ART QA Magazine WINTER 2017

ART QA ISSUE #7 - WINTER 2017

FRONT COVER: PAINTING BY ARTIST TAYLOR WHITE

INSIDE COVER: PAINTING BY TAYLOR WHITE ART QA NEXT ISSUE PAGE PHOTO BY CANDICE LAM

BACK INSIDE COVER: THANK YOU FROM ART QA BACK COVER: PAINTING BY TAYLOR WHITE

EDITOR: DAVID MANCINI CO-EDITOR GABRIEL ASOKA PUBLISHER - ART QA ART DIRECTION: PAIGE NEWSONE STAFF PHOTOGRAPHER: LOREN FIEDLER INQUIRES FOR ADS, STORY-IDEAS OR ARTIST SUBMISSIONS SEND TO: STAFF@ARTQAMAGAZINE.COM

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ART QA ISSUE #7 - WINTER 2017 ART QA - QUARTERLY MAGAZINE - FOUR ISSUES A YEAR SPRING - SUMMER - AUTUMN - WINTER

5 EDITOR’S TEASHOP 7 ARTIST INTERVIEW 15 SOAPBOX 19 FEATURED INTERVIEW 27 CINE SPOT 31 ARTIST INTERVIEW 39 ART SPOT 43 UPCOMING EVENTS

Art QA Magazine, all rights reserved. No portion may be reproduced in part or in full by any means without prior written consent from Art QA.

NEXT ISSUE - #8 SPRING ISSUE

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ART QA

EDITOR’S TEASHOP

ART is inspirational. Art is insightful. Art is motivational.

ART QA is now on FACEBOOK www.facebook.com/artqamagazine

We thank you for checking out ART QA Magazine - D. MANCINI

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Pedro Leger Pereira www.PedroLegerPereira.pt

ARTISTS INTERVIEW

ROMAN LUSCIOV & SILVIA CASCIONE THE INTERVIEW AQA: Where were you born and where did you both grow up?

ROMAN: I was born in Izhevsk. That is the capital city of the Udmurt Republic, Russia. When I was only two years old, my parents transferred to Vilnius, capital of Lithuania, where I actually grew up.

SILVIA: I was born in Milan, where I also grew up. AQA: What was it like growing up, living there?

SILVIA: I was born and grew up during the Italian economic boom. Everything in the country was sparkling and there was an opportunity for everyone. I was delighted with the comfort of my childhood that unfortunately, nowadays, many young people can't afford.

ROMAN: I was fortunate to grow up in Lithuania, as I was able to assist some historic events and changes of major importance in the country. After the terrifying events of 1991, when Lithuania declared its independence from the Soviet Union, followed the transition period with the first supermarkets, malls, the largest black market in Eastern Europe, and the possibility to travel abroad that permitted me to live and work in California when I was still a student. Later, in 2004, Lithuania became one of the members of the EU. AQA: Where do you live now?

ROMAN: I've now lived in Milan, Italy for almost 10 years.

SILVIA: I've lived in Milan since I was born, so it would be 37 years now.

AQA: Do you like living and working there?

ROMAN & SILVIA: We like living and working in Italy, but if we considered another place it would definitely be Tokyo, where we visit frequently.

AQA: Do you have any exhibits coming up soon?

ROMAN & SILVIA: In Spring 2017, we plan to present our next series of sculptures at our gallery space in Milan.

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Roman Lusciov & Silvia Cascione INTERVIEW

Artists - Roman Lusciov & Silvia Cascione

Roman Lusciov & Silvia Cascione INTERVIEW

AQA: How long have you both been making sculpture?

SILVIA: I started sculpting when I was sixteen years old beginning with sculpture, later working on sculptural jewelry and then returning to sculpture.

ROMAN: For the last ten years, I've worked sculpting digital models for industrial, product and lighting design sectors. Two years ago, I started sculpting by hand.

AQA: Did you both start with sculpture or another medium such as painting or dance?

ROMAN & SILVIA: We both started with the sculpture.

AQA: When did you start making art?

ROMAN & SILVIA: We started making art when we realized that there were some limits to our complete expression through design.

AQA: Did you go to art school or are you self-taught, or both?

ROMAN: I started studying art when I was fourteen at the Children and Youth Creativity Center 'Dailes Kalba', Lithuania. Later, I studied Interior Design at Vilnius Academy of Arts, Lithuania, and after my relocation to Italy at Istituto Europeo di Design, Milan.

SILVIA: When I was thirteen I went to an ISA Art Institute, Monza studying Cinema and Photography. Later I studied Sculpture at Brera Academy of Fine Arts, Milan and Fashion Design at Polytechnic University of Milan. My latest studies were in Goldsmith's Art. AQA: Did you like school?

ROMAN & SILVIA: All our studies were fundamental for our education.

AQA: Do you like one medium of art over another, such as performance, more or less than painting?

ROMAN & SILVIA: As a medium, we prefer sculpture, but we also like performance, installations and cinema.

AQA: How do you see your art?

ROMAN & SILVIA: We work with scientific concepts because we see them as the only possibility for humanity to evolve positively. For us, our work is our vision of the future.

AQA: What do you wish for the viewer of your work to think or feel, or is that not an issue?

ROMAN & SILVIA: We hope that people who see our work abandon the present to catapult themselves into our imaginary world of the future.

Roman Lusciov & Silvia Cascione INTERVIEW

Roman Lusciov & Silvia Cascione INTERVIEW AQA: What or who are your influences regarding your drawings and paintings?

ROMAN & SILVIA: Our main influences are the trips, especially in the Far East, that have particularly impressed us for their bustle and dynamics. Places like Tokyo, Hong Kong, New Delhi, Jakarta, and also remote places such as active volcanoes, ancient jungles, virgin atolls and deserts were a huge source of inspiration, albeit indirectly, and made us expand our horizons. Connecting with people from a range of cultures and environments helps us go home full of emotions and awareness of what exists in the world. This somehow helps us to be real creatives - we feed off the images, sounds, smells and sensations of all kinds.

AQA: Are you working on something new, different than the work you’ve done so far?

ROMAN & SILVIA: Currently, we are working on a visionary installation that involves the use of new technology. We aim to complete the project within a couple of years.

AQA: What are your favorite mediums?

ROMAN & SILVIA: Overall, we prefer the ancient lost-wax technique.

AQA: How do you see the role of social media? Good or bad, or what, as it relates to art these days?

ROMAN & SILVIA: With our shared belief that art should be accessible for everyone and everywhere, social media has played an essential part in helping to connect all art lovers, allowing 24-hour continuous communication all over the world.

AQA: What is your favorite meal or food?

ROMAN & SILVIA: Our favorite food is shellfish because it is very healthy, light, and we are able to cook it perfectly.

AQA: Who are your favorite artists, or those you admire?

ROMAN & SILVIA: We admire the primordial idea of Brancusi, reflective surfaces of Anish Kapoor, the roundness of Jeff Koons, the compositional delicacy of Mirò, theatricality of Dalì, temporal suspensions of Gregory Crewdson and futuristic cinema of the 60s - 70s, from Woody Allen's 'Sleeper' to Kubrick's '2001: A Space Odyssey'.

AQA: Are you signed with a gallery?

ROMAN & SILVIA: Here in Milan, our work is permanently exhibited at our amazing MODWAX Design & Crafts gallery space. We are also planning to curate other contemporary artists’ shows soon. At this moment, we would be particularly interested to be represented with the right gallery in the United States and Asia.

AQA: How do you see the art world and art market?

ROMAN & SILVIA: We believe that nowadays an artist needs to be a good businessman of his art, because the art world is difficult to penetrate. Therefore, to become a professional artist, it is essential to have a firm understanding of the art market.

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- D. Mancini

Roman Lusciov & Silvia Cascione INTERVIEW

cascionelusciov.com

SOPHIA CHIZUCO www.sophiachizuco.com

GABRIEL ASOKA

ZIZZI ART GALLERY

SOAPBOX

BY ANNA DOWELL

WELCOME TO THE SUNNY SIDE Awwwwe sunshine, I wake up to another day in Los Angeles. I recently made the move from New York and as I wake up I appreciate now being able to hear a few birds chirping with the traffic in the distance. I smile, as I’m glad to have a breath under the palm trees in the nice L.A. weather, after spending four bustling years in the Nitty Gritty. I hear a friend next to me say, “Welcome to another shitty day in paradise”. I laugh, although I believe one can find their inner peace no matter what the surroundings, I know what they mean. L.A. welcomes you with the beaches and babes and will gladly serve you sugar-coated shit with a plastered smile. I must say, I miss some of the realness of New York. I don’t really like my shit sugar-coated so much. I like to know what’s up, have the blunt truth, and mix in more everyday people along with the magazine-esque beauties. I’m generalizing hardcore here, but there is a sense of this fake beauty that pervades this city. L.A. may have a lot of fun things going for it, but the fuckedup-ness isn’t served lightly in this town. In the land of ‘Pay-to-Play’ and ‘The Hollywood No’, it’s no wonder people don’t survive so easily here. This Hollywood town has a history of preying upon the talented young.

One will easily be disregarded if they don’t fit into what’s “hot” according to the entertainment industry. If you are interested in the “real”, be ready to be the independent underground. The way it is here is really just a reflection of American society today as a whole.

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L.A. is just the other side of the coin with NYC it’s opposite, for this belly of the beast.

Imagine you come in as a talented new musician with high hopes of finally being in the city to get yourself noticed. With L.A. being a top place for the music industry in America, it’s no wonder you would choose here to make your big break. You’ve got famous places on the Sunset Strip like Whiskey a Go Go, The Viper Room, or The Roxy. However, if you were hoping for venues on the Sunset Strip to be cultivating a scene like what made them famous, you may be disappointed when they ask you to sell tickets to your own show. Even though this trend started in the late 90s, it’s still killing the venue culture and making music a hard passion to pursue. Before people would go to these venues for something new and awesome. Now, because these places were trendsetters, you’ll find bands paying to play at these venues as a necessary step for success as they see it. The legendary reputations have carried these places on, but what’s behind their “perfect makeup face” is not nearly as pretty underneath, mirroring so much of what we see all around Los Angeles.

At some point these venues stopped cultivating scenes and began to prey upon them. Now, most of the people going to these shows are the people that already know the musicians and got pre-sale tickets.

SOAPBOX So, the people buying the ticket are already aware of the artists and the point of performing at a legendary venue to expose your art to new people is destroyed. The end result is you have broke musicians spending what little they have to perform and spending their free time hustling and hocking tickets instead of honing their art.

A lot of times what makes musicians great doesn’t go hand-in-hand with being good at self marketing and sales which is what makes good supportive venues a benefit for artists and the community alike. Thankfully there are places trying to build a community again that support the talented up-and-coming artists while creating a scene that is enjoyable and beneficial for all.

Preying upon the up-and-coming artists seems to unfortunately be a theme we see in different sectors throughout the arts. Galleries have been jumping on the bandwagon charging artists to pay for a show. I continue to ask the question, “Where will the real talent come from, when artists are required to have money to start their new career?” Just as I experienced in the New York art scene, galleries here are full of proven entities and light on emerging talent. Compounding that is a lack of meaningful work being show with a general lack of preconception. What I mean by that is, it is all well and good to have superfluous or conforming work that pleases the eye or follows a trend, but to me art that communicates across boundaries what’s going on in the world is what makes art so great. Some boundaries that art crosses are country borders, religious ideologies, language, and cultural difference. Art is the thing that bridges these differences and brings us closer together.

Unfortunately art as a commodity dilutes this process.

When will the art venues transform and start being supportive to the artists of today and care about art and

people as much or more than money? In a country and time where money and selfish gain are the focus, I can see how this is a challenging feat to entertain.

I guess the selfishness and lack of respect for the arts makes sense in a place where it’s standard procedure for someone to agree to do something and forget their agreement as soon as you are out of sight. ‘The Hollywood No” as we call it where people are so into avoidance of doing anything for someone else without compensation that they will consistently say yes with no intention of following through just to get out of the situation and return to their own selfish pursuits. This is yet another reflection of what pervades in this city and American culture. Well, this L.A. place may be full of lots of shallow people, but hey the weather sure is nice.

— ANNA DOWELL

VAKSEEN

VAKSEENART.COM

FEATURED ARTIST INTERVIEW

ENERGETIC FLOW - TAYLOR WHITE

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Taylor White FEATURED INTERVIEW

Taylor White’s artworks are full of color, energy and forms all about the canvas. So, that’s why we wanted to hear more about his work, process and ideas.

THE INTERVIEW

AQA: Where are you from? Where did you grow up?

WHITE: I was born in 1978 in San Diego, California, but I really grew up in Matthews, North Carolina.

AQA: What was it like growing up, living there?

WHITE: I don’t have any siblings, so I spent huge amounts of time entertaining myself. Drawing has been a constant in my life since I was a child, and I’ve generally always been attracted to abstraction and seemingly nonsensical representations of the world around me.

AQA: Where do you live now?

WHITE: I’ve lived in Stafford, Virginia for about eight years now.

AQA: When did you start making art? What got you started making art?

WHITE: I’ve made art for most of my life, but it was very sporadic when I was younger. When attending the University of Mary Washington, I entered their studio art program and it was a huge turning point in my life. My professors there truly became serious mentors in my life, and they really pushed my curiosity into an entirely new place. They seriously challenged me, poked holes in my ego, and helped me open doors in my mind that I never knew were there.

Taylor White FEATURED INTERVIEW

AQA: Do you like one medium of art over another, such as performance, more or less than painting?

WHITE: It’s hard for me to mentally separate them. Performance art and painting are two distinctly different things, but I approach them with the same core mindset. I embrace impulsivity, accidents, and contradictions in all of my work.

AQA: Why do you do both art forms, performance and painting?

WHITE: For me, they both provide a degree of immediacy that I’m really attracted to. I’m often not satisfied with anything that I make in which a really defined plan is formed before executing the work. Performance and painting both provide that format, where an idea can arrive in the mind, and can be immediately and directly executed. This applies to all forms of art, though. I just instinctively grasp at these two mediums.

AQA: What came first for you, painting or performance art?

WHITE: Performance really came to me before painting. I’ve been making that type of work, mostly unwittingly, for my whole life. As a kid, I spent loads of time in front of a mirror, trying to make myself laugh when I was supposed to be brushing my teeth. Performance art is really tied to the center of my being. Painting seemed to arrive out of necessity. To me, it feels like it can articulate things with great authenticity and rawness. I like the physicality of paintings. I view paintings like a stenographer in a courtroom: an impartial object, simply recording events and conversations.

AQA: I believe you said that your work is about “fleeting memories and the dormant mania”. What do you mean by that?

WHITE: I spent my twenties in the Marines as a sniper. My initial work in college was extremely dark and aggressive, but the more I became addicted to making art, that darkness seemed to kind of wash off of me.

Making art really changed me. It changed my entire worldview, my political views, and it seemed to access the most raw and authentic part of myself. Memory is a huge component of my work, and it often serves as a point of departure in paintings and performance work. America is full of maniacs. Wait, humans are maniacs. I spend lots of time just observing people in public. Humor is critical to my work, and I generally view mania not through some depressing lens, but a humorous one.

AQA: You stated before that your works “recount crisis, triumph, momentum and confinement”. Please explain?

WHITE: I’m very interested in identifying contradictions in the world around me, and I’m often drawn to contradict previous decisions in the process of developing my work.

Taylor White FEATURED INTERVIEW

Taylor White FEATURED INTERVIEW

AQA: What or who are your influences regarding your drawings and paintings?

WHITE: When I first started painting on a very consistent basis, I was really drawn to the work of Cy Twombly, JeanMichel Basquiat, Georg Baselitz, and Philip Guston.

AQA: How do you see your art? What is your work about to you? What do you wish for the viewer of your work to think or feel?

WHITE: I try not to overthink the reaction that a viewer will have to my work. I like to laugh at my work, and often if it makes me laugh, that’s all I really need it to do. I’ve had other people react differently to the work than I do, and I really embrace that. If everyone reacted to it in the same way that I do, I think the whole thing would become kind of boring to me.

AQA: What are your favorite mediums?

WHITE: I really don’t have a favorite, and often I’m inclined to use materials out of complete impulsivity. Compressed charcoal is something that is found in most of my work. The raw simplicity of a chunk of charcoal really connects me to the work; it’s very primal-feeling to use.

AQA: How do you see the role of social media?

WHITE: I think social media’s impact on art is fantastic. Artists can now bring their work into the awareness of millions of people in a few seconds. It’s a great way for artists to learn about the existence of other artists’ work, and as a point of departure for an artist's research.

AQA: What is your favorite meal or food?

WHITE: I’m all about a Monte Cristo sandwich lately.

AQA: Are you signed with a gallery?

WHITE: I just recently signed with Artspace Warehouse in Los Angeles.

AQA: Do you have any exhibits coming up soon?

WHITE: I currently have work in an exhibition at the Savoy Hotel in Miami Beach, and I’m preparing for a show of new performance work at Second Street Gallery in Charlottesville, Virginia.

- G. Asoka

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Taylor White FEATURED INTERVIEW

taylorwhiteart.com

FIONA MACLEAN

https://fifi-maclean.myshopify.com/

CINEMA SPOT

What films to see? We have two picks!!!

How about this cinema work by Luc Besson

Above: Still from Léon: The Professional (1994)

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CINEMA SPOT

How about this cinema work by Michael Curtiz

Above: Still from Mildred Pierce (1945)

ARTIST INTERVIEW

ARTIST

- JEFF FAERBER

THE INTERVIEW AQA: Where are you from?

FAERBER: I was born and raised in San Jose, CA (the heart of Silicon Valley).

AQA: What was it like growing up, living there?

FAERBER: It was a quiet, mellow, suburban childhood. Typical stuff like playing out past dark, riding bikes, not a lot of parental hovering. But also awkward for a shy person despite always having lots of friends.

AQA: Where do you live now?

FAERBER: I’ve been in Brooklyn, NY for 17 years.

AQA: Do you like living and working there?

FAERBER: It is pretty amazing. I’ve carved out a mellow lifestyle but am a subway’s ride away from all the culture, burlesque, theatre, or chaos I’d ever need.

AQA: What got you started making art?

FAERBER: Like lots of artists, I was drawing before I could talk.

AQA: Did you start with painting, or another medium?

FAERBER: Crayon? Pencil? Gerber baby food? Two-year-old Jeff had lots mediums to choose from. I switched to acrylic paints in high school.

AQA: Did you go to art school or are you self-taught, or both?

FAERBER: I went to San Jose State for art.

AQA: Did you like school and did you find it useful, or not?

FAERBER: I loved it! I took all kinds of tangential creative classes like photography, fine art, illustration, graphic design. It took me 6.5 years to get my 4 year degree (Although Republican budget cuts did contribute to some classes being hard to get)

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Jeff Faerber INTERVIEW

Jeff Faerber INTERVIEW

AQA: How do you see your art?

FAERBER: My art is probably (generically) about expression and (unfortunately) trying my best to emulate artists I respect while (hopefully) making it my own. I try my best to make the process of making it fun.

AQA: What do you wish for the viewer of your work to think or feel, or is that not an issue?

FAERBER: As much as I’d like to not care, I’d love it if viewers thought I had talent, or were inspired. (And by inspired I mean inspired to take out their wallet.)

AQA: What are your favorite subjects or ideas? It seems that eroticism or sexuality are at the center of lots of your work. Is that how you see it?

FAERBER: I like a wide range, all of which are representational art. I love cityscapes, buildings and water towers; portraits; dreamlike, ethereal paintings; erotic; overtly erotic; tasteful nudes, political stuff; children’s books, etc. Yes, sexuality is a large part of it (minus cityscapes, and children’s books).

AQA: Why is sexuality so interesting to you?

FAERBER: Oh, my easy answer is hormones! Although I believe this interest in sex is natural and normal, perhaps my religious upbringing (by trying to repress it all) swung the pendulum hard in that direction too.

AQA: Do you see your work as being pornographic in anyway?

FAERBER: That is not a term I would use (except in jest), but it is pretty close.

AQA: What do you say to those people who see it as porn of some sort?

FAERBER: I don’t mind if people think so. It very well flirts with it. The way I can best describe it is that in 17th Century Japan, erotic Shunga woodblock prints (which I have done a series in homage to) were considered to be porn and were kept hidden and whispered about. However, today these same prints are in museums, galleries, and coffee table books, or in other words, respectable. Same work, but perceived differently. If my work is viewed as “respectable,” or “degenerate,” either is fine. However, my desire is for (consensual) sex to be viewed as healthy and joyful instead of something that is “wrong.”

AQA: What or who are any other influences regarding your paintings, drawings, art?

FAERBER: Obviously, the aforementioned Shunga prints, but lots of art history. I love moody dark religious paintings, Tibetan art, Rembrandt deserves special mention, comic books, and contemporary artists.

AQA: Are you working on something new?

FAERBER: Right now, I am focusing on more Shunga pieces for a potential show (and for several clients who have expressed interest.)

Jeff Faerber INTERVIEW

Jeff Faerber INTERVIEW

AQA: What are your favorite mediums? Such as paint, pencil, etc.?

FAERBER: I like mixed media as that seems to allow a wider range of mixing line with washes and brushstrokes.

Lately, I’ve been working a lot of ink into paint as well as incorporating decorative origami paper in paintings.

AQA: How do you see the role of social media? Good or bad, or what, as it relates to art these days?

FAERBER: It is a mixed bag. I have discovered tons of great work and made friendships over social media with artists I respect, so that is obviously great. But there is that rabbit hole that (along with everyone else) I fall into, where I am surfing far too long when I should be getting some sun or painting.

AQA: What is your favorite food?

FAERBER: I am a huge slow food advocate. I will not bore you with all my fair trade, non-GMO, organic, vegetarian, local propaganda, but my latest favorite “altered” recipe is General Tsao’s sweet potatoes.

AQA: How do you see the art world and art market?

FAERBER: Right now, I am on sabbatical from the art market. I am shifting my focus on having painting be fun, rather than worrying about the financial aspects of it. In the past, this has been too much of a mental drain and there is enough of that in the world already.

AQA: Who are your favorite artists, or those you admire?

FAERBER: I am debating a huge long endless list or trying to distill it down to a handful. Lars Henkel, Jenny Saville, Rembrandt, Dave McKean, Kent Williams, @milkformycoconut (I don’t even know his real name), Kiki Smith. I guess this is a medium-sized list. When I look at the art of these fine folk, I feel things that hit me deep and are hard to describe and they make me want to make great stuff too.

AQA: Do you have any exhibits coming up soon?

FAERBER: I have nibbles on a show of my latest Shunga work, but nothing is set just yet. I’m producing the work first before I nail down the end results.

- D. Mancini

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Jeff Faerber INTERVIEW

jefffaerber.com

Scott Everingham

www.scotteveringham.com

ART SPOT

ABOVE: “Squirt” mixed-media artwork by ARTIST SERGEY TOLMACHEV (2016)

SERGEY TOLMACHEV IS ONE OF OUR PICKS FOR ARTISTS TO CHECK OUT.

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ART SPOT

ABOVE: “Effervescence” PAINTING BY ARTIST STEPHANIE RIVET (2016)

STEPHANIE RIVET IS ONE OF OUR PICKS FOR ARTISTS TO CHECK OUT.

Ehsan Mehrbakhsh

ehsanmhr.com

www.fearnfineart.moonfruit.com

MARK FEARN

UPCOMING - THINGS, PLACES, EVENTS DRUNK SHAKESPEARE

Coney Island Polar Bear Club New Year’s Day Swim Take a full body dip in the Atlantic Ocean this New Year’s Day, or maybe just hang out with a coffee and cheer those energetic, brave or nutty people who do take the dip.

This can be fun for almost anyone. One actor has 5 shots, or more maybe, of whiskey and then attempts to perform in a Shakespearean play.

Meet on the Boardwalk at Stillwell Ave, Coney Island, Brooklyn. No membership needed and donations are welcome.

You can check out the hidden library featuring thousands of books on the 4th Floor. The Drunk Shakespeare Society meets almost every night to drink and do some Shakespeare. Tickets start at $35 and you can get tickets on their website, which you will find below this.

www.polarbearclub.org

THE LOUNGE 300 West 43rd St, Level 2, New York, New York Near 8th Avenue Runs year around in 2016 and 2017. drunkshakespeare.com

When: Sunday, January 1, 2017

43rd Annual Poetry Project Marathon The 43rd anniversary of the 12-hour poetry soiree featuring short and medium sized readings by over 100 poets. The event cost $25 or $20 for seniors, students and members.

When: Sunday, January 1, 2017 St. Mark's Church in-the-Bowery 131 East 10th Street, NY, NY

poetryproject.org

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SHINGO FRANCIS

WWW.SHINGOFRANCIS.COM

ELIZABETH HARRIS

ElizabethHarrisstudio.com

ART QA WE THANK EVERYONE WHO CONTRIBUTED TO THIS MAGAZINE.

THANK YOU!

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