the scratch tickets series!”) to supporting each other’s future endeavors (“Why don’t you make one out of gold? I have a stack of gold leaf you can use!”) to simply discussing their process (“By the way, do you guys struggle with the idea of when a piece is finished?”) it’s obvious that the members of SNAC have indeed formed a tight-knit community of talented, thoughtful, and hardworking local artists that will surely continue to grow and evolve well into the future. “You need to be around other artists,” says Carruthers suddenly, with a slight sense of urgency. Brady and Gaul instantly nod, because of course, they of all people understand. Contact: http://snacart.wix.com/home
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Scott Francoeur: xsfrancoeurx@hotmail.com Web: http://www.scottfrancoeur.com/ Jenny Jope zen_jenny893@yahoo.com Web: http://figtreephotographic.com/ Holly Wood Carruthers: carruthers522@comcast.net Web: http://hollwoodcarruthers.wix.com/art Sean Brady: seanbrady5@yahoo.com Web: http://www.zhibit.org/seanbradyart Melissa Napier: napierwoodburning@yahoo.com Web: http://www.napierwoodburning.blogspot.com/ Filipe Miguel filmiguel@yahoo.com Website: http://snacart.wix.com/home#!filipe Carla Carey" carla@hunakaistudio.org Web: http://snacart.wix.com/home#!carla Steve Gaul steveg773@hotmail.com Web: http://steveg773.wix.com/art Corey Ritch corey@cutlipdesigns.com web: http://www.cutlipdesigns.com/ and http://snacart.wix.com/home#!corey Charlie Robinson charlie@cutlipdesigns.com Web: http://www.cutlipdesigns.com/ and http://snacart.wix.com/home#!charlie Ryan Mehigan ryanmehigan@yahoo.com Web: http://snacart.wix.com/home#!ryan Peter Flood: peterfloodart@gmail.com web: http://snacart.wix.com/home#!peter Carlo Marchione cmarchione@granitenet.com Web: http://snacart.wix.com/home#!carlo
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Larry Kwong Written by Lisa DeBenedictis
An Attention to Detail: an Interview with Larry Kwong of Minutia Studios
He continued to pursue art and design for much of his early college life, until his father expectedly lost his job. Minutia: (noun) Minute or minor details. Kwong dropped out and turned his attention to a heavy metal band he’d joined– as well as a slew of For artist and business owner Larry Kwong, it’s crappy part-time jobs to help the family make ends those minor details – so small that it may take a meet. His band, Beyond the Sixth Seal, would later second, longer look to notice –that matter most. inspire much of his designs to be, in part, an hom In fact, that’s exactly what Kwong’s wife, Jessie, told age to the subversive, darker imagery often associated with heavy metal. him one evening back in 2008 while the two sat at the kitchen table, commiserating about their notBut when Kwong’s father got a new job, they so-great days at work. pushed for him to return to school. He enrolled at New England School of Art and Design at Suffolk “She [Jessie] was telling me that her boss used the word ‘minutia’ to talk about excessive, unnecessary University, but told his parents his major was still “undecided.” details. But then she paused and said, ‘You know, in your field, it’s the minutia that’s the most impor“My parents didn’t want me to go art school,” he tant.’ ” said, laughing. “I had two conservative Asian par ents!” From there, it was only a few quick domain name searches on Google, and they’d founded a company Following graduation, Kwong worked in product with the perfect name: Minutia Studios. design, which helped him discover digital illustra tion. And the rest, as they say, is history. Today, Minutia Studios designs and often produces in-house handmade print apparel, skateboards, In the span of two months following Larry and prints, and other products. Kwong’s style is tough to nail down: edgy, complex, intellectual, often dark. Jessie’s eureka moment, he had already created 12 different designs for T-shirts. Among his first design “I’m a big lover of nature and mythology,” explained was what he refers to as “Cthulhu,” a brightly colored octopus whose tentacles simultaneously form Kwong of his style. “I’ve always been a comic book the bones of a ribcage. nerd ever since growing up. There’s a lot of Asian culture in there, too, which is part of my roots.” “It was a creation by H. P. Lundcraft,” said Kwong. “A daughter demon of the sea. I combined it with He has worked with design his entire life, beginthe ribcage. I must have had seven versions of that.” ning in high school, when he worked in a local sign shop and discovered the unexpected precision and Another signature design is his “Medusa,” a tribute beauty of typography. to his best friend, Greg Puricelli, who died in a mo“When I was young I was really into graffiti.Who knew that torcycle accident in 2007. “He had a huge tattoo of a Medusa on his back,” it was another form of typography?” said Kwong, laughing. said Kwong. 80 Abstraks January 2013 Page 81: Buddha Page 82: Cthulhu Page 83: Imperiallion
His Medusa is hauntingly beautiful. Cool blues are accented with golden yellow details which highlight the hissing snakes and the woman’s empty eyes. A shock of pink offsets the black background. In addition to these images, Kwong also doesn’t shy away from creating designs and products that support causes he and his wife believe in, such as recycling and the legalization of medicinal marijuana. “Our views are not ‘politically’ driven, but more ‘cause’ driven,” he said. “I'm a firm believer that designers, artists, and writers do have the power to make positive changes in our society, and if done well and with tact, can ultimately change someone's perspective on certain issues.” But in addition to being an artist, Kwong has learned how to be a business owner. He built his own website, trademarked his brand name, developed a marketing campaign by creating designs for a skateboard team, and with the help of Jessie, frequently attends concerts and other events to promote his brand and sell his items.
“Most people who are into this stuff don’t have the money to go out and buy a piece for their apartment,” said Kwong. “We need to go with technology. If you can get your artwork out there to more people for less money, why not?” Contact: larry@minutiastudios.com www.minutiastudios.com
“She’s there for a lot of support and advice and does a lot of events with me. She’s kind of my salesperson,” said Kwong. He found that in order to create a successful business, he needed to recreate reproductions of his work on a higher scale. While some artists may scoff at reproduction, Kwong embraces it. “I want to get my art out there, but make it accessible,” he said. “Instead of making one painting and selling it for $10,000, I can get these out there for a reasonable price.” What ultimately matters most, he says, is getting your work to reach as many people as possible.
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Check Out
Director Doug Pray's documentary takes us into the lives, minds and families of seven individuals who are obsessed with graffiti. From the streets of New York to a tunnel in San Francisco, such artists as Saber, Toomer, Jase, Claw, Earsnot, Enem and the notorious Joe "The Graffiti Guerrilla" Connolly, whose passion is the removal of Los Angeles graffiti, discuss their commitment to culture-jamming while shattering myths about the art of tagging. Source: Netflix
Tattoos, which were once an exclusivel have mass appeal. This evolution from s fresh ideas, tensions, and shifts with it, a staked out very different positions. Ove from the realms of art, fashion, tradition given rise to a dynamic tattoo scene--a tattoo culture is as innovative, diverse, motifs it creates. One of the most strik its interaction with high fashion and art Scott Campbell or Usugrow, to name ju their careers as tattoo artists. Forever books and their typical displays of flesh gation of current developments in cont key innovators and presents a broad ra photos and insightful texts document t ing and extremely creative scene. Source: Amazon
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ly underground phenomenon, now sub-culture to mainstream has brought and traditionalists and innovators have er the last few years, new influences nal tattoo art, and visual culture have a new underground. This cutting-edge inspiring, and controversial as the king facets of this new tattoo scene is t. The internationally successful artists ust two high-profile examples, began breaks the mold of standard tattoo h. This publication is an in-depth investitemporary tattoo culture. It introduces ange of styles and approaches. Quality the new self-image of a rapidly expand-
Although Salvador Dalí was most recognized for his painted works, this latest book on the surrealist icon examines, in addition to his development and influences as an artist, his explorations of other media including literature, photography, film and sculpture. In addition to extensively covering Dalí’s life and aspirations throughout its 280 pages, the book also includes his influence on other contemporary artists such as Warhol, Koons and Murakami. The monograph is respectfully written by Catherine Grenier, who is also the chief curator of the Centre Pompidou in Paris, and published by French publisher Flammarion. It is now available for pre-order at Amazon for $47 USD and will release on March 5. Source: Hypebeast.com
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