Loading ... Please wait OBSERVICA Issue #20 Spring 2022 a contemporary art magazine providing art critiques, interviews, news, events, calls, artist presentations, articles and ads Night Watcher Black Panther | Painting | W:20 00 H:16 00 in | AW127386478 by Yue Zeng published by
OBSERVICA M a g a z i n e Issue #20 Spring 2022 June 2022 observica com/spring2022 powered by b i a f a r i n c o m
Date: 18 Jun 2022
Publisher: Discover the Artist Observica is a Canadian contemporary art magazine published by "Discover the Artist” media holding It focuses on telling the compelling story of signi cant arts created by brilliant artists from all around the world Our publications are available to millions of art lovers, experts, collectors and enthusiasts in both digital and print format and reach readers in over 120 countries
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OBSERVICA Magazine Code: MGZ325809112 Link: https://www.observica.com/spring2022
Achievement Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2021 AW127522138 ♡
Barrie Dale Photography
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Professionally, I am a scientist Since the 1980's I have been involved in the science of Climate Change I am passionate about persuading my fellow human beings to stop destroying this once lovely planet I am also a musician and an artist I have given three public recitals of classical music, and I have held six one man shows of watercolours and photographs, selling about a hundred I am a member of the Guild Society of Artists and of the Royal Photographic Society My current interest is in photography. I also manage a small Wildlife Reserve, known as 'Wildhaven'.
biafarin com/artist?name=barrie dale
I still have all these doubts, but I am still taking photographs the world is such a beautiful place.
Having read many books on the subject, I have no idea what ‘beauty’ means So in my images, I seek metaphor rather than beauty. Is this even legitimate? Is my wide range of interests a blessing or a curse?
Marian White Interviewer
7 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Far Horizons Photography, Giclee Printing on Paper Cotton | W:75 H:53 cm | 2021 | AW127423680
Barrie Dale: The Spirit of Mysticism
My pivotal visual moment came while out painting at dawn on a very misty morning. The rising sun suddenly picked out some chimneys and roofs; and there, just across the elds, was my village, which I thought I knew so well, brightly lit, hanging in the air. This taught me much about beauty, mystery, and the capricious nature of reality Science tells us that what we think we see is not what is there; and also that our mere presence changes everything So visual reality is a never ending mystery that can be explored forever This leads us to Paul Cézanne. Exactly. Barrie, you are a man of science whose art is an integral part of his life. Was there ever a moment of doubt to question your art career entirely?
I have no idea where my ‘art’ comes from. Is it real? Does it signify anything? Will it always be there? Or, one day, will it simply dry up? My images exist because, at one tiny moment, they were instinctively attractive to me. Does anybody else nd them attractive? Why should they? (They are not me)
I have always found much aesthetic interest in everyday life Also, as a teenager, I knew Trevor Chamberlain, now an established Artist, and he inspired me to paint. But at the same time, I was being inspired equally by the beauties of Science, Mathematics, Music, and Chess; so I have always been split ve ways
Barrie, I appreciate your time and consideration in this interview Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?
I am trying to nd things that haven’t been seen before. But does anybody care?
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You photograph natural forms and try to show what you really want to say What is your daily routine when working in your studio?
I always photograph looking into natural light; cloudy days are frustrating I work hand held at high magni cation. Every image is abstract. I am interested only in those with instant appeal I capture them immediately
“The rst ne careless rapture”…. What an excellent interpretation! You mention you are interested in challenge and adventure, the mountains, human interactions, human achievement, the state of the Earth, etc Is there a central concept connecting all your works together or each series or artwork is unique? My work has to be of Nature I want it to be new, di erent, interesting At normal magni cation, much of what could be said about natural forms has already been said; so I work at high magni cation. Here everything is unexpected and abstract I have to be able to distinguish between good and bad images. I am wary of ‘composition’, ‘balance’, ‘harmony’, since these are subjective So I rely upon the evidence of metaphor To me, this means that in the instant I made the capture the image was saying something to me that I agreed with. I accept that this stance may be indefensible. All I can say is that I am an artist. I produce pictures. This is how I do it I just hope they are di erent I frequently have problems with insu cient light. I edit my images, but only to the minimum extent. I do not manipulate them I abhor ‘fakes’ ❝Being an artist is the opportunity and the ability to say things I want to say.❞
I want to access my ‘Inner Self’, minimizing the in uence of the rational mind. I do not allow time for thinking before capturing an image for me, the initial reaction is more honest than the considered one I am looking for ‘the rst ne careless rapture’.
A session starts with a detailed, high magni cation scan of the subject There will be hundreds of abstract images to look at. I will capture very few, if any. After half an hour I will be exhausted. I down load the les, and then the slow step begins Knowing that each image was taken without thinking, I now have to ask ‘why did I nd this image instinctively attractive?’. Being suspicious of ‘beauty’, I have to nd meaning. ‘This image must have expressed an idea to me; what was it?’ This interpretive activity spans everything from very easy to very di cult. Only when I have found the metaphor is the job nished. I frequently have problems with insu cient light I edit my images, but only to the minimum extent I do not manipulate them. I abhor ‘fakes’. Your images appear so genuine that can cause viewers to feel they are immersed in their surroundings, beyond the senses Now, take us through your process of making your artworks I am celebrating Nature. That is central. My subjects have to be natural forms. They have to be intricate, otherwise, the possibilities would be limited I have had success with owers, leaves, and grasses; but Orchids are preferred as they are always available, and stay in ower for months.
At the magni cations I use, the eye is no guide to what might be interesting. I have to choose a subject and then start to explore it I have no idea what might turn up I cannot decide to take this or that image Natural light is forever changing, natural forms develop, so every hour, every day is di erent. I cannot plan.
As far as future work is concerned I would hope to be like Cézanne He stumbled along, following his nose, painting the same things over and over again, nding new puzzles at every turn. Robert Hughes surmised that Cézanne was asking himself ‘Is This What I Am Seeing?’ My question would be ‘Is This The Message I am Seeing?’ You can’t plan to have an unexpected revelation; you can only be open to one I don’t aim to be in control; I aim only to be receptive. I hope to be exhibiting with the Guild Society of Artists in the Spring Beyond that, I want to see where the various Biafarin initiatives lead to. Thanks a million for taking the time and making us familiar with your luminous art and ideas. I am also looking forward to visiting your brilliant works in numerous future exhibitions We de nitely try to do our best We wish you the best, Barrie. ❇ This interview ends here We hope that you enjoyed reading this inspiring interview with Barrie If you want to ask your own questions, please write to us now.
Barrie Dale
I would like to meet Cézanne. I would like to ask him what he would have done next had he lived another half life time Your enthusiasts evoke a whole range of emotions in your artworks Any upcoming works or future projects you would like to share with our readers?
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My earliest in uence, as I said earlier, was Trevor Chamberlain. He started me o and taught me what a wonderful colour grey is My three major in uences are Turner, Monet, and Cézanne. Turner showed us, in his watercolours, what a magical, spiritual place the Earth is Monet showed us what a wonderful gift a good pair of eyes is, and also transported us into spirituality. Cézanne, with incandescent honesty, showed us that expressing reality in paint may be beyond us, but that that shouldn’t prevent us from trying. Barrie, come with me to the past art era. If you could meet one of your ideal artists from the past, who would it be and what will you ask about?
As far as I am concerned, inspiration is all around me. I love the beauty of the familiar. There are few things that wouldn’t reward closer examination I am constantly seeking inspiration from great, and also not so great, artists. Any artist who has made an honest contribution is worthy of attention. Anybody who has overcome adversity to achieve something important is also an inspiration You do know how to attract and engage your viewers’ thoughts What are your art in uences?
We can also feel there is always something that appears to be glowing in your images. How do you seek and use inspiration for your works?
You superbly express your innermost feelings using metaphors and mysterious natural and visual real scenes
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 10 Challenge Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2020 Thisisahigh magni cationphotographoftheOrchid'Phalaenopsis', takeninnaturallight, without manipulation ItispresentedasaFramed, Single EditionGicléePrint Thesubjectmatterhereisunrecognisable Theimageisabstractandarbitrary, butIcaptureditimmediately Inthatinstant, itmusthavemeantsomethingtome WhenIworkthiswayI ndthattheimagesIproduce areinvariablymetaphorical expressingideas Inthiscasethemetaphoris 'Challenge' thewayaheadlooksverydi cult Wemustpreparetobetested AW127861148 ♡
11 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Delicate Balance Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2021 Thisisahigh magni cationphotographoftheOrchid'Phalaenopsis', takeninnaturallight, without manipulation ItispresentedasaFramed, Single EditionGicléePrint Atthemagni cationsIuseimagesareabstractandarbitrary Icapturethosewithimmediate, instinctive appeal Ithenhavetothinkaboutwhatmadetheimageattractiveinthe rstplace, sinceItrytodothevery minimumofthinkingatthetime InthiscaseIthinkIwasattractedbytheconceptof'DelicateBalance' Thisimagerepresentsthefactthat manyoflife'sconstructionsarebothelegantandfragileatthesametime AW127471420 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 12 Evolution Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2021 Thisisahigh magni cationphotographoftheOrchid'Phalaenopsis', takeninnaturallight, without manipulation ItispresentedasaFramedSingle EditionGicléePrint Iworkhand heldtogivecompletefreedomofexpression Capturesaremadeimmediatelyandinstinctively, ratherthanrationally Theaimistoeliminateprejudice, habitandcustom Thisseemstoproduceimages thataremetaphorical, expressingideas Themetaphorhereisthatof'Evolution' thecycleofcreationandre creation IthinkIwouldhavebeen attractedbytherestlessness, theenergy, andthecomplexity Butatthesametime, theimageisvery delicate AW127612846 ♡
13 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Figure in the Marble Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2018 Thisisahigh magni cationphotographoftheOrchid'Dendrobium', takeninnaturallight, without manipulation ItispresentedasaFramedSingle EditionGicléePrint Inmywork, fromasuccessionofarbitrary, abstractimagesIcaptureanythathaveinstantappeal Iaimto bypassthein uencesoftherationalmind togobeyondaestheticstosomethingmorefundamental imagesthataremetaphorical expressingideas ThemetaphorhereisFigureintheMarble anun nishedsculpture I ndun nishedsculpture suchas Michelangelo's 'Slaves', verymoving theSlavesappeartobetryingtoescapefromthestone Viewers becomeengagedinimagining AW127052708 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 14 Floral Abstract Barrie Dale Photography, Giclee Printing on Paper Cotton W:50 H:75 cm 2021 Thisisahigh magni cationphotographoftheOrchid'Phalaenopsis', takeninnaturallight, without manipulation ItispresentedasaFramed, Single EditionGicléePrint Asusual, Icapturedthisimagethemomentitappeared;butIamnotsurewhy Itisapparentlyapure abstract Itseemstoexpressarestlessenergy, andIwouldhavefoundthatattractive I ndthedisposition ofshapesappealing, butformethatisnotusuallyareasonfortakingapicture Iwillsimplyhavetonameit FloralAbstract andhopethatviewersderivesomethingpositivefromit perhapsgivingitaname AW127070898 ♡
Haunted DeAnna Valdez Digital Arts, Digital Photography, Collage on Canvas, Photo Paper W:13 H:38 in 2021 2022 AW127949696 ♡
DeAnna Valdez Digital Arts, Photography
biafarin com/artist?name=deanna valdez
I started my photographic career at the age of 15 Creating in high school and moving on through college I completed my BA Photography at Art Center College of Design as well as studying at The School of Visual Arts in NY Photography is my passion I love to photograph all aspects of life, from the beauty of nature to the beauty of living beings Capturing the moments in between create the most impactful images, ones that draw the viewer into the moment Invoking a feeling with the audience is the best grati cation an artist can have
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DeAnna Valdez: A Gift of Healing
Nancy Krüger
What an amazing artistic journey I appreciate your endeavor to learn everything you need to improve your art Was there a moment of doubt that made you question your artistic career entirely? This question is great I stopped photographing for a bit I soon became a single Mom of a 3 year old and a 14 month old and was really the sole provider. I took a full time job to supply them with what they needed. photographing here and there for extra money Photography was becoming a hobby and that was driving me crazy. As they became teenagers I was able to have time to create images again, mostly landscapes, my Joshua Trees At this time, I was going through a pretty bad relationship and the body of work I have submitted surfaced. It was really the way I survived what I went through for 5 1/2 years. This experience pushed boundaries for me photographically I needed something more than therapy to be whole again for my boys and myself and I found that strength in photography.
17 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Invaded Digital Arts, Digital Photography on Canvas | W:40 H:30 in | 2021 2022 | AW127094272
Interviewer DeAnna, we are very grateful to talk to you and get familiar with your art career and works through this interview Tell us about your artistic background and whether there was a pivotal moment when you decided to pursue your path as a visual artist. My photographic interests started at the age of 15 while in high school We had an amazing darkroom, and the teacher has since become a lifelong friend and mentor. I was given the opportunity to travel to portfolio reviews at art colleges as a junior and as a senior and was accepted into SVA, School of Visual Arts, NY It was an amazing year, as I was from a very rural, small town in Northern California, and to capture the style and texture of NY was eye opening, and expensive, which lead me to return home A few years later I found myself working at A&I in LA pining to be the photographer turning in the lm instead of writing up the orders to process lm and giving advice on if they should push or pull the lm This leads me to apply to the Art Center College of Design in Pasadena, CA. I was excepted and started immediately. This journey was GREAT! I completed my BA in photography while learning amazing alternative processes, archetype press, and abstract art, and just soaked everything in like a sponge. My travels after college took me to Nashville, TN, and then years later back to California I settled in the low desert and started a family
The second and most recent part of this venture I have is titled Progression These are images that, after the process of "healing", have come to light. Thank you for taking the time to interview me. I am so thrilled about the bright prospect of your artistic work. We wish you proli c success and the best moments, DeAnna DeAnna Valdez
Inspiring is the most signi cant step in presenting a creative artwork. How do you get inspired, DeAnna? How do you seek inspiration, and what motivates you to create?
Because of raising two boys on my own, my routine has become an evening thing. When I get home, I photograph and then work on images in my o ce darkroom It’s a great way to express and unwind from the day at the same time. I was raised as a wet photographer, but lately, I have transitioned into a digital based art form that is new and exciting to me It’s a way to express more than I ever could capture in lm Kind of the best of both worlds. Now, take us through the process of creating your artwork. Where does an artwork begin for you, and where is your work endpoint, etc ?
In this project speci cally, I utilized my iPhone to capture the angles and emotions I was feeling. My property is like a junkyard, with abandoned cars, furniture, kitchen appliances, etc all left behind by my ex after being served a restraining order mandating he leave the property. After a year and a half, I was encouraged to walk my property and capture what I felt In doing so, I started creating intense re ective images I was trapped in his leftovers. I then pulled the images into Photoshop and started to play and manipulate, gaining more emotion and abstract con ict that was really healing for me Then I started to title the work WOW, that really put it all into some kind of perspective.
Great job! Capturing the moments in between creates the most impactful images that draw the viewer into the moment Is there a central concept that connects all of your work, or is each series or artwork unique?
Life is my emotional seek and follow for my work. I survived a pretty toxic, violent relationship and it has drawn out a body of work that holds so much meaning and I feel it needs to be spoken about The nightmares, ashes, and nights of crying because I put my boys and myself through what we survived, pains me. I cannot take any of it back, but I can heal through art and let the world know it can do the same Some artists are signi cant in uences on an art career in di erent eras Who are your artistic in uences?
This is a very fun question. I was raised photographically on Ansel Adams, Mary Ellen Mark, Jerry Uelsmann, and Dorothea Lange, AND then I found Kandinsky, and the abstract nature that was tied to music, color, and shapes brought me even more to life.
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I appreciate your e orts, strength, and not giving up over the years Thanks to your passion and the way you look at the art of photography as a healer. Now, we are willing to know about your daily artistic life. What is your daily routine when working in the studio?
Your photos could invoke our readers’ feelings So, they are waiting to see more of you Do you have any upcoming work or projects you would like to share with our readers?
It's really a toss up Wassily Kandinsky and Jerry Uelsmann, please if I can be greedy These two artists have shaped and given me such inspiration, and creative notes. I'd ask Kandinsky about color and line work and I'd ask Uelsmann if he'd share darkroom time with me
Each series is unique. Each body has its own purpose and emotional base behind it. Project 2021 has really been a breaking point in my work It holds such emotion, healing, and new ndings artistically for me It’s been draining and exciting at the same time.
And, if you could meet one of your ideal artists from the past, who would it be, and what will you ask?
19 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Escape DeAnna Valdez Digital Arts, Digital Photography W:30 H:40 in 2021 2022 OnesliceofaprojectI'vebeenworkingonasahealingprocessfromatoxicrelationshipIsurvived AW127885120 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 20 Blind DeAnna Valdez Digital Arts, Digital Photography W:30 H:40 in 2021 2022 AW127727424 ♡
21 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Passage DeAnna Valdez Photography, Digital Photography on Canvas W:30 H:40 in 2021 2022 AW127965056 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 22 Narcissist DeAnna Valdez Digital Arts, Digital Photography on Canvas W:40 H:30 in 2021 2022 AW127698880 ♡
Frosty Stag Yue Zeng Painting, Oil Color W:16 H:20 in 2021 AW127509328 ♡
Yue Zeng Painting
Yue Zeng is a Chinese American self taught artist, mother, and wife, who has been living in the United States since 2008 and currently resides in Woodbury, Minnesota Zeng’s artistic practice focuses on oil painting, with her subjects mainly being mythical creatures and animals With a style between impressionism and fantasy, she explores the vividness of their spirit in saturated colors and organic forms Zeng’s interest in the arts started in elementary school, sparking her desire to create later in life In her twenties she obtained her Masters in Science from SUNY ESF in Syracuse, New York In 2017 due to physical complications, Zeng had to leave the chemistry industry Transformed by the experience, she decided to revisit her art practice and make it her career regardless of the obstacles she would face Since then, Zeng has ourished in her artistic expression, nding her true passion in oil painting. biafarin com/artist?name=yue zeng
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Robin Weißbach Interviewer Yue, I’m so grateful that you take the time to talk about your artistic experiences and artworks Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist I have always excelled in my art classes since elementary school. My art teacher would always show my work in front of the whole class Even though I had talent and passion for the arts, I could feel that the people around me never saw value in it as a real career. Giving into this pressure, I turned away from the arts and opted for a more conventional, academic path I ended up studying science and eventually graduated with a Master of Science in Environmental Chemistry. After that, I worked in the chemistry industry for a while. Then in 2017, my life changed I was going through some physical complications and became bedridden I thought a lot about who I was and how my life came to this point. It wasn’t aligned with what I really wanted. This was the moment that I decided to rediscover my passion for art Life is too short I needed to do something for myself After making that decision I put all my e ort into re establishing my career. And it is not easy. But every piece I make, and every moment my work connects with the outer world, I am building the framework of a new home And I dream about the possibilities of what that could be.
In fact, you have shown that although life is too short, we can have high goals and make short life fruitful. Was there ever a moment of doubt to question your art career entirely?
I doubt myself all the time. And my family also doubts my change in career choice. I’m always thinking, and there are always what ifs? And what could be? I have so many questions running through my mind Is this what I really want to paint, and for the rest of my life? Will I ever get bored painting the same subject? What if I don’t have my own style? How am I going to survive? These are questions that live in the back of my mind When I doubt my art, I am doubting my sense of self. My family doubts me for other reasons. They are more concerned with money and success They ask and push me to consider painting in a style and subject matters that sell I feel pressured when they ask me if I have sold a painting recently. They also like to ask how much I am selling my work for My solution to overcoming these insecurities is straightforward I wouldn’t want to be doing anything else. If I struggled today, I can struggle tomorrow. Death is everyone ’ s nal sense of peace. Life is always a struggle no matter what you do And I would rather live struggling for stability and money, than struggle feeling that what I’m doing isn’t re ecting who I am and my purpose.
25 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Cruising Altitude Painting, Oil Color | W:20 H:16 in | 2021 | AW127061352
Yue Zeng: Vibrant, Explorative
In fact, your work time is monitored based on family and children, like most cozy homes. Now, take us through the process of making your artworks Where does an artwork begin for you?
I am always inspired by the world around me. My ideas come spontaneously and through the interconnectedness of life But it was not always like this When I rst started focusing on art as a career, I used to plan every piece in detail. I would think, the rst one will be a cat, the second will be a bird, the third will be a dog, and so on But the more I continue to paint, the more I realize the process needs freedom For example, when I watch my kids at a playground, I start to intuitively make connections. The structure of the bars, ropes, and slides start to remove itself from reality, merging in my mind as shapes and colors Approaching experiences and the world this way gives me the ability to visualize images abstractly. After this, I use the internet to search up / for abstract imagery of the scenery I’m thinking of I like to study how other artists approach the same subject. There might be a connection, a similarity in their work that re ects my feelings. Or there might be something better It’s like brainstorming with other people After this, I would draw a digital sketch, focusing on general composition and color themes. This gives me a quick concept of an image. I use software such as Photoshop, Corel Painter, and Procreate on my tablet Once I am satis ed, I move on to oil painting. Preferring a toned canvas, I tone my canvas with a pink or red shade as a foundation color. Then I start to paint in several layers Some artists work from one small area to another However, working in layers suits me better. When do I know if a painting is nished? When it’s at a point that I can no longer work with it. In other words, nothing changes when I apply one more brushstroke At this point, I take the painting to my basement and leave it to dry for a couple of months.
I have kids, so my studio time revolves around their schedule. When they are in school, this is when I paint. At night when my family is sleeping, I deal with administrative and marketing tasks such as updating my blog, editing pictures, listing items, and so on.
Yue, what is your daily routine when working in your studio?
What a nice artistic journey! Your artistic practice focuses on oil painting, and your subjects mainly are mythical creatures and animals Is there a central concept connecting all your works together or each series or artwork is unique? I am quite self critical and when I started painting again in 2017 it had been a long time since I picked up a paintbrush. I noticed that my landscapes were terrible, my still life was terrible, my portraits were okay and only my animal paintings were decent to me So I started focusing on long haired animals It gave me the con dence to move forward and practice painting techniques without feeling like I was making horrible pieces. I tried all kinds of long haired animals such as cats, dogs, tigers, cheetahs, and red pandas against simple backgrounds. Slowly, I got better at painting complicated backgrounds and was able to add trees, forests, and rocks Then I tried still life again and discovered it was enjoyable Next, I was painting landscapes again I wasn’t afraid of it anymore. If you were to ip through my work from 2017 to today, you would see my progression and how I began to add more variety in color, subject and style Now I am interested in exploring abstract and fantasy styles. From 2017 to early 2021, it was "what can I paint?"; and from 2021 until now, it is "what do I want to paint?" Maybe in the future, it will be "What in my dream last night could I paint?” ❝I love being an artist because of the freedom in possibilities to create a visual perception of the world that has never been seen before.❞
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27 OBSERVICA Issue #20 Spring 2022 observica com/spring2022
You have consciously chosen the path to reconcile with the Still Life and make it easy We can see what you said in “BigTree” in 2019 or “Tea and Candles” in 2021. How do you seek and use inspiration for your works?
I would de nitely want to meet Leonardo Da Vinci He had such an ideal lifestyle as an artist I aspire to create like him. His professional career covered many prestigious disciplines. He was not only an artist, but an architect, inventor, sculptor, musician, scientist and so much more I don’t want to limit myself to just painting I also like woodworking, needlework, macramé, paper art, and many other crafts. Besides, I am a scientist too! So if I could meet Leo, I would ask him how do you nish more projects in a limited time frame?! ha ha Oh, yes Leo's answer is worth hearing! Any upcoming works or future projects that you would like to share with our readers? I just nished an abstract painting series called “backyard birds'' In the paintings, I have a red cardinal, blue jay, house sparrow, hummingbird, downy woodpecker, and a gold nch. I am also in the process of planning a collage mixed media series called “Lion dance” I want the color scheme to include black, white, reds and yellows. The painting idea is inspired by the Lion dance, a traditional celebration ceremony in East Asian culture where I am from The lion head is a magni cent and elegant handmade piece I want to capture its beauty from a modern perspective. Thanks for participating in my interview and sharing your artistic story and ideas with our readers. I wish you the best and hope you shine brilliantly as always, Yue Yue Zeng
In my early school years, Vincent Van Gogh was my all time favorite artist I have many di erent books about his work and life. I even went to the Metropolitan Museum in New York City to see his paintings in person when I had the chance Later, when I started to search painting videos online, I started to like those who paint in realism such as Andrew Tischler. He paints a variety of subjects like landscapes, seascapes, animals, portraits, and still life When I began to explore abstract painting, I started to examine Pablo Picasso’s work more carefully. For me, very abstract works that have color blocks, drips, and textures without boundaries or de ned shapes don’t suit me It makes me anxious But I appreciate the openness to possibilities The thing about Picasso’s work that is really pleasing to me, is that he applies lines and shapes within an abstract style. There is still a hint of realism You can see the imagery he is inspired by from real life Overall, I believe every good artwork has something to be learned from, even if it’s small. I incorporate these bits of exploration from a variety of artists into my own work Yue, let's travel to the past! If you could meet one of your ideal artists from the past, who would it be and what will you ask about?
In my early work, my inspiration came from other artwork I would see interesting paintings on the internet or from a book and I would want to replicate it / them. Later, my inspirations would come from my own daily life, I would nd potential all around me It could be the food in my hand, the fruits in a bowl, the bricks on a building wall, or the shadow of a tree on a snowy roof. When I think about something I could paint, I write it down as a note on my phone, like “The white deer with giant antler, all blue shades” or “paint my backyard trees ” By doing so I have a reservoir for all the things that have inspired me. When I am about to paint the next thing, I check these notes and choose the one that feels ready Now, I’d like to know about the key in uences in your art career What are your artistic in uences? Who are your favorite contemporary or historical artists and why?
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 28 Night Lights Glowing Mushrooms Yue Zeng Painting, Oil Color W:20 H:16 in 2020 Agroupofglowingmushroomslightuptheentrywayoftheforestatnight Oneofthemisoutoforder AW127015696 ♡
29 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Night Watcher Black Panther Yue Zeng Painting, Oil Color W:20 H:16 in 2020 Abeautifulblackpantherroamsatnighttoprotectcreaturesontheland Itcomesandgoesalone, leaving itsshadowbehind AW127386478 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 30 Stone Lantern With Koi Fishes Yue Zeng Painting, Oil Color W:20 H:16 in 2021 AJapanesestonelanternshinesinakoi shpondatnight AW127502072 ♡
31 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Mythical Big Cat Yue Zeng Painting, Oil Color W:16 H:20 in 2020 Amythicalbigcatcombinestiger, lion, leopardandcheetah Ithasalbinocolorandlivesinthewoodsclose towaterlikejaguar AW127083530 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 32 Apprentice Yue Zeng Painting, Oil Color W:20 H:16 in 2021 AW127237536 ♡
Dancing Feet Caroline Renck Digital Arts, Pyrography W:6 H:8 in 2021 AW127930768 ♡
Caroline Renck Digital Arts, Painting, Photography, Sculpture
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My name is Caroline Renck, a Brazilian girl living her dreams in the mountains of Colorado I am a wife, mom of 2 beautiful girls, I am a L1 certi ed CrossFit coach, I love to play the piano and be with my family We enjoy all that Colorado has to o er us I recently discovered myself as an artist and just now I have be able to say I am an artist without “air quotation” gestures My birthday is coming up and I will be 40 years old soon this is me discovering who I am, digging deeper to nd the gifts I have inside, to bring beauty and art into the world I live in Discovering who I am through my art What is it that fuels you? For me, it’s art I love to express my passions, what interest me, what interests others, and sharing all of my thoughts through my art. My name is Caroline Renck, a Brazilian girl living her dreams in the mountains of Colorado I am a wife, mom of 2 beautiful girls, I am a L1 certi ed CrossFit coach, I love to play the piano and be with my family. Although I miss Brazil and my family there everyday, I wholeheartedly love my life here in Colorado and enjoy everything it has to o er us; we hunt, sh, ride atv’s, boating and shing, skiing, hiking and mountain biking… so much to do and art! My whole childhood in Brazil was lled music, art and the gift of nature As an adult, Art called me again and brought me back to life At 40 years old, this is me discovering who I am, digging deeper to nd the gifts I have inside, to bring beauty and art into the world I live in Discovering who I am through my art biafarin com/artist?name=caroline renck
My love for art and color has always been with me, I grew up studying and playing piano, and my very early education was focused on art. Growing up in Brazil, I was surrounded by nature and lots of colors! I used music to connect with my creativity at rst and didn’t think of myself as an artist until recently In Brazil, being an artist or a musician wasn’t seen as an option because surviving is your ultimate goal and when your environment believes art won’t provide you an income you go to school for something it will eventually grant you an opportunity to make some money. I did just that, I nished my bachelor’s degree in Business Management Worked at a bank (boring), but left this job after 8 years because I felt in love with my own baby girl. Being a mom changed my world. After having my second child I hit a deep depression… and that’s how the art came into my life! At 40 years old, it saved and healed my soul, it caused me to pause and just be, to create and be in the ow of that moment, which brought me more joy than I could ever imagine.
35 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Dangling Tea Party Digital Arts, Pyrography | W:12 H:15 in | 2021 | AW127516816
Monica Davidson Interviewer Caroline, thanks for taking the time to take part in my interview. Our readers are happy to get more familiar with your works and art career So, tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?
So, your love for art has always been burning in the corner of your heart, and made you return to the art path with great enthusiasm and continue moving forward Was there ever a moment of doubt to question your art career entirely?
Caroline Renck: Deep Emotions
Always I think I was born with imposters syndrome and at this stage of my life, I am nally done doubting the gifts I have inside myself and ready to explore and discover what is within my heart.
Awesome! Caroline, what are your artistic in uences? Who are your favorite contemporary or historical artists and why?
I get the most inspired when I connect with myself through my prayers and meditations, reading has always been a passion of mine, so books of all kinds, but specially poems and my favorite philosophers. To know and discover who I am has been the biggest inspiration to my work Being with Nature has been another way I draw inspiration and connect to the world around me.
Yes, my feelings and emotions I draw a lot from what I read and from the pain I nd within myself and what I see in the world. My most recent work is focused on Brazil’s misogynist culture of women because it has hurt me deeply to grow up in this culture and to see what it does to women and our mental health
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It is amazing that you lead your doubts to a way to discover your inner self
What is your daily routine when working in your studio?
I start my day with a CrossFit workout which gives me all the energy I need to get things done How I eat, sleep, train, and connect to the ones around me plays a big part in how my day goes. I have two little girls running around, so my daily routine in my studio is whenever I get a chance to be in it I get my kids in it with me, and they love it too. I prefer to work when I can see the sun through my windows, and I can feel the sunshine on my skin
One of the e ective ways for children to get acquainted with art is having a roam around the art workshop and witnessing closely how an artwork is created. Now, take us through the process of making your artworks. My art comes from all my emotions, I feel deeply, and I had to get it out of me It became too heavy of a burden to carry, so I started getting my feelings and emotions out in my art. Being creative came easy to me, so I thought art shouldn’t be easy, so I found something I thought was harder than just painting: pyrography I love the smell of wood and the fact that it’s a living thing, it keeps me connected to nature. So, I started to wood burn, and a love a air began Wood burning gave me the con dence to try other mediums because I thought that painting was too easy, so I couldn’t possibly just be doing that. Now, I love to mix all these mediums and work with di erent materials and textures You write with re, indeed And it can be a sad story of an a iction or a joyful description of a triumph Is there a central concept connecting all your works together, or each series or artwork is unique?
Your emotions can be detected in a wide range of tones and shades of your artwork How do you seek and use inspiration for your works?
Ancient wisdom, Greek artists and philosophers have a huge play in how I see art and have been my greatest in uencers Johannes Vermeer for the use of light and biblical and mythological scenes Monet, Picasso, Salvador Dali and Andy Warhol are among my favorite in uencers.
Let’s go back in time. If you could meet one of your ideal artists from the past, who would it be, and what will you ask? I would ask Michelangelo for the 3 books that changed his life. Our readers are really into your outstanding artworks. Any upcoming works or future projects that you would like to share with our readers? I have two upcoming projects. One is all about Brazilian women and the ways we have evolved. The pain to have grown up in a society where devalues and objectify women Another upcoming project I have is about the African Religions we have in Brazil and its in uences in the country’s culture. Wow, how great! We are waiting impatiently. I appreciate your concern about my interview. Thanks for sharing your artistic story with our readers I wish you day by day success Always shine, Caroline Caroline Renck
37 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Dream Like a Ballerina Caroline Renck Digital Arts, Pyrography W:70 H:10 in 2020 Thedreamwehaveandthestrengthtogoafterthethingsweloveandwantfromthislife Perseveranceand strength AW127632608 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 38 Hera Caroline Renck Digital Arts, Pyrography on Acrylic Print W:12 H:15 in 2021 FromtheGreekMythology, Hera, ZeusallowedHerculestodrinkhermilkandwhenshewokeup, shepushed himaway Inthatmoment, drops ewacrosstheskyandcreatedthemilkyway Thedropsthatfelltothe groundthengrewintobeautifullilies Italsosymbolizesrebirthandresurrection AW127931232 ♡
39 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Lola and Her Horse Caroline Renck Digital Arts, Pyrography W:15 H:12 in 2021 AW127912488 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 40 Succulent Pattern Caroline Renck Digital Arts, Pyrography on Acrylic Print W:83 H:13 in 2021 AW127001704 ♡
Redshift Navigator Catalin Domniteanu Sculpture on Glass W:26 H:28 D:24 in 2021 AW127378016 ♡
biafarin com/artist?name=catalin domniteanu
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Catalin Domniteanu Sculpture
I was born on the shores of the Danube River, in the beautiful city of Galati embraced by a large outdoor metal sculpture park on the east, on the riverfront, and guarded by a metallurgy giant on the west While doing my engineering degree I grew interested in stained glass for its powerful e ect given by the passage of light through transparencies There were no stained glass studios in the region at the time, and guided learning was not available For several years after graduation in 1995, I had to develop the technique on my own Direct observations and substantial experimentation led me to eventually becoming skillful in the lead came method To strengthen my competencies, I have then decided to get painting training at the Lower Danube Cultural Centre in Galati This exploratory part of my journey remains today, 25 year later, very important in my artistic approach. After my arrival in Calgary, in 2004, I worked for Ti any House for a few years, a beautiful stained glass studio and supplier. There I became versed in the Ti any method, which I now employ exclusively in my work for its exceptional exibility Then I welcomed an engineering career whilst continuing taking stained glass repairs and restoration works at night until 2010. In 2015, I took the opportunity to explore my life long impulse towards the arts Con dent in my technique, I launched myself into projects that would put my artistic philosophy to test. In the process, my works turned from bi dimensional to sculptural and from decorative to conceptual At rst, improving upon the Ti any technique, I produced two very large copper foiled stained glass panels, with folkloric and rural life themes I then made a conceptual creation with a scienti c theme Participation to local events gave me the opportunity to see how the public reacts to my art. Encouraged by it, I challenged again the structural capacity of my method and I produced another work a bas relief in which the volumetric glass components bring the light play to another level. This time, on a subject related to society and emigration After making other works on topics of society and culture, my attention returned and remained dedicated to quantum mechanics, cosmology, and philosophy of science. In 2018 I became a juried member of the Alberta Society of Artists, and brie y, but with great enthusiasm, I served as a Board member. After a sensible deliberation, in 2019 my wife and I moved to the Greater Montreal Area, open to new experiences and to a broader audience
Nice story! Great artistic experiences cannot be achieved except through various trials and errors an artist has made over the years. Was there ever a moment of doubt to question your art career entirely?
For a long time, I saw my future cultivating the art of stained glass But I was gradually doubting its limitations (materials, places, subjects, style, spatiality); especially the dark contours were too brutal for me. I wanted to free the light from within the perimeter of each fragment, so I let the glass matter escape into the third dimension. I also wanted the rich glass’s textures to be visible, and again, I wanted to integrate the led came into the composition as a message carrier These elements liberated my creativity from the traditional stained glass. Out of this commotion emerged my very rst sculpture, which happen to have received great attention during its rst public appearances, including attering conversations at the Rothney Astronomical Observatory with professors and doctoral students (very important to me).
Catalin Domniteanu: Liberate Creativity
The glass and metal sculptures that I do today began with a fascination for the stained glass’ intense power and mystery During the exploratory stage, in Romania, I acquired the lead came technique by making my own extrusion die. Glass, materials, and instructions were scarce, so I had to improvise. Later, while working at Ti any House, a stained glass company, I learned the copper foil technique and spent several years repairing hundred year old stained glass windows. Seeing the e ect of time on them helped me to understand how I could do large panels, with the most intricate outlines, yet without the unsightly structural fragmentation I applied the same technique later on, when I advanced to 3D. A decade later, I took the de nitive step towards my own compositions, with the well formed intention of introducing stained glass into art galleries They were actually sculptures, by then. My designs weren’t decorative, and the subjects were no longer of spiritual nature, but social, philosophical, or scienti c
43 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Sailing Away: the Emigrant Sculpture on Glass | W:60 H:36 D:6 in | 2016 2017 | AW127130824
Monica Davidson Interviewer Catalin, thank you for accepting my invitation to the interview It is very nice to know about your artistic life and artwork. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?
Looking at your artworks, I can feel your pure ideas and aesthetic expressiveness that open up through your work process. Is there a central concept connecting all your works together or each series or artwork is unique?
For me, close examination of the laws of nature came with an entire range of a ectivity that people generally look for in literature or arts (mystery, hope, illusion, revenge, revelation, etc ) Any honest investigation of the fundamental nature of the world leads to a thrilling understanding of the mechanisms governing our existence. That observation is at the core of my inspiration But I don’t really seek inspiration The “why?” question carries me places. ❝My works are novels written in the grammar of the form and with the vocabulary of the light. I always accompany them with librettos.❞
I usually spend 10 12 hours per day in the studio Starting early gives me a sense of accomplishment early on, and motivates me for the rest of the day. I’m e cient, but I can’t rush. The fragility of the material imposes a steady rhythm and good control over all operations I make e orts to take regular breaks, but I’m not good at it
Often times I prolong my working intervals to complete a stage. I dedicate a good deal of time to preparing the entire process, especially because most of the steps can’t be redone Depending on which stage I’m at, there is silence in my studio, there is music, or one can hear conversations. This partitioning of my projects largely correlates to the past, presence, and future Your works go beyond the limits of the most daring conjectures in demonstrated subjects and have an eye on the challenge of changes. Now, take us through your process of making your artworks. Well, I begin elaborating my works with the help of a set of primary elements, representing particular features of the reality I want to see together. They are artifacts (objects, photos, articles, lectures, notes) collected months before, while formulating the narrative When the time comes, I bring them out and organize them on the working table. Then I systematize these primitives into groups and levels, corresponding to the concept, and I link them into quite sophisticated compositional assemblages The artwork begins here, where abstract ideas nd representation in reality. During the execution, I may still increase the complexity if it helps strengthening a particular message What I hope to achieve by this is the most comprehensive and accurate story that I can store in that piece. In a way, my works are thesis or novels, written in the grammar of the form and with the vocabulary of the light I always accompany them with librettos
So, your doubt was an optimistic sort of doubt that opened new windows for you towards liberal creativity
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What is your daily routine when working in your studio?
Inspiration is basically a strong and sudden emotion that makes you want to go and create. How do you get inspired? How do you seek and use inspiration for your works?
There is a model of the world that forms the substrate of all my works, which rests on the idea of interconnectivity. It’s an actor spectator situation (like in the observer problem in quantum mechanics) close to Parmenides’ “all is one” principle However, each creation of mine is autonomous They all are, in a way, testing the model in a di erent setting. A solid narrative, well received by the public’s scrutiny, serves as the veri cation key Observe how I’m using logos that have the structure of a scienti c act, rather than that of an artistic one? This is another common attribute of my works, namely the belief that the laws of nature are worthy characters of our artistic contemplation. Duchamp’s beautiful Nude Descending a Staircase, which compresses time and matter in an orderly succession, is only one step away from admiring the laws of nature He wasn’t speci c about that, of course, but I am.
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And, if you could meet one of your ideal artists from the past, who would it be and what will you ask about?
What good news! So, we are impatiently looking forward to visiting your future works, especially the Light Catcher documentary I am so grateful to have an interview with you and thank you for taking the time We wish you the best, Catalin.
I don't (voluntarily) follow artistic currents; not entirely. I value Surrealism for its passport to imaginary worlds, but I seek a di erent kind of relevance I adopted Dada’s disobedience, but not its irreverence Constantin Brancusi is close to my heart for his ability to reach the essence of things. I perceive his work as a huge concentration of dynamic and gravitational forces on a tip of a spinning top I also visit the classics, in which I admire the strength of composition, the commitment to an idea, and the mastery Raphael's School of Athens is an admirable example
Catalin Domniteanu
But people outside of the artistic domain in uence my work, too. I nd artistic expressions in the elds of mathematics and physics I see no di erence between Pollock’s devise of splatter painting and Paul Dirac’s envision of antimatter. Dirac’s equation is an artistic conceptual work in its own rights.
The viscerally driven, subconsciously guided, randomly acquired artistic introspection brought by Dada and continued by conceptual artwork was a good exercise. Now might be the right time to collect our data and start formulating convoluted resolutions about our existence I’d tell him to put a vector in it Catalin, our readers are waiting for your future artworks Any upcoming works or future projects that you would like to share with our readers?
I have a few projects in the studio right now, at di erent stages Maxwell’s Demon touches on the subject of the information, as a fundamental parameter of the universe. A Stained Glass for the Blind explores reality beyond our senses Cornucopia (the corn of plenty) focuses on the social bene ts and implications of generalized wealth, a topic inspired by futurists like Michio Kaku and Max Tegmark who dare to suggest/aspire to an upcoming era of abundance In May 2022, I will participate in an art show in Old Montreal, and then my friend and I will be launching a documentary lm called The Light Catcher The lming began in November 2019, and it followed me through the making of one of my most important works, Laplace’s Demon.
I’d visit Duchamp, for his artistic philosophy con icted with me I was an engineer, at the opposite end of uselessness. It wasn’t enough that a painting held no practical purpose. Marcel took the objects of my conscientious conception meant to serve practical purposes, and squeezed the uselessness out of them We put energy into separating the raw matter of the Earth’s crust for creating purposeful things. Why then someone would increase the entropy back again by putting bikes’ wheels on top of stools, like in a pile of garbage? I’d tell him to hang around designers and fabricators.
I share Richard Feynman’s opinion who said that understanding electro magnetism does not exempt him from admiring the beauty of owers; rather, he said, it enriches it. There is an exceptional correspondence, or rather a lack of similarity, between the micro world (revealed through instruments) and the macro world (detected through senses). The viewers of my works ought to descend into the Platonic Realm of Ideals to discover and be elated by the underlying mechanisms of the universe What you say is palpable Your works clearly re ect the investigation of the universe's construction, from the fundamental laws of physics to the most complex form of existence, the human being, like what we see in Space Matters Now, let’s talk about your in uences What are your art in uences?
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 46 Baryonic Catalin Domniteanu Sculpture on Glass W:56 H:28 D:56 in 2021 Baryonicgoestotheoutermostlimitsofourknowledge, inthesubatomicworld, wherethenature’ssmallest knowncomponentslive Thatiswherethesheerimaginationlibertybegins AW127898720 ♡
47 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Laplace's Demon Catalin Domniteanu Sculpture on Glass W:35 H:53 D:6 in 2020 Laplace'sDemonexaminesthecon ictingpositionsofdeterminism, randomness, anddivineintervention AW127989232 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 48 The Future Memories of a Ghost Town Catalin Domniteanu Sculpture on Glass W:34 H:49 D:3 in 2017 TheFutureMemoriesofaGhostTown AW127071696 ♡
The Altar I -- The Continuing Chant Cheryl Chen Installation, Mixed Media on Wood W:61 H:170 D:40 cm 2021 AW127583068 ♡
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Cheryl Chen Graphics, Painting, Mixed Media, Drawing
Cheryl Chen’s Bio Before working as an art teacher to children based in Vancouver, Canada, Cheryl Chen had nished studying art craft and graphic design back in China in the 1990s After the short term working experience for a newspaper publisher in Vancouver in 2004, she decided to go back to school and nished a diploma program in Graphic Design in 2012 to continue her career after maternity leave However, after graduating from the Art Institute of Vancouver, her career route changed by chance, thanks to an internship to teach art in an education center Now, she has been working in ne arts for almost ten years, and she feels the urgency and the need to upgrade herself again After completing the rst year of the BFA program at the University of British Columbia (UBC), she decided to go to the University of Arts in London (UAL) to take a master’s degree in ne art in Printmaking to seek more opportunities to explore the professional area. As an experienced artist, Cheryl is willing to open her mind to the scope of the world of visual art, holding speculative and optimistic attitudes toward the unknown challenges. She values the e ective communication between the artwork and the viewers and the connection between artists and the world She believes that expressing oneself and making voices for the social occurrences are indispensable as an existence in this Anthropocene. biafarin com/artist?name=cheryl chen
Interviewer Cheryl, a million thanks for taking the time to take part in my interview and talk about your artworks and art career. Tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist Before working as an art teacher based in Vancouver, Canada, I studied art crafts and graphic design in China in the 1990s After a short term working experience in Vancouver, I decided to go back to school, and I nished a diploma program in Graphic Design in 2012 to continue my career after maternity leave. However, my career route changed to being an art teacher with an internship in an education center approaching graduation Now, it is the tenth year of my career in ne arts. As I age, the consideration of the essence of art drives me to ponder the relationship between our existence and the world. The moment that I determined to explore more as a visual artist appeared when my social consciousness was evoked by realizing that art touches us deep within our core, endowing us the power to change the state of real life.
Nice words! Art exactly stimulates us to change real life situations. Ok, a sense of doubt may come to any artist for a moment Was there ever a moment of doubt to question your art career entirely? To me, there were rarely any moments of frustration in my creative process as I understand how complicated it is to deliver messages precisely through artwork from its creator to the audience in the way artists expect It is normal if the career of a visual artist bogs down because of the obstacles to comprehension. Namely, e ective communication becomes especially valuable During the rst year of BFA at UBC, I was enlightened and widened my vision of ne art. The re examination of the human living condition has become my pointcut that led to the investigations from theories to practices since then The most encouraging moments were when my artworks struck a chord with viewers, resonating emotions that are harmonious with one another. This gives me the strength and stamina to keep a constant attention to social occurrences and make voices for the voiceless.
Cheryl Chen Nancy Krüger
51 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 The Altar II The 41 4% Installation, Mixed Media on Fabric | W:137 H:154 D:121 cm | 2021 | AW127651344
On the part of conceptualization, focusing on an overarching framework of attention, is to be concentrating on social issues such as A Continuing Chant, and deeply exploring data and facts to summarize the emphases of what the main ideas are to be conveyed with utmost importance Establishing a deliberate inner system of perception of the subjects, and comprising the external manifestation sometimes is a logical consequence of the process As the employment of the tribal drum and gynecological table for the Altar I & II, the nal presentation of both re ects the emblematic facts of in depth discussions.
Great job. The theme an artwork releases is deeper and broader and conveys something more universal and it’s just in one outcome Is there a central concept connecting all your works together or each series or artwork is unique? Indeed, I started an overall framework of a collection recently entitled the artworks with A Continuing Chant Through the analysis of my own identity, I believe that my attributes and extensive life experiences encourage me to investigate and re examine the status of vulnerable groups such as people with traumatic experiences and women as the second class gender in a society, etc. In this context, highlighting the humanistic care about the pain which derives from both a group and individual’s disastrous physical and mental experiences as a continuous message has become particularly prominent. Making voices for the voiceless is a core value that has perpetuated signi cance in di erent eras. The reason why I embarked on this series is that I tried to gure out the role I am playing with the expression of my artworks, and how these messages a ect the world in this regard.
To me, staying focused and pondering what is happening around us is part of my artistic life, especially the living condition of vulnerable groups Aiming to raise awareness for them society wide and thereby reducing or ending their di culties is the full signi cance of all of these.
With these ideas and this brilliant mindset that you have, I'm eager to know how you get inspired, Cheryl? How do you seek and use inspiration for your works?
The Altar II is inspired by an installation by Zhou Wenjing, a Chinese artist called “Women Series IUD”, 2014 The theme reveals and reexamines the history of how generations of women were a ected by the forcibly inserted Intra Uterine Devices under the “One Child Policy” from 1980 to 2015 Recently, the “forgotten rings” appeared on the social platform have sparked a heated discussion especially focuses on the trauma that women experienced and the interrogation of policy making in freedom of reproductive rights
That's true These doubts naturally never lead the artist to failure Occasionally, some new trends can come out of such moments. What is your daily routine when working in your studio?
Keeping an acute sensibility is indispensable to an artist with social accountabilities A strong ability of empathy and critical thinking is crucial for building up a critical and analytical system of perception when envisaging the plights of individuals and groups Paying attention to the social occurrences that cause the existential predicament of human beings is my core of thought as well as the motivation for creating artworks.
I admire your sensitivity and sense of responsibility. Art raises the voices to be heard by people and you paid attention to this capability Now, take us through the process of making your artwork Research, research, research! This is always the starting point for me to embark on a self directed project. From the concept to the nal form to the nal representation, it is research that plays an indispensable role throughout the process of constructing an apparatus to deliver messages e ciently, as well as one which connects viewers with visual languages at the same time
In the meantime, doing in depth research and participating the public discussion about social problems is the ideal approach to maximizing access to the truth and identifying the location to take a good path.
In May 2020, 215 children were found at an unmarked grave at a former residential school in BC, Canada. This news shocked me The trauma in icted on indigenous people is brought in society wide discussions Given this, there is an unprecedented necessity for every one of us who is living on this land to participating in the transposition thinking as the dark history is not far away Through singing and the rhythm of drumming, the spirits of the deceased are comforted so that they are able to rest in peace. This became the starting point to develop concepts of The Altar I
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Cheryl Chen
Now, tell us about the artists as strong motivational factors in your art career in di erent eras What are your artistic in uences? Who are your favorite contemporary or historical artists and why?
Chiharu Shiota is a female artist I admire who has a mixed cultural background as well. Her approach in her artworks encompasses demonstrations that are not only personal but making her way across the themes of the body, relationships, memory, identity, and home. With the long term Asian shared culture background, I believe that we can have an informative conversation if there is such an opportunity Firstly, I would like to know more about how she captures the relation between the immersive presence of her artwork, for example, the Absent Bodies, and the vibration when the viewer is directly involved in the work. How does she structure the tunnel as a time machine and guide the audience to look through it as looking to the past? How does she gain access to visualizing the emotive, such as memories? What are her beliefs about the physical body, and what is beyond?
This interview ends here We hope that you enjoyed reading this inspiring interview with Cheryl If you want to ask your own questions, please scan the QR code and proceed.
Yoko Ono is one of the contemporary artists who enlightens me and guides me toward the investigations of human rights and living conditions, particularly from the perspective of a female artist. Her life instructions that I saw in both an in person exhibition and the book, the Grapefruit, open a door to critical thinking and inspire me with humanistic ways to re examine the nature of things thereby being comforted and healed.
And how about traveling to the future?! Any upcoming works or future projects you would like to share with our readers? I’m planning to carry out more projects that are around the central concept of A Continuing Chant, such as the human tra cking of women as one of the feminist topics and the living conditions of the bottom percentage in a society in Hong Kong Since I am going to take a MA Fine Art course in Printmaking, there are lots of untouched territories for me to explore, and nally, I am able to constitute artworks with the approaches in this area Moreover, a solo exhibition is my short term objective to completely describe my attention to the social occurrences and change and in uence people’s views and thinking no matter how our backgrounds or beliefs may di er Thank you for participating in my interview Our readers will de nitely enjoy what you said about your art life and artwork. I wish you far more success and hope to shine like a star in the sky of art forever, Cheryl. ❇
Helena Almeida is another female artist who aims for “simultaneous feminism internationally”. Also, in Wack!, her series of photographs with bold blue acrylic strokes brings out the message that women at this point are not in art history but making a name for themselves. The awakening of female self consciousness from her artwork incentivizes me to take activities as art making to transmit the beliefs, doubts, and wake up calls to others. Great choices! Let's have a trip to distant times to meet your speci c favorite artist! If you could meet one of your ideal artists from the past, who would it be, and what will you ask about?
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ThestoryisaboutonedayIsawablueballoondriftingovermyfrontyardwiththewindasifembarkinga journeyuntilitwasde ated Idecidedtotraceittorecordthemomentsofitsstay boxesasthemedium, thedrawingseriesunfoldasequenceofillustrationsthatnarratethewhereaboutsof theballoon, documentingthefortuitousencounterinacircumstancefullofalienation hasbeenkeptconsistentfor7to8piecesinthenarrativerenderinglanguages, paintingandcharcoaldrawing re ectingbothmentalandlivingstatesofindividuals
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 54 The Visitor Cheryl Chen Drawing, Charcoal on Cardboard W:180 H:30 cm 2021
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duringtheCovid 19 period AW127677916 ♡
55 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 The Lost Memory Cheryl Chen Installation, Mixed Media on Board W:76 H:17.78 D:71 cm 2020 Thisinstallationre ectsmyownchildhoodthatwasimpactedbythepoliticalupheavalinChinaduring the1960 70s AsaresultoftheCulturalRevolution, myparentsneverhadthechancetowitnessmy childhooduntilIwas16 Thelackofparentala ectionledtothelackoftheplacidityofahome Theutilizing offamilyphotosonthewallsofahome likestructuretellwhatIexperiencedinmyearlieryears By manipulatingawildrangeofmaterials, suchasfoamboardandplasticsheettocreateahome, Imerely createasymbolthatrepresentsitsfragilityandthespeciosity whichcontraststothesubstantialmeanings ofafamily, thedestructedframeofhouseisisolatedonadeser AW127705944 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 56 Crescendos Cheryl Chen Collage, Mixed Media on Paper W:34 H:50 cm 2019 Theimagescollectedfrommagazinepagesshowanexpressionofcitylifeandhighlightthetensionamong peopleandtheirlivelihoods Usinggraphicsofmouths, theartworkvisualizesthesilentvoiceinsideofeach oneofus AW127732776 ♡
57 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Distancing Cheryl Chen Sculpture, Clay on Plexiglas W:40 H:14 D:30 cm 2019 Theworldhasbecomesmallerwiththeadventoftheadvancedtechnologies However, thelonelinessis neverfarawayfromus Whatcausesthedistanceinbetween?Misunderstanding, insecurity, orwariness playsanintegralroletofermentanddeterioratetheconnection, makingthespacebetweenindividuals invisiblebattle elds Thissculptureinterpretsthehelplessstatusthatexistswhenpeoplearenotwillingto stepouttheircomfortzone Thelimbsoftwo guresresemblerootstanglingtogether, hinderingthemfrom reachingeachother AW127759712 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 58 The Mountain Spirit - The Bronze Crescent Cheryl Chen Illustration, Acrylic on Charcoal W:80 H:100 cm 2021 Theconceptofthisartworkisbasedonthepoem, TheMountainSpirit, byQuYuan(c340 278BC), during thewarringstatesperiod Itillustratesasceneofawitchimmersinginthedepressionwhensheiswaiting forarevelatorymanifestationoftheMountainSpirit, whichendsupnoshown Themonochromaticareas aredepictedaswitchshairandfrocktosymbolizehermythicalcharacteristics, creatingtheiconographyof bothrepresentationalandabstractorsomethinginbetween Thebronzecrescenttakesthefocalpointof thespacetohighlightthethemeofthepoembycarvingQuYuansoriginalverseon ToemphasizingtheChu cultureofwitchcraftatthetime, theplants, theanimalhor AW127787012 ♡
Blackbirds Maquette William Moore Sculpture on Bronze W:6 H:11 D:4 in 2021 AW127727520 ♡
biafarin com/artist?name=william
moore
William Moore Sculpture
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William T Moore III was born in Decatur, Alabama Mr Moore found encouragement by his family and friends as he explored portraiture and other media in art as a teen Portraits and the human gure would lead him to work with Northern Ohio, monumental life sculptor William M McVey but only after undergraduate school was completed at the Cleveland Institute of Art in 1984 While at the Institute, Mr Moore developed his individual abstract voice in other materials investigations that would become so important to him throughout his life After Mr Moore’s apprenticeship with various other Cleveland, Ohio Artists, Moore enrolled in the Masters of Fine Arts, Sculpture Program at Kent State University in 1996 Mr Moore is an abstract sculptor in mid career who’s sculpture has been exhibited throughout the United States and he has won high praise for his art Flowing sculptures with varied textures inspire his mind yet he hopes you will nd pleasure in the artwork he is presenting
William Moore: Giving Life
61 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Blackbirds Sculpture | W:11 H:13 D:6 in | 2021 | AW127454440
Marian White Interviewer William, thank you for taking the time to learn more about your artistic career and artwork through this interview. Tell us about your artistic background and whether there was a pivotal moment when you decided to pursue your path as a visual artist
At four years old the rst museum I ever visited was at Redstone Arsenal in Huntsville, Alabama at the Rocket and Military Space Museum which consisted of three half dome structures with the earth painted on them, inside military exhibits and outside in the park, rockets of the early 1960's standing side by side. After experiencing the Museum my mother was very surprised the next day when she came into my bedroom and saw I had drawn the rockets I saw on the ceiling over my bunk bed. I had told her "the rockets y up there" that was when she knew my destiny was to be an artist She, in life and my career, would be one of my greatest supporters. My father and I, on the other hand, would be at odds with each other over my dream to be an artist for most of my early life Dad, being an Aerospace Engineer was a man of very practical means At 14 he introduced me to NASA Illustrator Les Petus. Mr. Petus gave me some of his original drawings of the Astronauts he had done so I could use them as a guide to copy his technique He left me with the drawing for three months and when I saw him again I was able to show him all the drawings I was doing of family and friends Mom was surprised by his response " The Kid has copied my technique I can't tell him not to go into art He needs to be encouraged! So Dad reluctantly enrolled me in painting classes in Huntsville. As I got into high school I would take Art classes with Linda Sanders Lee who I am in contact with to this day and Doug Thornton who would make the suggestion to attend The Cleveland Institute of Art.
To
❞
YOU
An interlude: I am a very spiritual individual and pray that what I am about to write will be understood and even supported as personal and introspective as I am going to be here In November of 1989, I was diagnosed with bipolar disorder and depression. I really did not know what that meant at the time of the diagnosis except that my life as it was needed to change As I was living in William McVey's studio home at the time, my mother came to Ohio and lived with me for a year while I put the pieces of my life together I met the woman who would be my wife in January of 1990 and through her I met my therapist who I would see individually and in group therapy for many years. My mom got me in touch with a psychiatrist who I would see for 30 years until he retired and I had to nd a new one At this time, I had no insurance so I paid for therapy through payment in sculpture, work, or monetary payment. I would go through many medications for this condition throughout my life but always take it to keep my level best until a change was warranted. I always kept creating sculptures even though the fog of medication no matter how di cult that seemed In early fall 1995 about a month into the rst semester of Graduate school at Kent State University in Kent, Ohio I got very depressed and came up with a plan to end my life. I shared that idea with my wife and she at once called my psychiatrist and I was hospitalized for a week for suicidal thinking After the hospitalization, I drove from Kent State Sculpture Department to the aftercare outside the hospital At the aftercare, we met in a large group led by a doctor who had us discuss why we were there and how we were doing The group nding out that I was an artist speci cally a sculptor wanted to see examples of my artwork. So I brought in my portfolio and this young man of color came over to sit next to me, portfolio in hand looking through it seeing pieces of William Howard Taft as Chief Justice at Cincinnati Law School, Young James A. Gar eld, Moreland Hills Historical Society, Dove' The Spirit of Flight a stone abstract sculpture 6 foot and other stone abstract sculpture He looked at me and said "You really don't get it, do you You don't understand...YOU ARE A GENIUS! have so much work left to do! CAN'T KILL YOURSELF!' My Angel was sent from Heaven to explain to me the importance of my life I often think of that man of color and the inspiration of his words as I continue on in the work that I have so much to do. ❝ leave a positive mark on this world is what I am about. I am trying to do that with my sculpture and my legacy.
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While attending Decatur High School, I took oil painting classes with Al Beyer at his studio in Huntsville, Alabama Tuesday nights as he taught day classes at the University of Alabama at Huntsville at the time. One of the most important paintings I made during this time was a 5 foot by 5 foot Surreal painting in oils of a large Hawk the bird from a distance that when seen up close became the components of the HAWK missile system. This work was placed at the HAWK Project O ce Army Missile Command Headquarters at Redstone Arsenal in a hallway that was close to 250 foot / feet in length. When Mr. Robins the HAWK Project Manager saw the painting for the rst time he was so animated when he saw the Bird change into the parts of the missile system that every year they had the painting he would write me if they could keep it one more year. I did this work for my father an engineer on HAWK for whom I so admired I dreamed of being a sculptor because they are the engineers of the arts. All my life I had hoped for a connection between us. Sculptors are the engineers of art. What an admirable interpretation! Was there a moment of doubt that made you question your artistic career entirely?
You
Great job! Now, take us through the process of creating your artworks. The way I usually start a body of work is through ruminating about the subject or theme of interest to me I may ruminate and ponder on an idea for months before I actually begin to start to think about visual interpretations With the series of works done from my responses to the Blackbirds singing and rustling their wings in the oak tree while at my mother's three years ago now. I was meditating and praying to the works of Jesuit Priest Anthony DeMello That opened my spiritual eyes to my Higher Power and improved my senses of my surroundings so I could take in such an amazing scene and give an abstract visual response to my sculpture. I start with the sculpture making process by using my favorite technique I got from my rst sculpture teacher Jerome Aidlin whose wisdom has been so important to me over the years since those days at The Cleveland Institute of Art I start by making maquettes in oil clay on small wood stands with long screw armatures that when completed are 8 to 10 inches in height. When the maquettes are nished I save them for molds and bronze casting at the foundry I use the maquettes I make as the basis for enlarging a new oil clay sculpture of 25 to 29 inches in height that will be made for bronze casting. Sometimes I have made the larger sculptures without a maquette just responding to the material at hand such as the work Funky Bird Form In another work Cabal, I made the three bird forms in oil clay at actual size but they were never cast due to expense. I decided to carve them in wood and the structure that holds them up was a response generated through drawings from another sculpture Intrigue and Duplicity all responses to materials and drawings at life size in the studio. All these sculptures fed o each other as they were created one after the other and a couple in tandem with each other. All the wood is kiln dried lumber that has to be prepared in advance of carving so the woodworking skills I learned as a cabinet maker at Thomas Miller Custom Cabinets in Cleveland, Ohio from January 2000 through May 2005 have been an added education I am also very thankful for.
The strength of your artwork is the use of woodworking techniques such as hand carving and construction methods that bring these sculptures to life Is there a central concept that connects all of your work, or is each series or artwork unique? Where working in a series and responding to materials was important to the narrative when I was working in undergraduate school at The Cleveland Institute of Art with Jerome Aidlin and Carl Floyd. At the time, I was in uenced by the work of Richard Hunt who I met at Middle Tennessee State University when living with my mother and sister during my senior year of high school. Also, Isamu Naguchi who I met installed the Tree, Donner, and Gift at the Cleveland Museum of Art in 1982 Hepworth, Moore, and Brancusi round out the team at the time I was looking at. The importance of a strong narrative in the series of sculptures was not stressed until my work in graduate school at Kent State University with those instructors Paul O'keefe, Brinsley Tyrrell, Ann Carter, and Claudia Matsko. We looked at modern artists at the time such as The Guerrilla Girls, Je Koons, and Tim Hawkinson to name some The Dadaists were especially important because of their sassy approach and concepts in their creations.
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The way I work is a little unusual in that I have to think about what I am going to do in the studio before I get there My day job is as Security Guard at The Cleveland Institute of Music During my work hours, 6:15am to 3:30pm, I not only get to hear the outstanding music of the great students of the school, but there are moments I have time to think about my sculpture The next things I want to do or decisions I need to make in a work are made usually outside the studio. That way when I get in the studio I optimize my time by working through the physical things I need to from carving, planning, or jointing wood for lamination or gluing up for broad surfaces or other woodworking needs.
My time right now is limited Monday, Tuesday, Thursday, and Friday, I usually go to the studio after work from 3:45 pm to 5:00 pm not much time during the week but it does add up Saturdays 10:00 am to 4:00pm or 5:00pm. Wednesday is music theory adult classes at CIM which is a new talent I have been developing over the past several years of writing music I hear and write music in a visual way in my mind How my sculpture and my music will come together only time will tell. Sundays are for me and Hallie my wife, though if need be I might go to the studio for a couple of hours in the morning saving the afternoon for us
Sometimes I have things I can do at home like making maquettes in oil clay for new sculptures. Maquettes are usually 8 to 10 inches in height and when they are nished I save them so they can have molds made for bronze castings. My formal studio is luckily right next door to The Studio Foundry, Cleveland, Ohio.
What tough days you left behind but with a promising result! The ups and downs of our souls, the positives and negatives that go around us, and some people we meet can carry various messages. What is your daily routine when working in the studio?
I have been so fortunate to have met two of my favorite artist's from the past Richard Hunt and Isamu Naguchi That their lives intersected my life at such strategic brief moments that were so impactful and meaningful I cherish to this day. But if I could bring to life an artist from my past it would be my rst sculpture teacher Jerome Aidlin who died too early during my time with McVey His death hit me hard because of the lessons he would teach me that I nd myself re ecting on when working in my studio today. One of the things Jerry said to me was " school is where you can make mistakes because you are among friends and peers " The Cleveland Institute of Art was a ve year school with a two year foundation course in those days. That's why I chose it to give me added 3 D knowledge I did not have because my background before was so strong in drawing and painting. My fourth year of school was a disaster and I made so many mistakes in school and out of school that year I can hardly believe I survived it
I am thinking speci cally about Marcel Duchamp All these in uences lead to possibly my most signi cant work my Master’s Thesis Called (Love X Pain = Healing), the narrative for this series of works was about the sexual abuse I experienced as a child at the hands of a Catholic Priest and expressing my emotions after reporting it to the Bishop in Birmingham, Alabama, Though these works are no longer in the physical world they were recorded in a documentary by Jim Hacha called simply "Stone Works" I work from a Narrative in series and the title to a sculpture is very important in leading the viewer towards what a particular sculpture may be about. I welcome the viewers’ engagement of imagination in interpreting their personal meaning of my sculpture Keeping up with my artist statement has become very important to me. What I have to say about my artwork has become very important thanks to the lessons I learned at Kent State University
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I would also go on to work with Edwin Mieczkowski a painter famous for being a father in the Optical Perception art movement of the early 1960's and part of a group of artists that challenged Abstract Expressionists at the time. Working for one of these artists would ll a resume but I had the great fortune to work for all three In my artwork, their in uence can be seen by the way I use my sensitivity to form and shape quality as well as respect for animal in uence in my work through McVey. The woodwork that used the geometric base structure in my wood sculptures is an in uence of Mr Davis Last but certainly not least Mieczkowski buy way of the introduction of painting to my sculptures as with Cabal and Phoenix Fire Bird. I know they say New York is where everyone wants to go to work for the great artist there I have visited New York several times in my life and don't get me wrong it is a city that is truly remarkable and a joy to explore but for me, I could not have survived there I fell in love with Cleveland the moment my mother rst brought me up from Tennessee to visit in the winter of 1979. When I moved to North Ohio I fell in love with it and have lived here ever since The strength of Cleveland's artist population is so strong and I am proud to humbly be one And, if you could meet one of your ideal artists from the past, who would it be, and what will you ask?
Your remarkable sculptures have a lasting impression on viewers’ minds How do you seek inspiration, and what motivates you to create? My inspiration for my artwork comes from a combination of life experience, research of a subject or narrative I am going to pursue, and talking to the people close to me I love and opinions I highly respect. The sculpture I have been doing for the last two years is based on the narrative from my meditations and prayer through Anthony DeMello while visiting my mom in Texas while she was alive. Taking the dog for a walk and came across a grove of oak trees lled with hundreds of blackbirds singing and rustling their wings that were so very loud. It was so emotionally powerful to me that the experience was the basis of a narrative and artist’s statement that would carry me through some very powerful sculptures
I was lucky enough to be in Cleveland, Ohio at a time when it would go through a renaissance after I graduated from art school at The Cleveland Institute of Art in 1984 I was very fortunate to live and work with one of my three mentors, Northern Ohio monumental gurative sculptor William M. McVey. I would work with McVey directly as his last assistant for four years from October 1984 through the spring of 1988 From that spring of 1988, McVey would convalesce in a nursing home, leaving me to nish his outstanding work and animal editions sold through his lawyer at the time, until McVey's death in the summer of 1995 As I lived and worked out of McVey's studio home working on my gurative and abstract sculpture I would face many challenges much of them already mentioned Because I was in need of keeping up with my nancial obligations, primarily school loans I was able to work with geometric abstract sculptor David E Davis in Cleveland, Ohio.
Who are your artistic in uences? Who are your favorite contemporary or historical artists?
When I came back from Christmas break I had gotten pictures of a twin building in Tulsa, Oklahoma I was starting to think and plan out a sculpture for the site, it would be a monument. After a couple of days of me oundering around jerry burst into my studio space and yelled at me at the top of his lungs to impress upon me the importance of the wrong path, I was going down. He said, " What the hell are you doing spinning your wheels trying to build monuments?" That was a very important turning point for me as I would try to nd myself expression through smaller more manageable work focusing on a body of sculpture with pieces that grew from each other Though during the rest of my fourth year I struggled When I did get into my fth year I was able to carve stone a dream that I had wanted to ful ll. By working for McVey on his monuments and a couple of gurative monuments I made I got that out of my system When I abandoned the gurative, jerry Adlin was the rst artist I thought of and his lessons of nding myself through expression and independent thought using all I have learned over the years I would like to show him that his teachings really did get into my thick skull. Those readers who follow your work are looking forward to visiting your future artwork. Do you have any upcoming work or projects you would like to share with our readers?
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William Moore
Thanks for accepting to participate in my interview and sharing your impressive story and ideas with our readers, William I wish you the best and hope you shine brilliantly as always ❇ This interview ends here We hope that you enjoyed reading this inspiring interview with William If you want to ask your own questions, please scan the QR code and proceed.
Right now I am currently ruminating and have been talking with my new friend Lisa Birch who is responsible for keeping us safe during the pandemic by cleaning the building during the day at The Cleveland Institute of Music where I have my day job. Lisa is one of the brightest women I have come to know and her wisdom is so greatly appreciated at this time of great stress for this country by way of the pandemic, politics and how in general we as a nation are treating each other with di ering opinions. I won't give away how my work is changing into a new narrative and artist statement but it is in ux I have written a new artist statement and have started ten oil clay maquettes that cover my responses to this new narrative. I have created ve medium sizes twenty inch tall wood laminated blocks for carving I have also started three of ve wood base structures at forty ve inch tall to support the blocks once they are carved from the oil clay maquettes. I am very excited about the new work and am doing them with the hope of exhibiting the works together in a larger show when the sculptures are at a point of presentation.
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 66 Cabal William Moore Sculpture W:25 H:77 D:24 in 2021 AW127841816 ♡
67 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Duplicity William Moore Sculpture W:24 H:25 D:6 in 2021 BronzeonBlackWalnutandWhiteLiveSawnOak AW127585768 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 68 Orion William Moore Sculpture on Bronze W:17 H:27 D:12 in 2021 AW127253520 ♡
69 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Phoenix Fire Bird William Moore Sculpture W:25 H:72 D:24 in 2021 BlackWalnut, LiveSawnOak, OilPaintandPolyWipe AW127460000 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 70 Seed Pod Gay Man Maquette William Moore Sculpture W:6 H:10 D:4 in 2021 BronzeonMarble AW127411128 ♡
Adagio Dean Carillo Painting, Acrylic, Oil Color on Canvas W:36 H:48 in 2020 AW127526464 ♡
Publications Just Listen, Horizons Volume 6, 2021, University of Hawaii at Manoa, pp. 152 155 biafarin com/artist?name=dean carillo
Spring 2021 BFA Studio Art from the University of Hawaii at Manoa
Works on Paper, The Art Center (online gallery and in person), May 1 Jun 30, Dover NH, 03820
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Currently in an online exhibition, Abstract 5, for Art Show International from April 1 30.
All Abstract 2022, 311 Art Gallery, Mar 4 26, Raleigh NC, 27610 2022 Landscapes or Seascapes, Las Laguna Art Gallery (online exhibition), Mar 3 31, Laguna Beach CA, 92651
Recently Exhibited
Dean Carillo Drawing, Painting
Fourseen + 1, Bishop Square: Pauahi Tower Lobby, Jun 12 Sept 10, Honolulu HI, 96813
UH Manoa BFA 2021, Downtown Arts Center, May 16 31, Honolulu HI, 96817
Dean was born and raised in Honolulu, Hawaiʻi He had recently received his Bachelor of Fine Arts (drawing concentrated) from the University of Hawaiʻi at Mānoa in the Spring of 2021 He mostly works in dry mediums of graphite, pen, charcoal, and pastel, but also works/experiments with wet mediums, digital media, and ber.
Currently, he works as a production specialist in the Large Format Graphics department of HonBlue Education
Robin Weißbach Interviewer Dean, we are very grateful to talk to you via this interview Thanks a lot for answering my questions here Tell us about your artistic background and whether there was a pivotal moment when you decided to pursue your path as a visual artist Like most other artists, my love of art began at a young age; I can remember using tracing paper to copy my favorite animated characters out of a book before drawing them freehanded From then on, my family always encouraged me to let my creativity guide me to my career. I nally decided to pursue art as a career in the middle of my senior year in high school After completing a project in my drawing class, I noticed how much I enjoyed seeing my own ideas manifest the way I imagined it / them. This would only result from my critiques/conversations with my teachers and I just knew that I would want to bring out the best in others as they did for me. I struggled for a while to get to that point, but I knew my life wouldn’t feel ful lled if it didn't involve creating
Throughout my childhood, people would constantly tell me that a career in art was unsustainable and impractical I can remember completing some type of career project in school every year since the sixth grade, and my career always changed. I felt so discouraged because I wanted to pursue art, but I grew up thinking that it should stay as a hobby and that my career should be more “useful ” Yet, even after deciding to take on an art career, I always doubt myself when I get frustrated in the middle of a project. If it’s not going my way, I have a tendency to doubt my skills and choices, but in the end, I always know that sometimes I need to step away from the project to clear my head or get feedback from other colleagues.
Imagination often leads to creativity, and creativity is the ability to generate new ideas that sometimes provide a touching and lovely output. Dean, as you mentioned, you thought very seriously about your art from a young age Was there a moment of doubt that made you question your artistic career entirely?
73 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Awaiting Angst Drawing, Charcoal, Pastel on Paper | W:28 H:40 in | 2021 | AW127716224 Dean Carillo: World Ideologies Translation
To me, research and preparation are keys for my process! I can’t move forward unless I’m con dent in some types of plan. I’ve learned to leave room for changes as I work, but I like to have a direction for the idea I’m working towards My work has a lot of hidden/personal signi cance, which is crucial in my decision making for materials and subject matter. I try to bring a diversity of perspectives to a concept, so I really enjoy the research aspect of my brainstorming sessions I nd it interesting to see how the subject is addressed by other artists, authors, researchers, etc. After gathering my research, I put together some preliminary sketches for my abstract work, or have a selection of photos for realism; once I reach a point where I am overly excited, I know that’s when it’s time for me to begin.
The series I mentioned previously, titled Cynic Masque, consisted of three large scale charcoal drawings (Twisted Frenzy, Echo Mania, and Awaiting Angst) that addressed the overwhelming emotions I experienced while completing my undergraduate studies. ❝I couldn’t ask for anything more in my life than to be able to learn, create and watch how art can bring people together. ❞
And mostly, this research and pondering lead to the invention of extraordinary pieces that explore new methods to create a greater sense of depth and detail Is there a central concept that connects all of your work, or is each series or artwork unique?
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I was so used to having dedicated times, spaces, and classes to work on projects, it took me a while to nd a sustainable routine. Most times, I try to take some time in my day to work after completing all my other personal endeavors In terms of setup, I always create a comfortable environment that won’t discourage my work ow and thoughts; my only condition is that I need to listen to music to keep myself calm and focused. I try to rotate my projects each time I work so that I don’t tire myself out by staring at the same project; or my mood determines which piece I work on as some could require more detail/focus, whereas others are much more free/ uid So nice! You will bene t from the magic of music while creating artwork Now, take us through your process of creating your artworks. How do you begin, where is your work endpoint, etc.?
Inspiring is the most signi cant step in presenting a creative artwork. How do you get inspired? How do you seek inspiration and what motivates you to create?
I agree It is better to leave something amid doubt o and on and return to it after a while Now, we are willing to know about your daily artistic life. What is your daily routine when working in the studio?
Over time, I’ve found that visually, my works are very di erent from each other, but conceptually they all surround the idea of creating a space for the viewer to occupy and re ect. Art has always been my safe haven, and I seemed to translate it into my creations by inviting my viewers to separate themselves from the physical world and join me in these ambiguous worlds that I fabricate. I lose myself in my work and can spend hours on certain details, and I want the viewer to become lost in all the detail to allow themselves to think about the subject and empathize with me.
I would say that a majority of my inspiration comes through my day to day life activities or my past experiences Stemming from very strong emotions, my ideas are usually sparked by some sort of interaction or memory that I recall; these could be positive or negative experiences as some of my recent work has addressed darker themes such as mental issues
And, if you could meet one of your ideal artists from the past, who would it be, and what will you ask? If I were to meet an artist from the past, I would say I’d meet Gustav Klimt. One of the rst paintings that I have seen from him was the portrait of Adele Bloch Bauer I, and I was in love with this historical integration of abstraction of at color and ornamentation with a gure. I would probably want to ask about his process and the various in uences that caused him to shift towards modern abstraction Other than that, I would want to ask what he had intended for his art and talk about his impact on contemporary art. Now it's time to ask about your future endeavors because our readers are waiting to see more of you. Do you have any upcoming work or projects you would like to share with our readers?
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My recent projects have been a lot smaller (Current I/II, Lush I), but these past couple of months have been a really great experimentation period for me I’ve been working with di erent materials and approaches to make my works more dimensional and expansive. As well as working with new concepts to keep my creative juices active and not get complacent in my concepts Overall, I’m excited to scale these up into larger scale projects, or add on to my previous series’. There has been a lot of trial and error, but so far, it has been nothing but a good learning experience Dean, I am so grateful to have an interview with you, and thank you for accepting I hope you will always shine with your unique works like now. We wish you the best. ❇ This interview ends here We hope that you enjoyed reading this inspiring interview with Dean If you want to ask your own questions, please scan the QR code and proceed.
Dean Carillo
Using a variety of signi ers, I created a world that connects internal processes and thoughts to the brain’s anatomy, and an amusement park; representing the “rollercoaster” of life and its ups and downs. These unlikely subjects were deconstructed/fragmented and reunited as one imaginative space that represents the doubts, worries, and anxieties one can experience daily.
Great job! Actually, your works are known for inspiring re ection and conversation, as well as having the ability to transport your viewers Some artists or artworks of di erent eras may be key in uences in your art career Who are your artistic in uences?
In terms of historical in uences, I don’t actually have anyone speci c in mind As a whole, a lot of the art movements of the 20th century each had their own impact on me, so I have trouble naming and narrowing them down In terms of contemporary artists, I would say my top three favorites would be Bisa Butler, Dominic Chambers, and Anna Park. I feel like these three could be an odd group together, but their work inspires me with the di erent concepts, approaches, and materials they use; mainly, I respect and admire all of them not just for their artwork, but also for their processes. Each of these artists creates worlds of some sort that strike a conversation and tell stories about the subjects that they focus on
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 76 Current I Dean Carillo Drawing, Ink on Paper W:4 H:5 in 2021 Createdbymultipleimagesofthesameplace, thispieceiscreatedwithmultiplecutoutlayersofmeticulous stipplingthatallowfordetailstobecelebratedandhiddenbehindeachother AW127423552 ♡
77 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Current II Dean Carillo Drawing, Ink on Paper W:4 H:5 in 2021 Createdbymultipleimagesofthesameplace, thispieceiscreatedwithmultiplecutoutlayersofmeticulous stipplingthatallowfordetailstobecelebratedandhiddenbehindeachother AW127799744 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 78 Diminishing Dean Carillo Painting, Acrylic, Oil Color on Canvas W:36 H:48 in 2020 Representingmyloveformusic, anabstractedclose upofmysaxophonerenderedinnon localcolorto conveytheemotionsIfeelwhileplaying Diminishing, typeofchordalteration, isbothadepictedvisually (throughperspective)butalsosymbolicoftheminor/eeriechordsinmusic AW127469312 ♡
79 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Echo Mania Dean Carillo Drawing, Charcoal, Pastel on Paper W:28 H:40 in 2021 AW127053952 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 80 Grandioso Dean Carillo Painting, Acrylic on Canvas W:60 H:60 in 2020 Representingmyloveformusicthroughclose upabstractrenderingsofmysaxophone, recoloredtoconvey theemotionsofplaying Grandioso, meaningGrandornoble, isnamedforit'slargersizephysicallyaswellas theplayofthesesmallkeysandpadscreatingsuchlargeandmovingsounds AW127581120 ♡
Aiviq Larry Davis Painting, Acrylic on Canvas W:24 H:36 in 2021 AW127259904 ♡
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Larry Davis Painting
Larry Davis studied art from K 12 at which point I graduated from Lathrop High school and attended the University of Alaska on the Peter Web Art Memorial Scholarship I traveled extensively throughout Alaska and studied the scenery and wildlife My work is exhibited in Chena Hot Springs Resort, Maclaren River Lodge on the Denali Highway, Dept of Transportation Northern Div in Fairbanks, Dept of Natural Resources in Anchorage, Taco King in Fairbanks, KFC in Fairbanks, Richard McKinley Optician Shop in Fairbanks, and many private collections in Alaska and throughout the United States My most recent exhibition was at the Hoarfrost Distillery in Fairbanks biafarin com/artist?name=larry davis
Larry, thank you for participating in my invitation to talk so that our readers can get more familiar with your artistic career and brilliant artworks Tell us about your artistic background and whether there was a pivotal moment when you decided to pursue your path as a visual artist. I began doing art in early grade school and was encouraged by my teachers to continue art In high school, I used all my electives to do art. In my senior year, my Teacher applied for me to get the Peter Web Memorial art scholarship I received to continue at college I attended the University of Alaska where I majored in Art This began me on a path to develop my own style and technique. We can say that teachers also play a signi cant role in advancing goals and artistic careers, in addition to the artists' own interest in works of art Was there a moment of doubt that made you question your artistic career entirely? When I was at the University, I minored in education because I wanted to teach art at the High school level and possibly at university. But to continue my education I began to work in construction to pay for my continuing education The pay was so much that I began to work construction full time and do my art on the side There are sometimes long periods between work which gave me ample time to produce art.
Now, take us to your workplace. What is your daily routine when working in the studio? I don't always work in my studio because Alaska has such vast and remarkable resources for subject matters But many times I start a piece in a location and nish it in my studio. When I am working in my studio, I tend to do basic chores such as matting and framing during the day and almost always paint in the evening and many times into the morning hours.
Larry Davis: Real-life Stories
83 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Alaska's Bounty Painting, Acrylic on Canvas | W:24 H:48 in | 2019 | AW127799120
Peter Lévesque Interviewer
Usually, I will work with real life stories of animals from Alaska, such as Musk Ox being hunted by wolves, or a Moose protecting its calf from a bear But , I like to work with Native folklore, such as the Raven which has many stories and legends. Sometimes unique sources of artistic inspiration capture the artist's soul. How do you seek inspiration, and what motivates you to create?
And, if you could meet one of your ideal artists from the past, who would it be, and what will you ask? De nitely Degas, and I would like to watch him work more than talk about his paintings
Larry Davis
Larry, I am so grateful to have an interview with you, and thank you for accepting I am looking forward to visiting your vivid works in numerous world exhibitions. We wish you the best. ❇
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By traveling extensively throughout Alaska the inspiration is endless, and I also like to study Native folklore and read about their legends to then apply my own interpretation Wow, you must have had many cool trips and seen many captivating places by now Larry, who are your artistic in uences?
This interview ends here We hope that you enjoyed reading this inspiring interview with Larry If you want to ask your own questions, please scan the QR code and proceed.
It is said that the process of doing art helps artists progress Take us through the process of creating your artworks. I like to use wildlife as my subject but I want to make it interesting by painting real life situations or making the animals meld from one to the other in an interesting pattern so where one animal ends the other begins. I typically do this in patterns of three Sometimes they meld into inanimate surroundings I begin by sketching ideas and then go from there. I also like to work with native legends and folklore. You are amazing. In fact, the complex color relationships you use in your works have become viewers’ overriding interest Is there a central concept that connects all of your work, or is each series or artwork unique?
I like Bev Doolittle because of the interesting take on her compositions that tell a story, and I like Edgar Degas because of his interesting use of color, light, and shadow. I like many impressionists but Degas is my favorite.
85 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Alaskan Humpback Larry Davis Painting, Acrylic on Canvas W:48 H:24 in 2022 AcryliconCanvasofHumpbackwhaleinAlaskanwaters AW127028544 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 86 Moods of the Wolves Larry Davis Painting, Acrylic on Canvas W:24 H:48 in 2019 AcryliconCanvasofAlaskanWolves AW127877936 ♡
87 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Murder in the Moonlight Larry Davis Painting, Acrylic on Canvas W:36 H:24 in 2021 AW127618120 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 88 The Chase Larry Davis Painting, Acrylic on Canvas W:36 H:24 in 2021 AW127962620 ♡
Bed Sheets Alyssa Grey Sculpture W:24 H:48 D:18 in 2021 AW127232190 ♡
biafarin com/artist?name=alyssa grey
Alyssa Grey works intuitively to create organic forms through di erent materials to interrelate with one another Working primarily with a duality, she creates a conversation between the forms working with and against one another in the spaces they are residing Grey received her bachelor's degree in ne arts at University of Louisiana at Lafayette and is currently residing in Boston, MA where she is attending graduate school at Boston University studying for a master's degree in ne arts
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Alyssa Grey Sculpture
Alyssa Grey: Perception Reconstruction
When I was young, I always liked drawing and decided to go to art school where I found sculpture. I learned so many ways to manipulate materials to create these organic forms that mirror myself and how I feel
So, your passion made you move forward in this artistic way and will keep your connection with art forever Was there ever a moment of doubt to question your art career entirely?
Alyssa, thanks for taking the time to take part in my interview Our readers are happy to get more familiar with your works and art career. So, tell us about your artistic background story and if there was a pivotal moment when you decided to follow your path as a visual artist?
91 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Am I Doing This To Myself? Sculpture | W:24 H:12 D:24 in | 2021 | AW127225270
Nancy Krüger Interviewer
I have never questioned my choice of being a maker, but have had moments where I feel like what I am making is useless and meaningless. The way I usually work through that is to just keep going. Not making for the sake of a nished product, but for the sake of play and eventually, something comes out of that play and I am able to make a body of work based on that.
It seems feeling self doubt, at some point, is part of being an artist. What is your daily routine when working in your studio? My routine looks di erent every day. I work best early in the early mornings. I like how peaceful and quiet my studio is right after sunrise I always start by sitting with my cup of co ee looking at whatever I am working on at the moment from a new day's perspective. After that, I just jump in wherever I see t.
How is your artistic process going?
I am so grateful to have an interview with you and thank you for accepting I am looking forward to visiting your superb works in numerous future exhibitions. We wish you the best, Alyssa. ❇ This interview ends here. We hope that you enjoyed reading this inspiring interview with Alyssa. If you want to ask your own questions, please scan the QR code and proceed Alyssa Grey
Most of my ideas stem from doing. I don't always know where the piece is going as I work and add and subtract as I go Alyssa, is there a central concept connecting all your works together, or each series or artwork is unique?
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I never have a full idea of how my work will look when I start, but there is a feel of heaviness that comes through in all of my work Artists typically get their ideas through inspiration around them How do you seek and use inspiration for your works? My work is drawn from memories and the hardest moments of coping with those traumas and the feelings of loneliness and self doubt. I turn to nature to see the way plant structures are formed to camou age and protect themselves against predators So great! What are your art in uences? An in uential artist to me would be Sarah Lucas, the way she creates these androgynous gures that have human qualities, but are not quite that Louise Bourgeois, her use of ambiguity when it comes to the gure inspired me to begin breaking down and reconstructing how we perceive the human form.
Now, are you ready to come with me to the past art era? If you could meet one of your ideal artists from the past, who would it be, and what will you ask?
Now, take us through the process of making your artworks
I will be starting graduate school to get my masters in sculpture so I am excited to see how I, and my work, will grow from this new experience
I would probably say, Sarah Lucas. I think she would be a really fun company to just have a cup of co ee with, and talk about our ideas Looking at your excellent works, one can feel these forms want to be freed from the abusers that are trying to create an endless cycle of discomfort. Any upcoming works or future projects you would like to share with our readers?
93 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Consumed Alyssa Grey Sculpture W:36 H:24 D:48 in 2020 Steel, tissuepaper, concrete Steelstructurewithpigmentedtissuepaperstretchedoveritsurroundedbyconcreteforms AW127196804 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 94 Cover Me With Your Guilt Alyssa Grey Sculpture W:36 H:66 D:36 in 2020 Steel, dyedfabric, thread Tallsteelstructurewithfabricdrapedover AW127546204 ♡
95 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Empty Alyssa Grey Sculpture W:48 H:12 D:24 in 2021 PlasterGause Organicformwithlargedentontop AW127295646 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 96 Hollow Alyssa Grey Sculpture W:10 H:11 D:10 in 2022 FiredClay Organicvesselwithopentop AW127819448 ♡
Spires Yvonne Allred Painting, Oil Color on Canvas W:16 H:20 in 2020 AW127832792 ♡
Yvonne Allred Painting
I am a self taught artist who has been painting for about 10 years now I turned to painting to help de stress from an IT consulting role and discovered a passion that continues to ame I started out with a love/hate relationship with acrylics, played brie y with oils and nally settled with watercolors I worked in those for several years and then took a brief break from painting In June of 2020, I stumbled across the work of Iris Scott and was very moved and inspired to try nger painting I picked up my oils and started working straight from the tube, falling in love with the very visceral nature of nger painting and the freedom it allows in creation In addition, I have a host of certi cations in the IT world, am a certi ed holistic life coach and have a PhD in Holistic Wellness I am also a proud member of the West Valley Arts Council
biafarin com/artist?name=yvonne allred
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Yvonne Allred: Finger Painting
99 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Big Rock Painting, Oil Color on Board | W:24 H:18 in | 2021 | AW127518672
I think a better question is when did I stop having doubts While in my watercolor phase, I started to sell pieces here and there and gained con dence. After getting into nger painting, I really started nding my artistic voice and began wishing I could retire from my IT job so that I would have more time to paint I launched a website to sell my work and very quickly started getting noticed; within the rst month of the site going up, I was making sales and getting invited to exhibits Once it becomes sustainable, I will retire I can’t wait to be able to paint more!
Peter Lévesque Interviewer Yvonne, I appreciate that you have accepted my invitation Please let our readers know more about your artistic story. Tell us about your artistic background and whether there was a pivotal moment when you decided to pursue your path as a visual artist I have always been creative but never thought of myself as particularly artistic. I grew up in the movie industry and for a long time wanted to direct but life led me away from that path A little more than 10 years ago, I started painting, rst in acrylics then watercolors teaching myself through books and videos mostly. I started nding that I was much less stressed out and began to really crave my studio time In 2020, I stumbled across the work of Iris Scott and was blown away. I made my husband get me a set of water soluble oils for our anniversary and fell in love with nger painting and how incredibly visceral it is I worked through her videos and her book. Some of it worked for me and some of it didn’t and I adapted my style to suit. You started out painting with acrylics, then oils, and nally watercolors, and after a brief break, you tried and continued nger painting. Was there a moment of doubt that made you question your artistic career entirely?
Nature has a whole playbook of texture, patterns, and color that I believe is important for us to connect to I personally nd the blues and greens of water to be deeply calming and healing. Others nd the repeating patterns in nature such as those found in feathers, rock formations, or owers healing ❝
Typically, in the days leading up to a painting, I will browse around for pictures that inspire me. I have stacks of old calendars and pictures that I have pulled o the net Generally, I will take a bit from here and a bit from there and decide on a nal design. I will do a very loose sketch with just the main components in place. From there, I decide on my colors and where I need to layer or mix I get everything ready on a couple of rolling carts and then I will meditate for a bit in front of my sketch. When I am calm and ready to start, I pull on gloves and grab a tube of paint. Since my ngers are my brushes I have to work the picture in sections so I don’t inadvertently rest my hand in wet paint! Also keep in mind, that as a nger painter my smallest “brush” is the tip of my pinkie nger so it is not a style that translates into very small detail unless you are working on a very large canvas Most of the people who are nger painting today use a very impressionistic style working with pea sized blobs of paint; my particular style is a little smudgy as I nd I can get a variety of values and textures by doing so
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Using ngers to swipe or dab the paint directly from the tube gives artistic freedom to the artist to touch the surface and create. Is there a central concept that connects all of your work, or is each series or artwork unique? Most of my paintings feature water prominently. I have always been a “water baby” though I have lived in the desert for the last 20+ years Painting water is my way of bringing the ocean to me Generally, if there is no water in one of my paintings, it is a one o situation like you see in Leatrice’s Cairn or Case of the Blues, however, I am playing with the idea of a series based on the slot canyons of the Southwest and some of the wonderful textures and movement found there. Other days, I may just be in a very abstract mood and it’s anybody’s guess what is going to show up in the painting!
Right now, Saturdays are my day to paint My husband and son are usually out of the house that day, so I am able to turn on my choice of music and focus solely on my art. Usually, I have an idea of what I am going to paint going into the morning, so I start with a loose sketch and decide on my colors I will meditate for a few minutes before starting to center myself, then I get going and don’t usually stop until I am done unless I need a section to dry before I can continue I rarely mix colors preferring to work straight from the tube and mix on the substrate if I have to.
It seems that the water and the blue and green colors you use in your works kind of give you peace and comfort. How do you seek inspiration, and what motivates you to create? I am very inspired by travel and nature We live on such a magni cent planet that provides a wealth of beauty wherever you look. A landscape of a faraway place has the ability to instantly transport us across the world.
Now, let's talk about the process, from the time an idea comes to your mind to the time you bring it to the eyes as a work of art Take us through the process of creating your artworks
You accomplished a lot of attempts, such as selling pieces, launching a website, and participating in exhibitions to remove any doubt. Good job! What is your daily routine when working in the studio?
Finger painting allows me to connect to my art. It allows me to actually touch my vision.❞
And, if you could meet one of your ideal artists from the past, who would it be, and what will you ask?
Yvonne Allred
As noted earlier, Iris Scott’s work is what inspired me to try nger painting. I am also a huge fan of Leonid Afremov (the man who just understood color), Monet, and Degas who understood light and perception I like many of the Renaissance painters. I have a poster of one of Aldo Luongo’s early pieces above my bed and even though I have looked at probably 10,000 times I am still moved by it every time
I am starting work on a series of playful iceberg abstracts After that, I may tackle a slot canyon painting and see how that goes. Great! We are waiting impatiently. Thank you for participating in my interview. Our readers de nitely enjoy what you said about your art I wish you far more success and hope to shine like a star in the sky of art forever, Yvonne. ❇ This interview ends here We hope that you enjoyed reading this inspiring interview with Yvonne If you want to ask your own questions, please scan the QR code and proceed.
Yvonne, let’s talk about your in uences Who are your artistic in uences?
I’m not really sure. I don’t have one favorite, but rather eclectic tastes. A huge fan of yours is looking forward to hearing from your future works Do you have any upcoming work or projects you would like to share with our readers?
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OBSERVICA Issue #20 Spring 2022 observica com/spring2022 102 Take a Break Yvonne Allred Painting, Oil Color on Board W:18 H:24 in 2021 Oilsoncradledgessoboard 100percent ngerpainted Breakingwavesagainstaverdantbackgroundofcli sandwaterfalls AW127338232 ♡
103 OBSERVICA Issue #20 Spring 2022 observica com/spring2022 Spires Yvonne Allred Painting, Oil Color on Canvas W:16 H:20 in 2020 TheSouthwestisknownforitsunusualrockformations Here, threespiresstandoutagainstthedesert AW127832792 ♡
OBSERVICA Issue #20 Spring 2022 observica com/spring2022 104 Big Rock Yvonne Allred Painting, Oil Color on Board W:24 H:18 in 2021 Oilonarchivalgessoboard 100percent ngerpainted Alovelyrockformationcroppingupoutofasandy beach AW127518672 ♡
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