Art Muzeo Magazine - Issue #6

A RT M U S I C & C U LT U R A L M AGA Z I N E

ISSUE

6

INTRODUCING

ARTMUZEO

MAGAZINE Art Muzeo is an art, music, and culture magazine. We celebrate artist’s accomplishments and support artists who have just started with their creative careers. Our objective is to give artists and musicians an new outlet to present, market, and sell their masterpieces. We love to discover talent and share it with the world, bringing the art community together. Art Muzeo celebrates all art cultures and support local artists, mom-and-pop shops, and hand-crafters.

We keep everyone informed on upcoming art and music events or opportunities.

STAFF

F OUNDER A N D A RT DI RE CTO R

Tammie Valer E D I TO R

Veronica An

Special thanks to all the artists involved on Issue 6.

Without you, this would not be possible.

For inquiries e-mail artmuzeomagazine@gmail.com.

ART MUZEO MAGAZINE ISSUE #6 JUNE 2018

To submit your work for consideration visit www.artmuzeomagazine.com/submission.

Cover photo by Samuel Andrew Garcia.

Joshua Tree Night Lights.

F O L LOW U S IG/FB: @artmuzeomagazine TWITTER: @ArtMuzeoMag

Back cover art by Sara Carli.

The Wynwood Walls.

DAV ID TO R R E Z

K A Z U KI TAKIZAWA

S A MU E L A N D R E W GARCIA

E D I TOR IAL / TH OUGHTS ON THE ‘UNWE L CO MI NG ’ ART WORLD : WHY A RT E X P E RIE NCE S A ND A RT INS TITUTIONS NE E D E A CH O T HE R

13 16

M U S IC IA N / K IMB E R SPRINGS

SARA CARLI

SE B A S T IA N O RT IZ MENCHACA

Y O R I HATAKEYAM A

ONTENT

06 10

08 12 14 18

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PUBLISHER'S NOTE

P U BLI SHER'S NO TE

Art is a powerful tool that allows artists to share their experiences and to express themselves.

Art comes in many forms. Inspiration can come from anywhere - from the simplest thing or to the most challenging situation. For Issue 6, we have seven talented artists with messages and stories as diverse as their mediums.

Our artists come from all walks of life. David Torrez is driven to express his thoughts and on this appalling political environment through street art. Kazuki Takizawa walks us through his experiences with mental illness.

Samuel Andrew Garcia shares his explorations through photography which fuels his love of music. Yori Hatakeyama shares her love of music through paintings.

Sebastian Ortiz Menchaca documents experiences in the moment through the photography. Sara Carli chooses to share with us exactly what she sees through her vivid artworks. Kimber Springs takes us through her world with her music.

As a photographer, I have the means to express my experiences through my lens and share my thoughts with artistic photography. As a designer, I have the means to create a platform in which I can provide a space for other artists to share their stories. That’s why I made Art Muzeo Magazine. I want these stories to inspire and to provoke thought and expression.

TammieValer

Tammie Valer Founder + Art Director

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I am seeking.

I am striving.

I am in it with all my heart.

VINCENT VAN GOGH

DAVID

TORREZ

"Bombing Peace" | Aerosol on Electric Box

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D AVID TORRE Z

What do you do?

I use cartoon characters as a medium to express humanities chaotic nature.

When and how did you get your start as a street artist?

I was began researching street art for an essay in a creative writing class in college and just fell in love. Banksy’s Street art documentary, Exit Through The Gift Shop, was the catalyst that inspired me to cut stencils from cardboard.

Why street art?

I gravitated towards street art because it allows me to express my ideas in a world that often smothers any independent thought.

Upon looking at your work, it seems to be politically based.

Describe your thought process behind your work.

The thought process behind my work begins with my observation of the current events of police brutality and social injustices as I figure out how to juxtapose it against the cartoon images of my youth. I use cartoons because everyone can relate to them as authority figures.

For example, cops are shown in black and white which represents they’re jaded perspectives.

Does your work reflect any personal experiences?

My personal experiences with cops were horrible. I’ve had cops pull guns on me in front of my mother because I fit the description of someone, I’ve been thrown in a Juvenile Hall by a crooked cop based on made up charges, I’ve stopped and harassed for being Latino.

This is America.

"Walking Pavol’s Dog" | Acrylic on Canvas | $50

How have people reacted to your artwork?

People love my work and are surprisingly accepting of my vision.

It’s humbling.

What do you want people to see when they look at your work?

I want people to smile, laugh, and think as they look at my art.

What do you aspire to do with your work?

I want my art to inspire dialogue among people so that individuals can start making moves for change and improvement in the community.

"Bomb the System" | Acrylic on Canvas | $50

@sputniktorrez "Child’s Play" | Acrylic on Canvas | $30

KAZUKI TAKIZAWA Who are you and what do you do?

My name is Kazuki Takizawa. I am an artist based in the West Adams neighborhood of Los Angeles, California. I have lived in L.A. for the past five years but mostly grew up in Hong Kong and Bangkok. I have been working with glass and other mediums ever since I graduated from the University of Hawaii at Manoa with a degree in Glass Art. Through my sculptures and installations, I speak about mental illness and related topics that are still considered taboo in many cultures today.

Describe your thought process behind your work.

I use glass as the main medium of my expression, not just because of my love of glassblowing, but also because of its versatile properties. Glass can be fragile and crack into shards with sharp edges or it can flow and freeze in shape like an icicle. It can be transparent or opaque and react differently with light.

When and how did you get your start as a glass artist?

I've always liked making things and felt comfortable in art classes.

My interest in art increased significantly when I saw glassblowing on TV for the first time when I was a high school student in Bangkok.

I ended up flying out to Hawaii on my own several months later to take my very first glassblowing class at the University of Hawaii at Manoa. The rest is history. Glassblowing is such a mesmerizing form of art. I couldn't stay away from it. Every day, I am in the studio working with molten glass, I learn something new.

PAIN

Does your work reflect any personal experiences?

When I was a student, I made a lot of work in glass and other media that reflected my emotions. I learned something new about myself through creating art. At that time, most of the pieces I was creating have reflected feelings of pain, struggle, and instability. It was around this time I was diagnosed with Bipolar Disorder, since then, I have made sculptures and installations that reflect my personal experience of living with mental illness. Every work of art that I create has some significance that I believe is worth sharing. Currently, I feel it is very unfortunate that we lose so many people to suicide, so I have made a few pieces that bring awareness to this subject.

"Auric Shelter" | Plexiglass, Steel, Resin | 11 x 7 x 7 | NFS

"In Between Light and Shadow" | Blown Glass, Stainless Steel, Wood, PVC. | Variable | NFS

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STRUGGLE

K AZU KI TAKI Z AWA I use all of these properties as part of my creative vocabulary.

Historically, this medium has been mostly used for utilitarian objects, such as vessels and containers, that contain of protect something from the outside world. My sculptures in glass often takes form as some sort of vessel or container. What it contains and protects is completely up to viewers to decide. The word "vessel" in Japanese is used to refer to one's emotional caliber, so naturally, it makes sense for sculptural vessels to speak about emotions and mental illness.

Where do you get your inspiration?

For me, inspiration is everywhere in my daily life. I pay close attention to my emotions and what is going on in my mind because sometimes these feelings become a direct force in shaping my art,. Bipolar Disorder is characterized by having both episodes of mania and depression. In between those two opposite ends of the spectrum, there lies a vast range of emotions that I find inspiration in.

I FEEL LIKE MY CREATIVE PROCESS IS A LITTLE BIT CHAOTIC BUT, THROUGH REFINEMENT AND EXPERIMENTATION, I STRIVE TO CREATE SOMETHING THAT IS RAW, IMPACTFUL, AND RELATABLE TO A WIDE AUDIENCE.

"Crow" Blown Glass 25 x 10 x 9 $4,500

"Steel Grey Container" Blown Glass 15 x 7 x 6 $1,800

Can you describe to us how it felt sharing your personal experiences through your glass work with the public?

I first opened up about my diagnosis of Bipolar Disorder in 2015 during an artist talk. It was important for me to share my experiences and stories with the public because my work is about creating awareness about topics that are otherwise hard to talk about.

I still feel that there is a stigma associated with topics, such as depression, suicide, and mental illness but, to this day, I've never regretted my decision to open up about living with Bipolar Disorder.

How have people reacted to your glass work?

Since I started making work about my personal experience with mental illness and started speaking about it, I have gained many close relationships that otherwise I would not have had. I've noticed that as I speak about my experience openly, people around me start to open up to me about their experiences. Overall, everyone that I've spoken with has been very open minded and accepting of what I share with them.

What do you aspire to do with your work?

Through my art, I would like to continue to address mental illness.

When I was struggling with depression and Bipolar Disorder, I really wished I knew someone who was going through something similar.

I hope that by sharing my experience, I can connect with other people in similar situations.

kazukitakizawa.com "Grey and Gold Wing" | Blown Glass | 20 x 12 x 10 | $4,200

10 Who are you and what do you do?

Hi. My name is Samuel Andrew Garcia. I go by Andrew or Drew.

I am an adventure-seeking photographer, a music-maker, and world-traveler.

I have primarily met you as a musician. Did your interest in photography come into play in that duration or was this present prior to music?

Taking photos came after my love for playing guitar. I’ve been playing guitar since I was 15. My good friend, Aimee, is a photographer and she put a camera in my hand four years ago. It wasn’t until a year ago that I started taking photos seriously and learning from incredible photographers like Michale Sturdevant.

Are you primarily a landscape photographer or are you going to venture into other genres?

I like to take photos of everything. Landscape is what I am currently into because of how much I have been traveling. I have been very fortunate to travel around the world and I come across some incredible sites. I want to freeze time and capture what I see to remember the personal stories behind them.

Outside of landscape photography, I enjoy working with light to experiment with long exposure shots. I also enjoy taking live music photos. Being a musician, I understand that artists love to capture their performances and document great moments at live shows.

I aim to spotlight the performer and bring out the best in them.

Does your photography tie into your love of music?

Music feeds my soul. Sometimes when I need a break from music, I pick up the camera and switch from audio to visual creativity. When I photograph, I get to go out and explore the world around me, which also influences the music I make.

Where do you get your inspiration?

Inspiration comes in many ways, sometimes from traveling and exploring nature. Many times, the shots that feel greatest to take are the ones that require me to push my limits. I’m more than willing to go on an adventure to capture the moment.

Talk to us about your background in music.

My Dad's side of the family plays all kinds of instruments. My great uncle was a touring musician, he played a twelve string guitar in a Tejano band. My Tio Bene plays guitar and saxophone.

My younger cousins play piano, viola, and mandolin.

Recently, I discovered a trail on a cliff along the coastline of Oregon.

The sign said there’s no way to get down to the beach, but I discovered a path with a rope and I climbed down the cliff to get a shot of the edge of the ocean. The stories behind the photos are just as exciting to me as the shot I imagined.

I used to watch my cousin Bene Jr. play guitar in the living room.

I would wait until he was done so I could mess around on the guitar.

Once I got my own, we jammed together. In my early high school years, I played in a number of bands. When I moved to Austin, Texas I continued playing guitar with vocalists and on other projects.

I am currently on tour playing guitar with a very talented, soulful singer named Dani W based out of Los Angeles.

What do you want people to see when they look at your work?

I want people to feel motivated to do what they really want to do -

"Birds Take Flight Over The Bay"

I WANT PEOPLE TO KNOW THEY CAN TRAVEL THE WORLD AND DO WHATEVER IT IS THAT INSPIRES THEM BEYOND WHAT THEY THOUGHT WAS POSSIBLE IN THEIR LIVES.

SAMUEL ANDREW GARCIA

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SA MU EL ANDRE W G AR C IA What do you aspire to do with your work?

I would love to own a gallery. It will be nice to have my art in a permanent space for anyone to view and purchase. How great would it be to walk into someone's home and see one of my photos decorating their living room, or to see my work appreciated in the community or a public space?

"Joshua Tree Night Lights"

"Zion Calls"

@ndrew.photowork "San Francisco Bay Fog"

"The Sound of Liberty Park"

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EDI TO RI AL

THOUGHTS ON THE ‘UNWELCOMING’ ART WORLD:

"I DON'T GET IT"

WHY ART EXPERIENCES AND ART INSTITUTIONS NEED EACH OTHER EDITORIAL BY VERONICA AN

While walking through an art gallery or museum, the most disconcerting phrase I hear is “I don’t get it. I don’t understand art.”

This firmly declarative statement and the feelings behind it are what has driven many art establishments to try to “break down the barriers” to the art world and welcome new audiences.

To me, art-adjacent spaces are the cafes with art on the walls, the farmer’s markets with performance stages and the mashup art-partyDJ-bar -event so popular in the Arts District. The determining factor in my eyes is the reason for going - I wouldn’t go to a bar to look at art or a warehouse party to contemplate sculpture.

Museums are inviting visitors to eat, drink and SnapChat in their galleries, and concert halls are hosting happy hour as a way to draw a younger crowd. Art and food events are selling tickets to pop-up experiences that combine food, alcohol, music and art into one jampacked evening.

I frequent art-adjacent spaces with the intent of having a good time, meeting new people and peripherally enjoying other people’s creative works. These spaces and events have value but they don’t provide the same experience as visiting a museum or going to a concert.

Although I find no fault with innovation, I worry that art institutions are trying so hard to capture new viewers that they’re losing the essence of what makes them special. Like the pretty girl, Sandra Dee who dons a leather jacket and teases her hair at the end of Grease, it seems some art institutions are trying too hard.

For me, there is a magic in the starkness of a gallery or the quiet of a concert hall. I disagree with the notion that these places should be diluted with the mundane.

Call me an art snob if you will but I feel there is a small sort of reverence in tradition. Although I’ll rail against the price of museum admission any day of the week, I still pay. I enjoy the feeling that once I step into a museum, I’m in a place separate from my everyday world. I want the time and quiet to contemplate and the luxury to sit in front of masterworks for hours.

Art-adjacent spaces should be recognized as their own distinct brand of creative endeavor. I think of them as fusion food; with roots in many places, it makes little sense to compare Thai-French fusion to the street food of Bangkok or the artisanal desserts of Paris.

I also take issue with people who view these art experiences as “stepping stones” to traditional establishments. It seems unlikely that after hearing a string quartet play at a brewery, a casual listener would run out and buy a subscription to the philharmonic. Artadjacent events should be celebrated for bringing together a variety of flavors and combining different types of creative expressions under one roof.

So, what if people still say they “don’t get art?” To me the problem is not that art is unwelcoming but that people don’t take the time to sit with it. How successful would you expect someone to be at dating if they only spent 10 minutes with each potential partner?

Art museums are not places to eat ice cream and the symphony is not where you have a beer.

Art takes time. Appreciating spicy food takes time. Listening to an album start-to-finish takes time.

Instead of forcing the Met to bend its rules or asking the philharmonic to play pop music, it makes the most sense for dedicated art-adjacent spaces to coexist with the more formal institutions. Some days I feel like wearing high tops and other times call for stilettos, I need both not a half-assed compromise between the two.

And, from a semantic standpoint, art is not something you “get.” It doesn’t have a single answer, it’s not something you can solve. To me, this uncertainty is part of the beauty of art. It leaves itself up to interpretation.

I think it’s best to leave the dinner, dancing and drinks to art-adjacent spaces.

ART ISN’T THE ANSWER, IT’S THE QUESTION.

"I DONT UNDERSTAND

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KIMBER SPRINGS Who are you and what do you do?

I'm Kimber Springs. I consider myself a creator. Music tends to move me the most but I also make videos and art.

When and where did you get your start?

I grew up in Nashville, TN where I was surrounded by a lot incredible musicians. At 8-years-old I started bass lessons with Regi Wooten, who is a crazy talented guitarist/musician, and the older brother of world renown bass player Victor Wooten. I picked up guitar later on around 12-years-old and then started writing music shortly after.

How would you describe your music?

Acoustic, rhythmic pop.

Who or what inspires you or influences your music?

Country music has had a big influence on my music since it was the genre I first started writing. I am also influenced by artists, such as Tracy Chapman, John Mayer and James Taylor.

Describe your writing process. How do you get inspired?

What’s the process?

I usually have a word or a line that I feel is really powerful or catchy.

Then sometimes weeks or months later, I'll play a guitar lick that I really like and I'll go back and remember that word or line and see if it feels right for what I'm playing on guitar. If it all seems to click, the song tends to just flow right out.

Photography by tamidesigns

MU SIC IAN / KI M BE R S P R IN GS

What do you focus your writing on?

I don't really feel like I have a specific focus when I write, other than

MAKING SOMETHING THAT I FEEL IS 100% AUTHENTIC TO WHO I AM AND WHAT I'M GOING THROUGH, and what sounds good, of course.

Have you released an EP or album? If so, please tell us about it.

I currently have my first single "Finding Myself" out now on YouTube and SoundCloud.

From previous conversations, you mentioned that you were dabbling in art. Can you tell us more about this new venture?

I am! I recently had this desire to explore different sides of my creativity. I’m currently doing a lot of painting and even planning an art showing for my stuff!

What can we expect from you in both your music and art?

I am always looking to create more - whether it comes in the form of music, visual art or videos - I will be sharing more soon.

@kimbersprings

14 Who are you and what do you do?

I am a Photorealist oil painter based in the San Francisco Bay area.

Whether painting a front perspective still life, close-up figurative or co-mingling facets of the two, my paintings impart a palpable sense of reality transcending, nostalgia and a technique rapt in detail.

Containing many biographical clues, my paintings make an allegory out of my life, illustrating the continuity from my earliest years as a painter in Miami, Florida through a move to the California wine country.

Using the camera as a tool of documentation and art making, I take photographs of people and objects to create my photorealistic paintings. Trained in graphic design and photography, my work shows a perceptive sense of composition and an eye for detail. Through artful framing, I make the mundane riveting.

I found myself frustrated with my career. My life lacked the creative control and freedom I needed. Depression had settled in. I took up painting only because I didn’t know what else to do.

When I spent more time painting than I did sleeping, I knew my life was forever changed and there was no going back. I was reborn.

This is where I define my start as an artist.

Your attention to detail is exceptional. Almost Like a photograph.

Would you describe your thought process behind your work?

I attribute my attention to detail to just one methodology. Planted in my memory is the voice of my 7th grade art teacher instructing me to “draw what you see.”

DRAW WHAT YOU SEE When and how did you get your start as an artist?

Photorealism has been paramount to my artistic personality since my dawn as an artist. I began exploring the methods and techniques of this genre even before ever seeing an actual Photorealist painting.

Like most other artists of this genre, I am self-taught. My discovery began in my late twenties, after graduating from college and a few years into a burgeoning career in fashion. Exploiting the technological tools and skills acquired from these endeavors thus far, I created my own method of painting similar to other Photorealist painters.

At one point in time, I dreamed of becoming a medical doctor. So I took the pre-med route in college and graduated with a HealthScience degree. Realizing that it was really only anatomy I was interested in, I ditched science and went on to explore a career in fashion. After working for one fashion magazine in New York City, another dream deflated.

Every time my drawing appeared a little off, she would repeat this simple instruction. When sketching from life, it is easy to render the image inaccurately due to a propensity to rely on memory of what one thinks the subject is supposed to look like. Stop doing that, and simply “draw what you see.”

I remembered my excitement after seeing vast improvement to my work. Unbeknownst to me, DRAW WHAT YOU SEE remained filed away in my brain for all these years. When I began painting, I kept hearing DRAW WHAT YOU SEE in my head. So I listened and it ultimately became my painting mantra. While also using the technological tools of modern photography, I now had a painting method that worked.

IF I CAN SEE IT, THEN I CAN PAINT IT. "The Toe Dip" | Oil on Canvas | 36 x 24 | $3,200

SARA

CARLI

E

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SA RA CARL I “The Four Tops” stands out from the rest of your work.

Is there a reason you chose corks as your subject?

Wine represents timeless moments.

We uncork our favorite bottle in celebration of life's most cherished achievements. A birthday. A wedding anniversary. A well-earned promotion. Or perhaps a collector's most prized acquisition.

The circumstances are as numerous as there are bottles of wine.

However, these defining moments turn an ordinary bottle of wine into a sentimental keepsake. Painting the corks is a way of expressing special and bonding emotions shared amongst humans in a uniquely beautiful way.

Does your work reflect any personal experiences?

I paint what I see. And what I see changes all the time.

"Bullseye" | Oil on Belgian Linen | 30 x 20 | $1,900

"Sierra Reese" | Oil on Belgian Linen | 20 x 16 | $1,400 Who or what inspires you?

Creativity is the fuel that feeds more creativity. I could sit here and list off a hundred artists I admire. But what it really boils down to for me is action. Any person, who is out there physically actualizing the ideas or designs living inside their head, is what truly moves me.

"The Wynwood Walls" | Oil on Belgian Linen | 24 x 18 | $3,000

What do you aspire to do with your work?

Honestly, I have so much gratitude for other artists who are continually making creating and sharing their work. Like I said, that energy is the force that keeps my creative soul nourished. My hope is that I am able to pay it forward with my own art.

I am going to share a cherished little secret of mine with you. Every original oil painting of mine ever sold, was purchased as a gift for another human being. That, to me, is the most rewarding part of being an artist. Art truly is sustenance to the soul and I believe we will all find ourselves living in a much happier and healthier world if we all learn how to feed each OTHER’s souls.

saracarli.com

"The Four Tops" | Oil on Canvas | 48 x 36 | SOLD

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Who are you and what do you do?

My name is Ortiz Menchaca. I’m currently a second year Anthropology student. In addition to my job on campus as a messenger, I keep myself busy with photography, investigative projects, and just living with my mom and girlfriend.

When and how did you get your start as a photographer?

I began taking pictures seriously last year when I bought a camera with money I borrowed from my aunt. Since then, I’ve been taking pictures seriously, conscious of my environment and what I really want to present to people.

Describe your thought process behind these photographs.

It never registers quite well in my brain that I’m there when these things are happening.

I TRY TO BE IN THE MOMENT AS MUCH AS POSSIBLE. I think that’s the best way anyone can take pictures. When you think too much about the image you want, it’s already gone.

Does your work reflect any personal experiences?

In some ways yes, my work reflects a personal mission to document.

Documenting is a way to keep moments alive and has a direct connection to my personal experiences. Personal issues dealing with; memory, existential dread, and depression have a lot to do with where I take my projects creative-wise.

Where do you get your inspiration?

My drive to take pictures or give these projects time in my life comes from the fear of dying. In a lot of ways, that existential fear has really driven me to understand and appreciate what I’m doing and all of the privileges I have.

N THE MOMENT

SEBASTIAN ORTIZ MENCHACA

OCUMENT

SEBASTIA N O RT I Z M E N C H A C A The privilege to have a camera, take pictures, or even be part of a dialogue with art is a luxury. Because I understand that at some point I won’t be able to do any of those things. I’m also privileged and I try not to take anything for granted.

How have people reacted to your artwork?

Generally, people really like what I’m doing or where I’m taking my ideas. I see people understand that there’s more to a picture than something pretty to look at.

What do you want people to see when they look at your work?

To adore the present. To reflect on the now and why the now is so special and fleeting.

I want to move them. I want to document a space that no longer exists entirely in the same way and make them appreciate the simple fact of just existing.

What do you aspire to do with your work?

Try to continue taking pictures for as long as I can and get better at understanding images. I really want people to reflect on the importance images have on our generation. I simply aspire to make art for myself and for my creative need; not to feed into any academic, political or cultural ideologies.

menchacalaka.wixsite.com /portfolio/informacion

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YORI

HATAKEYAMA Who are you and what do you do?

My name is Yori Hatakeyama. I am a visual artist from Japan, living and working in Los Angeles. I make oil, egg tempera and fresco paintings.

"Akinokehai (Feeling of Autumn)" | Oil on Canvas | 24 x 36 | $700

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Does your work reflect any personal experiences?

The recurring motif that appears in my work is 'Why does music make us dance?' and ‘Why do sounds inspire me to make art?”

DANCE When and how did you get your start as an artist?

I was first introduced to art and music at age four in private school.

I enjoyed art more than music because I was able to grow at my own pace. I strayed away from art for a while when I joined the tennis club in junior high, but came back to art when it was time to decide what type of college I would attend. I majored in oil painting at Musashino Art University in Tokyo. In 1999, I moved to NYC to continue my egg tempera studies at The Art Student League of New York. It was around that time that I began developing my passion for fresco painting with themes of music and dance because I was also taking tap dance and ballet lessons the entire time I was in New York.

What can you tell us about the art scene in Japan?

Honestly, I don't know much about the art scene in Japan nowadays.

I go back to Japan about once every three years. According to my Japanese friends, it seems like graphic art, inspired by anime, manga, continues to be mainstream in Japanese contemporary art.

The same kind of Japanese art is appreciated in the U.S. Describe your thought process behind your work.

While living/working in New York City (2000-2011) my conceptual works focused on music and dancers in motion. Since moving to Los Angeles, I continued to examine the 'dance music phenomena’ with large-scale installations featuring 36’ wide fresco paintings.

To get to the bottom of these artistic questions at the core of my existence, I had to go back to the beginning – ‘What were the first songs from my childhood?’ I began looking back at Japanese folk songs I used to listen to when I was child. Focusing in on all my favorites. My current art project is to make paintings inspired by 10 Japanese songs (1975 to 1999). The goal is that I perform each song live (voice and guitar) beside each painting I am displaying.

Who or what inspires you?

I’m currently fascinated with music from the Japanese Folk and Pop scene: OFF COURSE, IRUKA, ANZENCHITAI, CHAGE AND ASUKA, SPITZ, SOUTHERN ALL STARS, KOME KOME CLUB, TOSHINOBU KUBOTA

ALWAYS. MUSIC, DANCE, AND LITERATURE INSPIRE ME TO MAKE ART. What do you aspire to do with your work?

I want my art to inspire people to respect civilization and lead a moral life – I want my paintings to remind people of all the righteousness, beauty, and joy in the world. To quote KOME KOME CLUB: “I’m just happy you are here!”

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"Song for Hollywood" | Oil on Canvas | 18 x 40 | $600

YO R I HATAKE YAM A

"Nagoriyuki (Last Snow)" | Oil on Canvas | 30 x 40 | $800

"Gene Krupa" | Oil on Linen | 24 x 30 | $600

yorihatakeyama.com

LITERATURE

"Benny Goodman" | Oil on Linen | 22 x 24 | SOLD

Special thanks to Phoebe Silva.

The Chain

The Chain: Breaking free from something or someone.

Photographic series by tamidesigns.

Visit tamidesigns.com + follow @tamidesigns to see more.

Š 2018 Art Muzeo Magazine. All rights reserved. Printed in the USA.

W W W. A RT M U Z E O M A G A Z I N E . C O M