www.artnois.com
No. 2 October 2012
Art & Music Magazine
Author: Karina Eibatova Rimini, Italy 2010
Author: Egor Kraft Amsterdam, Netherlands 2010
Last issue we discovered a site that shows messages by enthusiasts around the world who want to make social statments indepentendly. We thought it was a really neat concept and want to help the movement continue. See more at tosay.it
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Artnois Team
Read this!
Magda Becerra Artnois Co-Founder, loves anything creative, manages all artwork, and final editing. magda@artnois.com
A note from the Team
First and foremost we want to say THANK YOU to all the artists and musicians who took the time to collaborate for this issue. We really enjoyed all of the music and the artwork along with your great stories. To our readers, we hope you like what you see. This issue was dedicated to Dia De Los Muertos which is why you will find a Mexican influence in the music as well as in the artwork. The music in this issue is tied together by the underlying goals and the common interest to make positive changes in society and in oneself. They are all very passionate musicians. Listen to their music and reflect on what they say, we are sure you will feel their energy. As far as the artwork goes, there is a variety of work from patriotic American flags of Miller to the art created for the Mexican celebration of Dia De los Muertos. Be sure to check out more of each artist’s personal portfolios to see all they have to offer.
Jesenia Meraz Artnois Co-Founder, brings music to your ears. Always looking for new music and artists to share with the world. jessy@artnois.com Omar Lazcano Where would we be without him! He is Magda’s right hand man. Loves Illustrator. omar@artnois.com Ellen Johnston A cultural nomad with West Coast roots, a Mediterranean soul and a Chilanga heart, thanks to recent stint in the Mexican capital. In this issue: Dia De Los Muertos ambiguoustraveller@gmail.com
We are also happy to say that with the Artnois team growing we hope to accomplish more in the future issues. If you have any feedback, would like to collaborate in any way or if there is anything you would like to see please let us know and we will do our best to consider you. Please show your support as we continue to grow.
Jorge Neftali Gonzalez Jorge is a camera man and music lover. Can always count on him to help with the music (unless he is busy shooting a video). jorge@getdowncollective.com
Thank you
Ashley Pasquan Aka Adam Rabbit is our DIY blogger. She loves to sew and make handmade greatness. apasquan@gmail.com
Magda & Jess
Claudia Flores Claudia is our Instagram and Pinterest fairy. claudia@artnois.com
Art & Music Magazine 3 ARTNOIS No 1, Agust 2012
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contents Music
Issue 2 October/November 2012
Art
07
23
An interview with upbeat East L.A. music group.
Why so many faces?
Las Cafeteras
11
Donna Kuhn
27
Day of the dead nov 2nd
A large scale bold and abstract oil painter
Dia De Los Muertos
David Phillips
Maya Jupiter
A very passionate artist making powerful social statements throught her music.
15
31
When it comes to raw honest music, Kai is your man
19
Paints in various styles but loves the female form.
34
Twin Owl
What the American flag represents to Elaine C. Miller
21
Work by Edson
Drinkify
Don’t listen to music alone, let Drinkify suggest a drink.
37
Gersain
41
Robert Lott
Explore the human psyche with art!
43
Makes art using number stamps
Work by Dee
52 54
Work by
55
Work by
Eric McMannes Johnny McGeorge Lea Broadbent Nydia Lilian
57
Work by Steve Simpson Design & Illustrations
61
Work by
Jose Castillo
45
Work by
Work by
As Good As Its Promise
Discover an up an coming Indie group
by Ellen Johnston
51
Otha Davis
Kai Straw
47
62
Work by
Madeline Alm Patrick Vertino
Merill
Contacts: PO BOX 923082 SYLMAR,CA 91342, tel. 818.584.1868, magazine@artnois.com, www.artnois.com About ARTNOIS: ARTNOIS Magazine was started by two young female students, Magda and Jessy. While they both share common interests, Magda has a passion for art and Jessy has a passion for music. Seeing as neither one had the time nor the skills they wished they had to create jaw dropping art or inspiring music, they decided to make a magazine featuring all the great artists who do. Art and music is motivation for both to do something great. They hope this magazine will help do the same for you.
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October 2012
Events in Los Angeles
Mon 10/1
SUPERHUMANOIDS @ The Echo 8:30 PM 1822 Sunset Blvd Los Angeles, CA 90026 21+ FREE w/ RSVP here: http://do213.net/ event/2012/10/01/superhumanoids
Thu 10/4-7
event/0B0048A3ACA26AED? artistid=1362337&majorcatid= 10001&minorcatid=1
Tue 10/9
THE CORIN TUCKER BAND @ The Echo, 8:30 PM 1822 Sunset Blvd Los Angeles, CA 90026 21+ purchase tickets here: http://www.theecho. com/event/149913/
DUBLAB PRESENTS FILTER MAGAZINE’S CULTURE COLLIDE A free all-day event in OPOSSOM Echo Park on Sunday, October 7th. Wrist bands available @ The Echo, 8:30 PM 18+, $10 or $20 (frants admittance to all the performances). FREE or $20 wristband (for unlimited access) 21+ http://culturecollide.com/index.php/about/
Wed 10/10 Thu 10/11
Fri 10/5
LAS CAFETERAS @ La Casa de La Raza, Doors open at 8PM 601 East Montecito Street Santa Barbara, CA. 93103 $10 www.lacasadelaraza.org
Sat 10/6
EAGLE ROCK MUSIC FEST $10 PASATONO ORQUESTRA @ The Getty, 7PM ALL Ages, FREE
Sun 10/7
PASATONO ORQUESTRA @ The Getty, 3:30 PM ALL Ages, FREE FLORENCE & THE MACHINE, THE WEEKND, AND THE MACCABEES @ Hollywood Bowl, 6:30 PM 2301 N Highland Ave, Hollywood, CA 90068 Prices vary, get your tickets here: http:// www.ticketmaster.com/ 5 ARTNOIS No 1, Agust 2012
DOWNTOWN LA ARTWALK
See Link for Location
FREE
Fri 10/12
THE XX @ Hollywood Palladium, 8PM $52, get your tickets here: HTTP:// WWW.LIVENATION.COM/ EVENT/090048EDC5926B73? ARTISTID=1355628&MAJORCATI D=10001&MINORCATID=1
Th 10/14
SBTRKT @ Club Nokia, 8 PM 800 West Olympic Blvd, Suite A335, Los Angeles, CA 90015 $21.50 - 31.50, get your tickets here: http:// www.ticketmaster.com/ event/2C0048F30EE05C84? artistid=1543619&majorcatid= 10001&minorcatid=52 DAS RACIST @ Roxy Theatre, 8 PM West Hollywood, CA
$20, get tickets here: http:// www.ticketweb.com/t3/sale/ SaleEventDetail?dispatch= loadSelectionData&event Id=4818335
Sat 10/16
PAC-DIV, FEAT. MIKEY ROCKS OF COOL KIDZ @ Whisky A Go Go, 6 PM West Hollywood, CA $15, get your tickets here: http://www.ticketweb.com/ t3/sale/SaleEventDetail?dispa tch=loadSelectionData&event Id=3100754
Wed 10/20
THE SOFT PACK, 8:30 PM @ The Echo 18+, .$14 here: http://www.ticketfly.com/purchase/event/155151 COLD CAVE @ The Getty Date: Saturday, October 20, 2012, 6:00–9:00 p.m. FREE http://www.getty. edu/museum/programs/performances/saturdays_405. html THROUGH THE MIC concerts will take place in front of artist Chris Burden’s iconic Urban Light sculpture on the third Thursday of every month, May through October 2012. BP Grand Entrance | $10 LACMA Members | $15 General Admission | 323 8576010 http://www.lacma.org/ series/through-the-mic
Thu 10/21
NICK WATERHOUSE + ALLAH-LAS @ El Rey Theatre, 8PM. 5515 Wilshire Blvd, Los Angeles, CA 90036 $18.00, get tickets here: HTTP:// WWW.TICKETMASTER.COM/ EVENT/2C0048F5CBB14830? ARTISTID=1658383&MAJORCATI
D=10001&MINORCATID=202
SAT 10/23
SAN CISCO, 8:30 PM @ The Echo 18+, $8 find your tickets here: http://www.ticketfly. com/purchase/event/147607
Sat 10/26
TIGER ARMY @ The Fonda Theatre, 7 PM 6126 Hollywood Blvd, Hollywood, CA 90028 $39.70, get tickets here: http://www. ticketmaster.com/ event/090048D46E2417ED? artistid=712366&majorcatid=1 0001&minorcatid=60
Sun 10/27
DIA DE LOS MUERTOS EVENT @ Hollywood Forever Cemetery, 12PM-12AM 6000 Santa Monica Blvd. Los Angeles, CA, 90038 $10, read info before purchasing tickets: http://hollywoodforever.ticketfly.com/ (info: http://www.ladayofthedead.com/event_info.html) BROTHER ALI @ El Rey Theatre, 8 PM 5515 Wilshire Blvd, Los Angeles, CA 90036 $19, get your tickets here: http:// www.ticketmaster.com/ event/2C0046C9C6E23BF4? artistid=910929&majorcatid=1 0001&minorcatid=3
Wed 10/30
MIIKE SNOW @ Hollywood Palladium, 8 PM 6215 Sunset Blvd, Hollywood, CA 90028 $35, http:// www.livenation.com/ event/09004909096E9743? artistid=1329122&majorcatid= 10001&minorcatid=1
Thu 11/1
THE DONKEYS, CHAMBERLIN, BUXTON, BART DAVENPORT @ The Satellite, 9 PM +21, $10, get your tickets here: http:// www.ticketfly.com/purchase/ event/150761? wrKey=ED98AF3063DA3C843A4 F5A85FA6B7262
Fri 11/2
EL VALERIO EVENT “EL VELORIO” a Day of the Dead Cultural Event, Community Art Exhibit, and Benefit for Las Fotos Project. Sound Providers: Very Be Careful | Jeremy Sole | La Chamba | Oro11 | ALTER | Toks | Mess| @ KGB Studios, 9PM $15, Get your tickets here: http://elvelorio.brownpapertickets.com COM TRUISE AND POOLSIDE @ The Echo 18+, $15 get your tickets here: http:// www.ticketfly.com/purchase/ event/156519 LIVE MUSIC @ NOHO DINE OUT FRIDAYS The Parking Lot 11458 Burbank Blvd North Hollywood, 5:30pm Its FREE http://www.nohofoodtruckfest. com/index.html GROUNDATION Aims to take the art of genrebending to new heights by blending elements of both Jazz/Funk fusion and transcendental Dub. 8:00pm Tickets: $22.00 @ El Rey Theater 5515 Wilshire Blvd Los Angeles, California 90036 Get tickets here: http://www. ticketmaster.com/event/2C00 48C5FFA05B48?artistid=10715 19&majorcatid=10001&minorc
November 2012
Events in Los Angeles
atid=1 DÍA DE LOS MUERTOS Self Help Graphics & Art’s 39th Annual Día de los Muertos Celebration 1300 East 1st Street, Los Angeles, CA 90033 5 PM - 11 PM http://www.selfhelpgraphics. com/component/blog_calenda r/?year=2012&month=11&day =02&modid=18
Thu 11/8
DOWNTOWN LA ARTWALK
See Link for Location
FREE
Sun 11/4
GWAR @ House Of Blues 6:30 p.m Sunset strip, West Hollywood, For Ticket info go here: http://www. stubhub.com/gwar-westhollywood-house-of-bluessunset-strip---hollywood11-4-2012-4115472?gcid=C12 89x903
Tue 11/13
LOS ANGELES PHILHARMONIC Classical Music 8:00pm Walt Disney Concert Hall 111 S. Grand Avenue Downtown Los Angeles, California 90012 Get tickets here: http://upcomingevents. net/Los-Angeles-PhilharmonicSalonen/Walt-Disney-ConcertHall/1867226 THE ART OF DEVOTION IN THE MIDDLE AGES @ The Getty 10:00am - 5:30pm November 13, 2012–February
3, 2013 http://www.getty. edu/art/exhibitions/devotion/
Wed 11/14
GENERATIONALS @ The Echo 18+, $10 get your tickets here: http:// www.ticketfly.com/purchase/event/145311
Thu 11/15
AN EVENING WITH YEMEN BLUES 8:00 pm - 10:00 pm, UCLA Royce Hall - Auditorium $15 - $45 ($15 UCLA Students) Get tickets here: http://happenings.ucla.edu/ all/event/75505
Fri 11/16
TYPHOON @ The Echo 18+, $12 get your tickets here: http://www.ticketfly. com/purchase/event/146543
Sat 11/17
CLEOPATRA: THE EXHIBIT California Science Center 700 State Dr. Los Angeles, CA, 90037. 10:00am - 5:00pm. Ticket price info here: http://www.californiasciencecenter.org/Exhibits/ SpecialExhibits/Cleopatra/ Cleopatra.php
Sun 11/18
des general guidance; just bring your own drawing pads and pencils. (info Link: http://www.getty.edu/visit/ calendar/days/11182012. html
Thu 11/29
LOST IN LA Art Exhibition @ the Los Angeles Municipal Art Gallery at Barnsdall Art Park. 4800 Hollywood Blvd. Los Angeles, CA 90027 323.644.6269 Thurs-Sun, Noon to 5PM - First Fridays, Noon to 9PM. On view from November 29, 2012 to January 27, 2013. For more info go to: http://www. lamag.org/?page_id=958 WHITEHORSE 8:00pm @ Hotel Café 1623 1/2 North Cahuenga Boulevard Los Angeles, CA 90028 Pre-Sale Price: $10.00 Service Charge: $2.50 Pre-Sales Close Nov 29, 2012 6:00 PM fot Tickets go here: https://www.hotelcafe. com/tickets/?s=events_ view&id=1814 FOWLER IN FOCUS: CURIOUS CREATURES FROM MEXICAN POPULAR ARTS -AT-FOWLER MUSEUM July 1, 2012 - November 29 Fowler Museum at UCLA 405 Hilgard Ave Los Angeles, California 90024. 12:00 PM - 5:00 PM; Open until 8 p.m. on Thursdays! http://www. fowler.ucla.edu/exhibitions/ fowler-focus-curious-creatures-mexican-popular-arts
GETTY DRAWING HOUR @ the Getty 3:30 pm - 5:30 pm This program is FREE. Sign-up begins at 2:30 p.m. at the Information Desk. Artist Peter Zokosky provi6 ARTNOIS No 1, Agust 2012
“
We like to say ‘we didn’t find music, the music found us’
“
Las Cafeteras consists of 7 bright and lively Chicanos: Denise Carlos, Daniel Jesus French Jose Cano, Hector Flores, David Flores, Annette Torres, and Leah Rose Gallegos. They have working on the inspiring album, “It’s Time,” for about a year and a half. As fans, we would to thank them for cooperating and allowing the following interview to become a reality music trully is inspiration for many! Where did you guys grow up? We grew up in Greater Eastside of Los Angeles, San Gabriel Valley, Oxnard” How did you all meet? David Flores and Hector Flores are brothers, and Annette Torres is their tia (aunt). Denise and Jose went to school together. Daniel French met most of them while working to save a community garden called South Central farm. Leah Gallegos was taking 7 ARTNOIS No 1, Agust 2012
Son Jarocho classes at Tia Chucha’s and was later introduced to the Eastside Son Jarocho group now called Las Cafeteras. How did you know you wanted to make music and sing together? We like to say ‘we didn’t find music, the music found us’. We all encountered an opportunity to take Son Jarocho classes at the Eastside Cafe. The classes eventually transformed into what Las Cafeteras is
today. How did you come up with the name Las Cafeteras? What does it mean? Because we come from the Eastside Cafe, people began to refer to us as the “Cafeteros” (the people from the cafe). We took on the name and turned it into the feminine “Las Cafeteras” to counter the norms of masculine language and society and also to honor the spirit of the feminine.
“
h, e been d like y. Your
Where did you get inspiration for this album? We got inspiration from our daily experiences of stories of love and struggles. We are also inspired from our communities and beyond, and by the sound and music that is coming out of the East-side as a whole. Inspired by our influences including Native American, Hip Hop, Oldies, Punk, and Ska.
You all seem like hard workers and we admire the passion you guys obviously have for what you do. What would you say has been a major struggle getting to where you are now? One of our biggest challenges was finding our own voice. When we started playing this music, we played it as traditional as we could. Stepping away from that was very scary for us, but as soon as we confronted our fears,
our creativity expanded. Our album “It’s Time” is a reflection of that growth. What does your music mean to you? Our music is medicine to our souls. It is not only our voice, but also a voice to many that have been silenced, or are still seeking their voice. Our music is love that we hope spreads all over the world. Our music is change that we want to see in this world.
We enjoy every show! Every show is unique in offering great blessings from the other bands we perform with, to the amazing fans, to our own personal realizations.
“
8 ARTNOIS No 1, Agust 2012
Photo by: Piero F. Giuntivollignam inum fuga.
“
One of our biggest challenges was finding our own voice. When we started playing this music, we played it as traditional as we could. Stepping away from that was very scary for us 9 ARTNOIS No 1, Agust 2012
Who are you trying to reach with your music? Mamas, papas, young ones, elders, and everyone in between. Your performances are a ton of fun. Where did you all learn to dance? Can you give us some background on the dancing?
“
We learned in LA from different LA based teachers and teachers from Veracruz. Zapateado is the heartbeat of the music and it is a percussion instrument. Each song has
it’s own dancing melody. Who are your inspirational artists? Our musical influences vary from Bob Marley to Chicano Son, Mars Volta, Mos Def, Los Cojolites, Rage Against the Machine, Amy Winehouse to Mariah Carey. From Riot Grrrl to oldies to what’s on the radio today, all music plays a role in shaping our sound. We try to work with traditional sounds and transform them into sounds that are more relevant to our story i.e. hip
hop, ska, and cumbia. Our inspiration comes from our individual experience, from our community and from those who have come before us to use music as a tool to create a better world. Nice music selections! Can’t get any more diverse than that. Do you have any philosophies about music? “If you can talk, you can sing, if you can walk, you can dance.” We want to inspire others to tell their story.
Where do you look for inspiration when writing a new song? Some of our songs are traditional Son Jarocho songs that we arrange in our own way. The arrangements are ideas that come to us. We try each idea and then decide if it we keep it or let it go. Our original songs are created by sounds, lyrics, and rhythms that also come to us. Our inspiration is our entire life experience from love to struggle. What kind of stories do you get from the peeps who have listened to or attended your shows? We get fans that tell us the music reminded them of home and/or family. Some fans have expressed that our music has helped them stay inspired in the field of work that they do. We have been told that this music has inspired them to pick up an instrument and start playing music. How do you go about
choosing whom to team up with musically?
Casa de la Raza Oct 6 Eagle Rock Music Fest Oct 26 @Grand Annex Oct 27 Hollywood Forever Day of the Dead w/ Ozomatli, La Santa Cecilia
It really happens organically. We can be jamming out with a certain musician and we like how our sounds blend together, next thing you know they are on stage with us playing. We are one band that loves collaborating.
Nov 2 Cal Poly Pomona: Dia de los Muertos event For More info visit lascfeteras.com
Which have been your favorite performances? We enjoy every show! Every show is unique in offering great blessings from the other bands we perform with, to the amazing fans, to our own personal realizations. Do you think your music will change? Everything changes, it’s the process of evolution. We embrace the changes with open arms. Do you have any shows coming up? Where? “It’s Time” Natl. Tour Promoting New Album: Oct 5 Santa Barbara: @
Be sure to check out their favorite jam on the album, La Bamba Rebelde, as they say:
“
It is like our national anthem. It’s our callout and statement of existence. It’s also a big party!
“
LISTEN 10 ARTNOIS No 1, Agust 2012
Maya Jupiter W
hen we first met the beautiful Maya Jupiter, she was completely surprised that we particularly attended to watch her rock the mic. Even though her set was only two songs long, her passion for music and expression was almost palpable. As she performed, I am and Phenomenal, two very powerful songs, she transferred her positive energy to the crowd and quickly got them going. Although born in La Paz, Baja California to a Mexican father and Turkish mother, Maya was raised in Sydney, Australia where she cultivated her love for music. Four years ago, she moved to Los Angeles, and pursued her interest in the entertainment industry. Instantly after meeting her at On The Rox in West Hollywood, we knew we had to include her in our next issue. Her music is like no other.
How did you know you wanted to make music? I’ve wanted to sing since the age of 7 or 8. I would write poems in my book after school and would make up dances all the 11 ARTNOIS No 1, Agust 2012
time. I took ballet and tap classes as a child but we couldn’t afford singing lessons. I caught the music bug from a young age but it wasn’t until I was a teenager that I began to write my own songs. I started writing raps when I was 15. At 18 I knew I wanted to work within the entertainment industry. I studied a music business course for a year at college in Sydney which gave me an overview about all the different paths available. I started rapping in clubs and hosting events. From there I made my own music and began in Radio and Television as well as running song-writing workshops. What does music-particularly singing-mean to you?
It feels good and it makes me happy. I believe in what I’m saying, I think that’s where the real joy comes in. When I’m on stage I feel that I go into a kind of meditation. There’s a unique exchange between artist and audience that empowers all of us, it gives a sense of unity and community.
Do you feel your traveling has molded you?
I feel very lucky to have travelled so much. When you visit other countries you are forced to be outgoing and depend on strangers. You also get to see how people live, what they eat and how fundamentally we all want the same things. It opens your mind to other possibilities about life. I think it should be compulsory for high school students. I’ m definitely inspired by things I experience and see on the road. When I wrote Phenomenal I was thinking about the women I had seen dancing in Kingston, Jamaica. With Rico, I was picturing Havana, Cuba and Tulum, Mexico. In the song Picture This I wrote from my experience in India. Music is a powerful tool for social change. In your opinion what is the purpose of music? To uplift, to bring people together, to allow us to release tension, to communicate stories, to
pass on knowledge, to connect with something bigger than ourselves.
Your lyrics are powerful and very positive, we love it. Who do you hope to reach with your music? Any people in particular circumstances? I think music surpasses language, age and borders so I hope that it reaches people who need to hear it and has some kind of positive effect. I write to uplift and I am lifted up as a result. Where do you look for inspiration when writing a new song? Documentaries and books are very inspiring. Listening to KPFK can inspire a song. I feel inspired when I see the news or in my day to day life but it doesn’t always come out that easily. I find that I’m really critical of my words. In this time of so many voices yelling through twitter, facebook and blogs, I want to make sure that my words count - and that I’m not just filling space.
10am-12pm. I highly recommend it to anyone that wants to pick up an instrument. We mainly learn how to play the Jarana, but there is also singing and Zapateado involved and we learn about the tradition of Son Jarocho. You mentioned you are currently residing in LA, what do you like about it?
We love your performance dancing. Does your dancing have a specific name? Does it have a cultural background or meaning?
Photo by: Osher Gunsberg Stylingy, Hair and Makeup by: Erica Krumpl
I love the Chicano community first and foremost because it’s an experience I never had in Sydney. I always felt that I belonged in Hip Hop culture and now I feel I belong as a Chicana as well. I like that anything is possible here, there are many opportunities for people who work in the entertainment industry. Tell us about your most current album, Maya Jupiter.
It is my dream album, something I am so I think you may be talking proud to be a part of. It features some really about Zapateado. It is talented musicians and a form of tap-dancing is produced by Quetzal and it comes from the Flores, Martha Gonzalez Son Jarocho tradition. I and Aloe Blacc. Musically am only a beginner but it takes inspiration I enjoy it very much. I from Son Jarocho, Hip studied tap dance as Hop, Dancehall and a child and it is similar although with Zapateado Soul. Some words are in Spanish, most are you are an instrument in English. I talk about playing percussion, social and political issues. so you have to dance Looking out for one keeping the time. Son another, mothers living Jarocho is over 300 in Palestine and what I years old and is from imagine that’s like, the the State of Veracruz in story of my Mother’s Mexico. It is a mixture immigration, violence of Indigenous, African, in relationships and Spanish and Arabic music. All the people that feeling rich even if you don’t have much money. were there around that I worked on it for two time. Veracruz is home years and I launched it to one of the oldest a year ago but it’s still ports in The Americas. I “new” for those that have been attending a haven’t heard it yet! Son Jarocho workshop at Plaza de la Raza every Saturday morning 12 ARTNOIS No 1, Agust 2012
‘We Rise Up All equal My People’
-Rico 13 ARTNOIS No 1, Agust 2012
Which song do you relate to the most and which is your favorite?
l y ’ po
o
I love performing I Am because I feel every word resonate through my body as I sing. I feel as if I am channeling a creative energy as I say those words aloud. I relate to Canta most because it voices my personal concerns for the welfare of people and expresses the story of my parents who left all that they knew for a chance at a better life. Have you performed in cities/ countries other than L.A.? Yes in about 30 different countries, sounds exhausting just thinking about it! I have been very fortunate to travel and connect with people musically around the world. Which have been your favorite performances? Performing in Sydney at the Opera House was really special. There was an incredible place in France where we were looking at an ancient Roman Bridge while on stage. I loved touring with Aloe Blacc, I got to open for him across the States, Europe and Australia. His music attracts people of all ages. You see parents with their young kids and teenagers with their parents. It’s nice to look out and see the diversity and most of all smiling faces. Do you think your music will change? I hope so. I hope I continue to evolve and explore new sounds and continue to grow as an artist. I hope to get better at writing, singing and playing Jarana. I want to change for the better. Check out her websites for my album and more information: www.mayajupiter.com www.facebook.com/mayajupiter www.reverbnation.com/mayajupiter
LISTEN 14 ARTNOIS No 1, Agust 2012
Kailor Straw, or as most call him, Kai from Fairfield, a subur Francisco Bay area, is a very passionate musical poet. His lyrics are re inspirational and will make your hair stand on end. Even just by interview you will understand Your music sounds very original, almost like a mixture of different genres. How would you classify your music?
Life experience, the psychological warfare waging within the mind. It’s a way for me to cope with and understand my place in life.
I’m really not sure. The last thing I think about when making music is the genre it belongs to. That seems to me like an odd way of going about creating. But if someone were to hold a gun to my head, I’d say it was, at it’s core, poetry. Alternative poetry. It’s freedom. Once you subscribe to a genre, or define yourself through a genre, you lose. You’ve imprisoned yourself. My music tends to jump all over the place, because I’m a human, and humans are inconsistent. My music reflects this inconsistency. When I listen to an album that adopts all nuances of it’s genre, that consistency feels dishonest to me. I will warp, change and grow throughout my lifetime, so my music will warp, change and grow through it’s lifetime.
What does the music you compose mean to you?
Your lyrics seem so raw, meaning they sound one-hundred percent honest, where does inspiration for writing your lyrics come from? 15 ARTNOIS No 1, Agust 2012
It’s the mirror to my soul. I can convince myself all I want is that I’m happy, but if my subconscious keeps producing these morbid, depressed songs - I at my core am morbid and depressed. Music is soul vomit. It may not feel good during, but after, it’s relieving. Writers block happens when the author is actively involved in some delusion. Something he doesn’t want to admit to him or herself. When I truly write something that I believe is a complete reflection of who I am, what my spirit is, I’ll cry. People are scared of that type of selfreflection, this type of emotionality, but through it we grow. We need a mirror to see how ugly we’ve become, or to see how far we’ve come. Do you compose your own beats? 95% of my music is written and
composed by myself. I’ve had the privilege of working with some talented producers (AP, Suhnraw, Robot Orchestra, C-Loz), but to me, the only way I can remain completely honest within my music is by being involved in every aspect of it. What type of approaches have you acquired to make a new beat? Do you have a special technique? My technique in composition is my same technique with writing. Everything that I do creatively is an expression of the same creative beast, so it’s theory can be felt throughout. I think of the Bruce Lee quote, “Be like water.” When I’m creating, I give into every urge and impulse. The songs I’m making want to be made a certain way, and if I don’t give into this plan, these canals, then the songs won’t reach their full potential. To think while creating is stifling. Do you use any special instruments to make your beats? I love putting inappropriate instruments through guitar amplifiers. Or my own
rb in San efreshing, by reading his d what we mean.
16 ARTNOIS No 1, Agust 2012
voice. Taking an instrument that sounds so familiar, and transforming it beyond recognition is exciting to me. I’ll use or do anything, really. The Tom Waits musical philosophy. Once my studio situation grows in complexity, I’ll explore even more instrumental avenues. I hear noises on a daily basis that I wish I could record and add to my music.
within me, emotionally, in any way, I want to work with them. I have a very, very short list of people I’ve worked with or am even willing to work with. I have a very long list of people who I believe should be shot for what they’ve done to music.
You don’t hear of too many people using noises we hear on a daily basis as music but it is an interesting concept that makes listeners think outside the box. John Cage did it by amplifying all sorts of materials including cacti. It’s nice to see people willing to explore this avenue.
Like I said earlier in this interview, most definitely. I will constantly change and grow, so my music will follow suit. When someone’s music has ceased to evolve, that means they’ve become formulaic in their creativity. They’ve found something consistent, that they know for a fact is executable, that people will like, and feel comfortable within that. I don’t. I get bored incredibly fast, musically. I’m always looking to surprise myself, and discover something new.
Are you trying to gain anything via your music? Do you try to reach a specific type of audience? During the creation of my music, the experience is incredibly personal. But once that’s finished, and my music is out for public consumption, I hope it has an affect on people. I hope it sparks conversation between groups of drunken intellectuals in the suburbs or any metropolis. I hope it makes people question their lives and beliefs. I hope it inspires people to be honest with themselves and one another. I want it to waltz with the listeners soul. Do I have an image in my head of some type of target demographic? No. I believe good music is universal. Who are you most influenced by? I’m inspired by so many musicians and writers. Shakespeare, Walt Whitman, Albert Camus, Truman Capote, Thom Yorke, Tom Waits, Kanye West, Jay-Z, Conor Oberst, Frank Ocean, The Weeknd, The Beatles, Led Zeppelin, The Strokes. - And if you listen, you can hear all of these influences in my music. Are you collaborating with other musicians? Yes, the producer Robot Orchestra. We’re working on an EP together. He’s making all of the beats, and I’m telling their story. Can’t wait to hear it! How do you go about choosing whom to team up with? If the person’s work sparks something
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Do you think your music will change in the future?
Do you perform? If so, do you have any shows coming up? Where? I had my first show earlier this year at The Cabin, in Vacaville CA. Opened for Analytical Divinity, and have to thank him and Travis Shecter for having me. Such a great experience. There is something entirely bizarre and incredible about performing such vivid, vulnerable thought to an audience. I have another show coming up in San Francisco on the 25th of October, come on by. Follow Kai (we know him now) Straw on his facebook and enjoy his music with a free download.
after w
An
I heard she was married, years later
we dated, with a house and a family
nd I’d lie if I said I didn’t think of her daily
though I myself got married
It’s scary Losing love, then trying to find someone knowing full well they won’t measure up -Sexlovesoul
LISTEN 18 ARTNOIS No 1, Agust 2012
A bit of “harmony driven, California indie-pop.”
What are all your names? Vic, Jasson, Candice Where are you all from? Originally, Eagle Rock. We grew up in Covina & Pasadena How did you meet? Well me(Vic) & Candice were playing a gig together on the same bill as Jasson who was in another band, and started talking about a possible project involving the music we always wanted to play. What made you want to make music together? Me(Vic) & Candice had been performing in a few bands together for a few years and started writing some songs together and that’s when we met Jasson. He was very interested in the style of music we were doing and decided to join the group. Why Twin Owl? What does it mean?
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You know, it’s sad to say but it means nothing we just threw some words together and Twin Owl rolled off nicely. Have you produced any albums? Yes we recently released a 3-song E.P. titled Big Swell If so how many and how long have you been working on your most current album? Big Swell took about two months to record and mix, its probably the happiest we’ve been on a project we’ve worked on so far. Currently we are working on our next project which will hopefully be ready later this year. How would you classify your music? Under which genre? That’s tough to pin point, it’s harmony driven California indie-pop What does your music mean to you?
Our music is us as a group of friends working together to make music. There’s also a certain energy that we get from performing that drives us to keep wanting us to work on our material and develop more as a band. Who are you trying to reach with your music? Anyone who’s interested, we’ve met some really nice people along the way and would like the good vibes to keep coming. Where does does inspiration for composing music originate?
as long as its soaked in reverb, that’s were we want to head.
Do you have any shows coming up? Where?
Do you wish to accomplish anything with your music?
Follow us on facebook as we update our events frequently.
We just want people to enjoy our music as much as we do. Are you currently collaborating with other musicians? We are planning on recording a few songs with Ventura based band, Captions. We’re really good friends with those guys and it seemed like a fun idea.
For me (Vic) it mainly comes out in a storyboard, I’m not much of a storyteller but I visualize scenarios in my head and start filling in actions and emotions.
Have you performed in cities/countries other than L.A.?
Are you influenced by any musicians in particular?
Do you think your music will change?
As of lately we’ve been listening to a lot of Dr. Dog, Grizzly Bear & Washed Out, but in terms of our sound;
Not yet! For the most part we are a local band.
We’ve been growing more curious with different sounds and instruments and are always open to new ideas and influences.
LISTEN 20 ARTNOIS No 1, Agust 2012
Don’t listen to music alon “Sister Nancy”
Red Stripe Serve cold. Garnish with umbrella.
“Wu-Tang Clan”
1 bottle Gin Serve neat. Stir quickly.
“La Santa Cecilia”
8 oz. Raspberry Vodka 8 oz. Sprite 1 oz. Nordic Mist Combine in highland glass and serve. Stir vigorously.
VIA
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“Antibalas Afrobeat Orchestra”
1 bottle Red wine Serve at room temperature. Garnish with maraschino cherry.
ne, Drinkify suggests... “Erykah Badu”
8 oz. Kirsch 8 oz. Cranberry juice 2 oz. Egg Combine in highball glass and serve. Stir vigorously.
“Very Be Careful”
8 oz. Vodka Serve neat. Garnish with maraschino cherry.
“MAYA JUPITER”
8 oz. Vodka 8 oz. Bitters 1 oz. Plum Brandy Combine in shaker and strain into cocktail glass. Serve. Garnish with pickled carrot sticks.
“Mos Def”
4 oz. Rum Serve on rocks. Garnish with cocktail onions.
“At the Drive-In”
12 oz. Microbrew Serve on rocks. Stir quickly. Garnish with national flag.
“Chicano Batman”
1 oz. Rum, Fucking Rum 1 oz. Sour mix 6 oz. Grapefruit juice Combine in high glass and serve. Stir slowly. Garnish with fresh berries.
“Ozomatli”
1 oz. Canadian Club Whiskey Serve neat. Garnish with maraschino cherry.
“The Doors”
1 oz. LSD Serve on the rocks. Stir quickly. Garnish with a twist of grapefruit.
“Quadron” “Los fabulosos cadillacs” 1 Corona Served cold.
“Little Dragon”
2 oz. Gin Serve neat. Stir quickly. Garnish with wedge of pineapple.
1 oz. Jack Daniel’s Tennessee Whiskey 1 oz. Red bull Combine in highland glass and serve. Stir vigorously.
“ALOE BLACC”
8 oz. Tequila Añejo Serve neat. Stir slowly. Garnish with maraschino cherry.
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Donna Kuhn
Wildchild
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Donna Kuhn lives in Taos, New Mexico where she has been making art ever since she can remember. She makes playful and yet romantic mixed media abstract expressionist portraits. Donna is inspired by Klee, Dubuffet, Basquiat and Rauchenberg. Oh, and Picasso of course.
Do you have other work besides these playful faces? I make paper and found object jewelry, greeting cards (combining my poetry and art), collage, altered books, crafts such as art dolls, and masks. I am a poet, author, video artist and dancer as well. How has your personal life shaped the type of work you do?
kuhn’s Favorite piece Nothing Knocks you Down
I have chronic fatigue syndrome so it limits what i can do at times but i’ve always been very prolific even while a wife and mother because I have to do my work. What mediums do you prefer to work with? They have to be nontoxic, I favor colored pencils on watercolor paper or bristol board. Also, I like altered books because they are portable and make affordable and at times free canvases. What made you decide to focus on the face? I never decided to focus on the face, they just come out of me. once in awhile someone will get annoyed with me and I will draw
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Not So Timid
Memorizing Pelicans
He Called Me Baby
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them a landscape and say are you happy now and return to my faces. What factors come into play when deciding on a new piece? What emotion is the face going to express? Does the new piece depend on your current state of mind? a thought or feeling? I don’t really decide anything, I just start drawing. I imagine the piece is very much determined by how I am feeling and my state of mind. someone will say I like your old art better, so I’ll try to draw like my old art or draw more realistically instead. If someone says the faces look sad or worried I try to draw happier faces. It works best when I just see what comes out instead of caring what people say. What do you hope to accomplish through your work? Well, I have to do it so I’ve already accomplished that. It would be nice if it sold but that is not why I do it. Sometimes it seems people either love it or hate it. Some people tell me that it has made them cry. Some people think they know everything about me by looking at my art and they try to tell me who I am. I like when it moves people. I’m glad I have other art forms because I’m never what people call blocked. Your faces are romantic in the way they are like portraits of different people, making one wonder what that person is like. Is there an underlying theme to your work as far as what you are trying to convey to your audience? The faces can look confrontational and catch some people off guard. They stare at the viewer but it is not intentional. There is no intentional theme; they often seem like self portraits being a woman, an outsider, spontaneous, emotional, honest, and blunt.
http://picassogirl.tumblr. com/ I’m An Actual Human
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David Phillips Do you have a certain artist, or artists who influenced your style? Too many to list. I have borrowed from just about every contemporary master available. Ed Rushca, Ed Moses, Larry Bell, Peter Lodato, Bruce Nauman, Motherwell, De Kooning, etc. Do you begin your paintings knowing what your going to do? Yes. I sketch the painting multiple times and have a long, extended process of applying pigment. I do know what the painting will look like when complete, but you have to allow for “accident” or “happening”. Spontaneity is one of paintings greatest assets. How do you come up for the titles for your work? I use themes dealing with The Great American West or Americana. A majority of the titles are derived while listening to music. Old blues or country typically sparks a feeling or theme I am trying
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David Phillips is known for his large-scale oil painting but works in every medium including video and installation. Like many great artists, Phillips began painting at a young age and by the time he was 12, he was an exhibiting artist. He presently has work on display at Marin MOCA as well as in the Georgia Theatre dressing room, where only the lucky bands can see it. In addition, he will showcasing at Carnegie Hall in New York this October. His work will be up in silent auction for the charity Best Buddies. His bold and the beautiful abstractions make it difficult for the eye to leave the paintings.
Far Left Ride the Blinds 30” x 40” Oil On Canvas Top Right Ripple 20’ x 30” Enamel on Illustration Board
“Spontaneity is one of paintings greatest assets.”
to illustrate. To be honest I do not “know” where they come from exactly. All I know is that they continue to come and I don’t question that…… How does your mood affect your artwork? My mood affects the work greatly. If I am angry I will tend to work on more labor intensive or active paintings. I have made great works while my mind was in a dark place or hung over. Where did you grow up? Does this place have a role in your work? I grew up in Oklahoma but have lived the past decade in Los Angeles. Oklahoma is the single greatest influence on
Bottom “Howlin’ At The Honey Moon” 16” x 20” Oil on Canvas my work. The fields, the country, and especially the people. Los Angeles has had an enormous affect as well. I do not believe it is currently possible to make a living as an abstract painter in Oklahoma. There is not a large enough market. Los Angeles is exciting for work because you can push it as far as you like. The market is limitless. Which of your paintings is your favorite? Why? Currently my favorite is a gestural painting (on the right). I spent weeks applying texture, white oil, rocks from my garden, and anything I could find to give the white background texture. After the meticulous background was completed over weeks and dried…..I took brown and black oils straight out of the tube and made a gestural design with large brushes that took about 28 ARTNOIS No 1, Agust 2012
30 seconds. The painting was the most liberating work I have made. It’s titled “Howlin’ At the Honey Moon” Does your art reflect any of your personal experiences? I try to segregate my personal life from my career in art. However, it is inevitable that some personal experiences show up in the works. I of course have a muse but her identity is secret. How has your style changed over the years? Well I hope the work is maturing and becoming stronger. I have also started working a lot with collage and digital images. I want the work to become deeper rooted in Americana or Native American themes. I have also put less emphasis on making a painting on an actual canvas and began
To view Phillips’ work, check out his website
www.wino-strut.com and his Tumblr where he posts new work just about everyday.
On top “They Threw Me a Fist, I Threw Them a Grip” 20” x 30” Oil & Acrylic On Illustration Board Bottom Game 20” x 12 1/2” Mixed Media on Illustration Board Private Collection LA
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making works on objects. Like desks, or furniture, or lighting. Are there any projects you’re working on right now? Yes. I am finishing a series of gestural paintings. I am working on a series of collages with old pornographic images. I am also putting the finishing touches on a movie script. What do you hope to accomplish as you proceed with your work? I hope to continue to grow my client list and continue to attract as many collectors as possible. My clients are all great/ amazing people who have changed my life in a tremendous way. I owe it to all them to continue to make art and pushing it as far as I can take it. I want the investment they made in my art to be a great investment.
Reflection
Amelia Earhart
TIna Turner
Amy Carr
Wonder Woman
See more of Amy Carr:
www.zhibit.org/artspark facebook.com/LoboLux
30 ARTNOIS No 1, Agust 2012
Otha Davis Women are God’s greatest creation. They’re beautiful and emotional, so they bring a natural energy to my art.
What Kind of work do you do? I was more into drawing growing up, but my vice these days is definitely painting. There’s something very therapeutic about applying brush strokes to a canvas. As for style, I’d say I consistently fuse elements of modern Pop, Cubism, Abstract Expressionism and Surrealism. How long have you been painting? I’ve been into the arts since I was a child, but I really stopped back in 97 when music took over my life. I think my high school art teacher turned me off by trying to force me to censor some of my work. I can be pretty stubborn. Funny enough, I just got back into art on a serious tip back in January. Every piece you’ve seen was created this year. What is your work influenced by? People, places or events? Honestly, my work is 31 ARTNOIS No 1, Agust 2012
influenced by life. I’m really moved by feelings, emotions, relationships, art, music and definitely women. Women are God’s greatest creation. They’re beautiful and emotional, so they bring a natural energy to my art. You have a very powerful color palette with the blacks and reds. Usually, blacks can represent a type of evil or mourning but can also represent strength and power which could possibly come together. Do you feel this is something your pieces are intertwined with?
“
I think if you really look at it, women motivate everything men do in life.
“
Top: Miles to the Sun 18x24 Acrylic $400 Left: Morning Glory 24x18 Acrylic $200 Right: The Calm Before 18x24 Acrylic $200 Next Page: Chic City 24x18 Acrylic $200
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It’s funny you say that because at a recent show I had a great conversation with a new fan who initially felt my work was dark/ evil. I don’t have an evil side so that’s never been my intention. It wasn’t initially, but at this point it is a conscious decision to use black, red and white in my work. I really love the power and emotion that black and white contrast emits and the color red is so powerful. Red is one of those alluring colors that says so much and evokes so many different emotions. The combination of all three is very powerful. We really like Morning Glory. The cool blue in this one is calming and the woman looks harmless and innocent. What about this piece is different from the rest to you in terms of meaning? Thank you, she’s one of my favorites as well! I love how captivating this piece is. I’ve caught myself staring a few times lol. This piece embodies the strength, beauty and emotion that play into the experience of a young African-American woman figuring out her role in modern society. I subtly used things like red, white and blue hues and even the star tattoos to place an emphasis on American pride. I usually don’t do political pieces, so that definitely makes this one a little different. I normally just go with a feeling and inspiration. You work with the human form a lot, particularly the female form; how did you conclude on this? I think if you really look at it, women motivate everything men do in life. Women are God’s greatest creation. Women are beautiful, sensitive, fragile, yet extremely complex creatures. I love to channel those elements into my work and ultimately present the viewer a beautiful, emotional, complex experience. Do you do any other type of creative work? Well I’ve been involved in music since high school. I was an artist, 33 ARTNOIS No 1, Agust 2012
writer and producer for over 10 years and then I got into the business around 2005. I started as an A&R and Product Manager at Slip N Slide Records (Rick Ross, Plies, Trina, Jagged Edge), but now I have my own company, Vakseen LLC. I’ve always been hands on so we specialize in A&R management, artist development, production/songwriting and I’m a guest speaker. I also consult for a few labels. What do you hope to accomplish with your work? I really just want to share the talents God has blessed me with. Ultimately, I hope my work evokes some sort of feeling for the viewer and allows us to be connected, even if it’s just a brief moment. I hope my work inspires people and I definitely look forward to my work being on a wall in every home in the world. Where can people see and/or get in contact with you? I’m definitely into social networking and easily accessible. If you’re interested in my work feel free to email me at Vakseen@ Vakseen.com. Here are my links: Vakseen.com Twitter.com/Vakseen Twitter.com/VakseenLLC Instagram: @Vakseen Youtube.com/VakseenTV Vakseen.tumblr.com Facebook.com/VakseenLLC I’m building a movement so I definitely want to thank Artnois for the love and opportunity to showcase my talents. Thank you so much to the viewers as well. Time is so valuable and I truly appreciate you sharing this moment with me.
As good as it’s promise
“ I came across this moment at the Agricenter in Memphis, Tennessee. I was so taken by it; I immediately sat on the floor and a started shooting the image. I lived in Memphis for the past 4 years and had been to the Agricenter many times before and after this was shot. Never was this large room ever set up like this again, so in a way, I feel as though I captured a fantastic moment in time that I (along with my viewers) can enjoy forever.”
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You have an interesting collection titled As Good As Its Promise, can you explain the title? When I first began the project, I had collected about 15 images of the American flag; the project at this point was untitled. I began questioning my intention behind photographing the American flag and decided to settle on a title. I was browsing the Internet for political quotes and fell upon one that described our country to be “As Good As Its Promise”. I turned that notion around in my head quite a bit,
onto our “promise” to the country, while also questioning if the country has kept its “promise” to us. Irrefutably, place and presence influences the flag’s significance, but even more so, the icon’s display can either celebrate or devastate its magnitude.
beginning stages of this work. As an ongoing collection, have your feelings toward this project changed in any way since you started?
Yes, as I said, the collection began as a response to my What influenced grandmother who has your decision on placed an incredibly creating this patriotic great influence in my photography? Does the life. She has just recently presidential election passed away, and I have play any role? postponed production on the work due to My American flag her death as well as work began as a my recent enrollment response to a sudden in graduate school recognition for my at Columbia College
Chicago. I still often see the flag and plan to shoot it. I think I could make this work forever, and I think it could end up having many different meanings as time passes and our country changes. More importantly, a sudden surge in the popularity of our flag has caused my work to receive more recognition. I think it is interesting how an icon such as the American flag can become a “trend” if you will. The flag has been appearing on clothing, phone cases, and so on. It’s almost an “ironic” adaptation that most young people are feeding on. It seems strange,
but I’m interested in it enough to continue my work, to hope that it can surpass these trends.
ELaine Catherine Miller asking myself whether America really lives up to whatever this supposed “promise” is. How do you feel your images translate the meaning of the title to this collection? My images depict the everyday use of the American flag. Often we see the flag glorified, treasured, and treated with the utmost respect. Other times, flags are left hanging for months, not taken down during storms, and neglected to grow tattered with age and disrepair. The work has caused me to question the overwhelming power of the icon and the significant amount of patriotism the flag brings to wherever or on whomever it is displayed. Thus, the title for the series causes the viewer to question our country’s icon, to see if we as American’s are holding
patriotic grandmother’s influence upon my life. The work spawned in Findlay, Ohio, the city my grandmother has lived in since my birth, which coincidentally has the nickname “Flag City USA”. I began the series in 2010, so the presidential election never really played a role in the
“
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I turned that notion around in my head quite a bit, asking myself whether America really lives up to whatever this supposed “promise” is.
“
“
The flag has been appearing on clothing, phone cases, and so on. It’s almost an “ironic” adaptation that most young people are feeding on.
“
elainemillerphotography.com 36 ARTNOIS No 1, Agust 2012
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Edson Gersain 38 ARTNOIS No 1, Agust 2012
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Top Left Tears of a Clown Top Right My Firs Girl and I Bottom Left Piece #1 from Hide Behind Tears of a Clown Bottom Right Heart Speech
See more at http://www.bluecanvas. com/edsone
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Robert Lott 41 ARTNOIS No 1, Agust 2012
Tell us a bit about your artwork. My artwork is a natural byproduct of my insatiable curiosity. Most of my paintings are an exploration of the human psyche and the emotional spectrum of the human experience. As far as the message I am trying to convey to the viewer, it varies tremendously from piece to piece. In many cases, I am just trying to depict a specific emotion or feeling. What kind of emotion does your art represent?
It’s dependent on my objectives of each painting, but for the most part I try to use painting as a way to escape thinking. Art is therapy & this rings very true for me. I try to get into a state on non-thinking while painting intuitively to music. Letting the music guide the landscape. Is there anyone that inspires you, or that you look up to? One person I highly admire and look up to would be American author
time? How has your art changed you over time? I am constantly trying to refine or redefine what I am creating. So I hope there is line of progression. There is so much to be explored. The immensity of the vastness of possibilities is almost overwhelming. I aim for an evolution in my work. Which of your paintings and your songs are you most proud of?
The good, the bad, & the ugly (& everything in between). Personally I find as much beauty in a sad painting versus a more upbeat production. Usually is dependent on what mood I am in & current state of events will dictate the direction of the painting. How would you describe your artistic style? A conglomerate of life experiences & emotions. I try to give my work a dream like quality to them. Get lost in the surreal. Aesthetically I am a combination of surrealism, expressionism, & dreaming. The themes I choose to paint are a direct reflection of my life.
One piece I am quite fond of would be a charcoal drawing of my grandfather I made for his funeral several years ago. I remember one of my uncles telling me that I had really captured the essence of who he was. In terms of music I am most proud of my unreleased album “Imaginary Colors� which is a rather wild and fun recording.
Would you say your music and your paintings set a similar mood for the listener and the viewer? I would say say so. The themes I explore in my music & art often times overlap. A lot of my work is about dreaming, life, & death. The music compliments the visual nicely. I like the experimenting of music and visual art together as a singular experience. Which came first, your music or your art? Art has always been a part of my life. Music came much later. I will always consider myself a visual artist foremost. I take my music very seriously though (well sometimes it gets pretty silly, too). I think in many terms, going from visual art to music was a natural progression. Your paintings seem a bit surreal. What goes through your mind as you paint?
Kurt Vonnegut, Jr. I find his literary works to be incredibly inspiring. Having been a fan of his for years it only felt natural to paint a portraiture of him as a tribute to his genius. A man I am greatly in debt to for many reasons. Alan Watts would be another person I have nothing but admiration & respect. An incredibly articulate & thought provoking modern day philosopher. There are countless other people I admire besides the aforementioned.
www.robert-lott.com
How has your art changed over 42 ARTNOIS No 1, Agust 2012
Jose Castillo
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Jose is a an artist making pop art using a famous artist’s date of birth, lyrics and important moments in history. He came up with his style of art while working as a shipping clerk where he would experiment with date stamps on days he skipped lunch. He make images using the number stamps and thought it would be a great way to make art. As a music, art and photography lover, Jose pick icons which are important in history. One of his most influential artist is Steve Kaufman, whom he had the pleasure of working with. Kaufman’s logic and way of thinking outside the box inspired Jose and let him to a new perspective on life and on his work. Like many artists, Castillo loves displaying his work for the world to see. He hopes to show his work in New York, Miami, London and Japan in the future. Currently, Jose lives in the San Fernando Valley where art isn’t really a big hit. However, he claims that it is slowly starting to make its way as 11:11 A Creative Collective, L’art Pour L’art and the GR818ERS are becoming catalysts for an art scene in the valley. Jose is presently working on big pieces which will include an array of color but plans to soon be working with spray paint creating murals. His work has been showcased in Cactus Gallery,James Gray Gallery, Hyaena Gallery, ChimMaya Art and Monkeyhouse Toys. Be sure to keep an eye out for him next time you visit one of these galleries.
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Dee Merrill
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See more of Merill’s work:
www.facebook.com/deviant.monarch
www.facebook.com/ StillLifeTattoos?ref=hl
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DIA
DE LO
MU
Salvador Dalí once described Mexico as a country more surr by Ellen Johnston
W
hen I was living in Mexico City this past spring, I experienced four earthquakes in under two months. Almost nightly, thunderstorms raged across the sky. The supernatural just seemed to exist in everyday things. A water stain in the Hidalgo metro station was said to represent the Virgin Mary. Narcotraffickers, addicts and thieves venerated their very own saint, San Judas Tadeo, and carried his statue through the streets on the 28th of each month in order to thank him for his assistance. Old women sold magic potions and herbs in the Mercado de Sonora. Even one middle class mother I knew begged her son, who was going away to study in Europe, to be back before the Mayan calendar ran out on December 21st. Nearby, the volcano Popocatépetl released a constant stream of smoke—a continual threat of explosion, a persistent reminder that life is precious. Sidewalks cracked and buildings swayed thanks to the swelling of Lake Texcoco, buried along with the Aztec capital, Tehnochtitlan, under the great metropolis, always reclaiming itself, always reminding locals that no matter how strong the forces of Catholicism, the Spanish conquest or modernity might be, the ghosts of the past are always there. And it’s the literal ghosts of the past that are most relevant now, as we approach the Día de los Muertos, the Mexican Day of the Dead. For many Americans, the rituals of the Día de los Muertos can not only seem surreal, but also frightening. Death is not part of daily discourse here,
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and people certainly don’t go out of their way to remind themselves of its realities. The Mexican Day of the Day, famous for its skulls and candid depictions of death, does the opposite. But we in the United States are not actually as far removed from the Día de los Muertos as we think we are. Nor is it as scary as it appears. Like our Halloween, the holiday is a blend of pre-Christian traditions (pre-Hispanic in their case, Celtic in ours) with the Catholic holidays of All Saint’s and All Soul’s days, which fall on November 1st and 2nd respectively. Unlike modern day Halloween, however, the Mexican Day of the Dead is not simply about parading death, but actually about the celebration and veneration of those who came before, and the family ties that reach across generations. The celebrations surrounding the Mexican Day of the Dead are a multi-day affair. Traditionally, Mexicans believe that the gates of heaven open at midnight on October 31st, releasing the spirits of the dead back to earth. The children return first, for 24 hours, to reunite with their families. Because of this, November 1st is known as the Día de los Inocentes, the Day of the Innocents. November 2nd, the Día de los Muertos, is devoted to everyone else who has died, and is the day when their respective spirits return to earth. Celebrations actually take place over a three day period, though the last and final day remains the most famous. But though this is a truly Mexican celebration, the connections with the original European and Catholic holidays of All Saints’ and All Souls’ Days are
OS
UERTOS
real than his own paintings. In many ways, it’s easy to see why.
very easy to discern. Innocents should be, like the saints, free from sin. And the Muertos remembered on November 2nd are just like the souls: the common folk, the ancestors. The dead who must be remembered and prayed for. In Mexican folklore, death is actually considered a threefold thing. Firstly, you die a physical death, and the soul escapes the body. Secondly, your body is placed in the ground, and therefore returned to the earth. Lastly, you are forgotten. Your death is definitively sealed when no one remembers you. This is why the Mexican Day of the Dead is so powerful, because through remembrance and veneration of those who have passed, death is never truly final. “I am not a typical Mexican”, says Lorena Zaragoza in the Chilanga accented Spanish of the capital city. From her home in the neighborhood of Cuauhtémoc, it’s easy to see why. Working as a graphic designer, and living alone in an area of modern apartments, multiethnic restaurants and office buildings, she seems a million miles away from traditional stereotype of a Mexican woman who makes her own tortillas by hand. But like almost all Mexicans, she grew up in a Catholic family, one which celebrated the Día de los Muertos. “I was raised in the Catholic religion,” says Lorena, “my mother would not let us eat the offerings that she had lain out.” Because Mexicans traditionally believe the souls of the dead return to visit during this period,
food is lain out in the form of ofrendas (offerings) for them to eat. These foods include pan de muerto (literally “bread of the dead”), traditional beverages like mezcal or atole (a masa based beverage) and pumpkin. Marigolds also grace many of these altars, as do painted skulls made out of sugar. Though Lorena no longer does this herself, her mother and sister still construct ofrendas in their houses each year. “My mother really believes that on the first day the dead children will come to eat, and on the second, the adults. She has dead for whom to celebrate,” continues Lorena. “My older sister does it because it’s a nice tradition and because she likes to make it look good. But it is also an excuse for Mexicans to put up flowers, altars and food…and it is an excuse to party as well.” Like American Halloween traditions, the party does, indeed, seem to take up much of the experience. “I like to tell foreigners that we celebrate death” says Lorena. “Their frightened faces make me laugh. I like to tell them that the days are holidays where there is no sadness. There is music, food, and there are parties, colorful and with traditional food.” In Mexico City the parties are more subdued, more family affairs. It’s in the pueblos, the small towns, Lorena tells me, that the tradition is best enjoyed. “In the pueblo it’s a party for the whole town,” she says. “People interact with each other a lot more. There is much more color, atmosphere, the masses are longer and everything in general is just much more beautiful. I see it as folklore, and I identify as Mexican by the customs. But they
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echo in my heart because of my cultural identity, not because of my religion or my beliefs.” I ask Lorena if it’s possible to celebrate the holiday in a secular way, to participate without faith in the religion, which she obviously lacks. “The Day of the Dead is a pre-Hispanic adaptation,” she replies, perhaps more consciously than many. “In reality it has secular origins, but later the church adopted it along with many other customs in order to have acceptance. We are a Catholic country and I think it would be very difficult to separate the day now with religion, because once you die…where do you go? In Mexico, you go to heaven and are buried in a Catholic cemetery. I cannot conceive of the idea of the Day of the Dead separated from the Catholic religion, because it is actually a religious holiday, which is perhaps why I do not celebrate it.” Despite her strong identification with Mexican culture, it has been this basic break in faith that has prevented Lorena from continuing to practice the traditions of the Día de los Muertos. Unlike Halloween, which has become an essentially secular holiday in the United States, the connections to Catholicism in the Mexican Day of the Dead still remain strong, despite its obvious pre-Christian origins. “I have never raised an altar, offering nor have I have been to any cemetery on those days,”, says Lorena, describing her life since her break with Catholicism. “But I repeat, I am not a typical Mexican.” Though Lorena Zaragoza may not be a typical Mexican, her loss of traditions is a typical consequence of modernity. But there are many modern Mexicans who look at the Día de los Muertos in a different way. To Daniel Reyes Guzman, who grew up in the Estado de Mexico, just outside of Mexico City, there are many non religious aspects to the holiday. “In many places in the provinces,” he says, “it has nothing to do with religion but, rather, a relationship with death. There are no gods involved. It’s about ritual, repetition, tradition.” On a personal level for him “the date simply signifies a way to remember family and friends who have died. Many of the traditions come from pre-Hispanic times (especially outside Mexico City), and most people do not know the meaning of these traditions. They simply observe the holiday as a day of memories, as in my case.” These sentiments are echoed by Adel Milan, a self described Pantheist who was born and raised in Morelia, Michoacán. “Being born in Michoacán, one of the main states of México that is well known for its celebrations of the Día de los Muertos, I was raised in this tradition,” she says. “In my house in particular we never put up an altar, but we did in some occasions go to the grave yards to bring flowers and visit my dead grandparents. We also went to the small pueblitos like Patzcuáro, Zirahuen and Zintzunzan where the indigenous people put lots of food and bread, candies, candles, and flowers on the tombs of their loved ones. They stay all night there, only women and children are allowed to stand vigil in the graveyards, men wait outside.” As for her own personal celebrations now,
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she says it’s a simple affair. “I do not celebrate with any particular ritual or so on. I might just have some thoughts of my loved ones, and maybe light a candle and buy some flowers. For me, it is more simply a day of remembering them. But like in any country, these traditions are stronger and have more meaning for the indigenous people.” After all, despite the fact that it’s tied in with a Catholic Holiday, it’s the indigenous, pre-Hispanic, traditions that have shaped many of the rituals and much of the imagery of the Día de los Muertos. Like most societies, the ancient Aztecs had deities who ruled over the underworld. Mictecacihuatl, the queen of the Mictlan (the Aztec underworld), was responsible
Top Diego Rivera Sueño de una tarde dominical en la Alameda Central (“Dream of a Sunday Afternoon in Alameda Park”), holding the hand of a ten year old version of himself.
for guarding the bones of the dead, and presided over the festival devoted to them. This festival occurred in the ninth month of the Aztec calendar, and was dedicated to her. One of the most famous symbols of the modern Día de los Muertos is the Calavera Catrina, a skeleton dressed up in flowers, a fancy feathered hat, and elegant attire. The resemblance with Mictecacihuatl is uncanny, as she a goddess with a skull face. Though she may not have the same name, the modern Lady of the Dead is quite obviously derived from her ancient counterpart. And, as a matter of fact, skulls were just more commonly a part of every day life in ancient Mexico, being regularly on display in rituals in order to symbolize death and rebirth in society.
The Catrina not only symbolizes a preHispanic past, but also the Mexican culture’s long held belief that death is something you should laugh at, and keep close, instead of avoid. As an elegantly dressed lady, the Catrina reminds everyone who sees her that death is an equalizer, that no matter how rich or powerful you are in your worldly life, we are all the same in the end.
Daniel Reyes Guzman, referring not only to the mixing of pre-Hispanic and Catholic traditions, but also to cultural blending that has occurred in the country, as well as to the ever creeping influence of the outside world. The Día de Los Muertos is undeniably a product of this syncretism, and will continue to evolve because of it. But though variations will always occur, and differences may become exaggerated as urban Mexicans continue to modernize and indigenous and rural people may not, it is important to bear in mind that remembrance, like death, is universal. And that’s the point isn’t it? To remember.
Though her evolution occurred over a long period of
time, the modern Calavera Catrina was first depicted by Jose Guadalupe Posada, a highly influential printmaker and illustrator, in 1910. Created in the run up to the Mexican revolution, this elegantly dressed skull represented a death knell for the privileged classes, and also satirized those who ignored their own Mexican culture in favour of a European ideal. Catrina’s influence was so powerful that she became a national symbol, taken up by the likes of Diego Rivera, who famously painted her standing next to his wife, Frida Kahlo, in his mural Sueño de una tarde dominical en la Alameda Central (“Dream of a Sunday Afternoon in Alameda Park”), and holding the hand of a ten year old version of himself. Posada stands to her left, holding her other hand. The ancient and modern come together at once in this painting, representing the Mexican past and the future, destruction and reconstruction, death and remembrance. “México is a product of infinite syncretism,” continues
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Erin McManness
This painting stemmed from a sketch I did in the middle of the night, after being jolted out of bed from a nightmare. I had seen Pan’s Labyrinth for the first time earlier that evening, and when I went to sleep, I dreamt of a thousand fingers crawling up my neck and my unmistakable mortality. A few days later, I was invited to show at a Dia De Los Muertos gallery event, and knew I wanted to develop my sketch into a unique and more personal interpretation of the theme.- Erin
erinmcmanness.prosite.com
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Johnny McGeorge
Karis Beckingham and a projector 52 ARTNOIS No 1, Agust 2012
behance.net/jayemmcee facebook.com/JohnnyMcGeorge.Photography 53 ARTNOIS No 1, Agust 2012
Lea Broadbent
behance.net/alittlebent
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Day of the dead - México Morelia · Pátzcuaro · Janitzio Michoacán México
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Nydia Lilian nydialilian.com
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Previous Page Senora Lavery Inspired by The Freeman’s Journal 29 May 1922 A secret alliance between South American states and the Republic of Ireland came to light yesterday. The newly formed committee for Latino Monetary Union (LMU) appears to have held high level meetings with a delegation of Irish Ministers, including …amon de Valera, with a view to Ireland replacing the Irish Pound. The Secretary of State for Finance, Michael Collins, refused to comment on the speculation but it is believed prototypes of the notes are secretly being worked on.
Right Packaging, design & illustration for Mic’s Chilli’s Inferno hot sauces. Bottom Illustration for Tuzo’s Burrito Bar in Dublin Far Right Anatomical Study Day of the Dead style
www.stevesimpson.com Facebook - SteveSimpsonIllustration
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Madeleine Alm
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www.facebook.com/madeleine.goranzon
Patrick Vertino
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Patrick is a graphc designer and illustrator from New York but living in Mexico.This series of work was done for Day of the Dead. Some of the works have been exhibited in Mexico’s Museum of Design. Left The Last dance 12x16 in, Watercolor & Ink
www.behance.net/patvertino
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Art & Music Magazine
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