Observica - Winter 2022 | Discover the Artist Media by biafarinart

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Issue #18 Winter 2022

It's A Mystery | Painting | W:20.00 H:24.00 in | AW127805040 by Barbara RydzRoss

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OBSERVICA Magazine

Issue #18 Winter 2022 March - 2022

observica.com/winter2022

b i a f a r i n . c o m

OBSERVICA Magazine

Code:

MGZ607889241

Link:

https://www.observica.com/winter2022

Date:

18-Mar-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 significant 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. Observica is a registered trademark. All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the publishers. The magazine can assume no responsibilities for unsolicited manuscripts, photographs or illustrations.

Native Outcropping Photography W:21 H:27 in 2020 Scott Ward

AW127442700

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Issue #18 - Winter 2022 observica.com/winter2022

Scott Ward Photography

Though photography has been a part of my life since I was a child, it has operated in the background of my career as a financial manager, largely a private affair, existing solely for my own enjoyment of the world around me. It wasn’t until an unexpected change in my professional status in 2016 that I decided the time was ripe to pursue a more formal manifestation of my avocation. I chose the name Beartown Road Design for my artistic endeavors as an homage to my father’s birthplace, a small poultry farm located on that road, in Painted Post, New York; a location at which I spent many youthful summers with my family, where I learned to appreciate the subtle beauty of the rolling hills of rural New York. I rarely now take photos with an obvious focal point, seeking to highlight underlying pattern, form, or texture in my subject, and when possible, to link my images to some theme of social justice or ecological awareness. I live with my wife and son in Ann Arbor, Michigan.

biafarin.com/artist?name=scott-ward

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Barton Dam

Photography | W:27 H:21 in | 2019 | AW127965000

Scott Ward: Intimate and Interpretive Peter Lévesque Interviewer

Scott, We are so grateful that you accept our invitation to have an interview with you. Our readers are enthusiastically waiting to get familiar with you and your art. 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 perhaps atypical in that I came late to my artistic endeavors after a 35-year career in Finance. As a child, I was surrounded by creative family members, from painters, to sculptors, to architects, and while each of these influencers instilled in me a great appreciation for the arts, it wasn’t until a work colleague invited me to photograph her dance group, and those photos turned up in the local paper before I felt as though I had something to offer. I like to say that after several decades of dabbling, I found my eye for photography, but it wasn’t until I lost my job in 2016, that I finally found my voice. Since that time, I have been refining my visual expressions and connecting them to the written word to the point where I feel I have an integrated approach to my art. So cool! I think art comes one day and that day it doesn’t matter how old we are. The important thing is to feel it with our soul and feeling, and that time is the right time. Was there ever a moment of doubt to question your art career entirely? All the time! Some number of years ago, I entered several photo contests only to be rejected each time. When I was able to see the works that had been selected, I struggled to understand why these images were deemed more worthy than mine. Though at times the answers hurt, I began to seek out feedback and began to see that I was having difficulty translating the images I saw in my head to the printed form. It took a long time to develop the necessary skills of self-critique, but finally being able to articulate an artistic philosophy and goal gave me the confidence to continue creating images that conform to, and are consistent with, my aesthetic. Having others finally see what I see in my images is also validating, though self-doubt never really goes away.

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That’s great. You never despaired and tried to find out by exploring, comparing, and thinking. What is your daily routine when working in your studio? As I still work a standard workweek in my financial profession, my creative endeavors are generally relegated to evenings and weekends. This isn’t to say that I am not constantly logging possible ideas throughout the day, but my actual creative process happens only when I can devote significant chunks of time to it. Weekends will typically find me wandering around the neighborhood or local nature areas at different times of the day staring up at the sky, through the trees, or into the shadows. When I start processing my photos in Photoshop, I rarely work on one image to completion, but spread my attention across multiple images, sometimes going back and forth adapting one technique to another photo. I also spend time in my head thinking about an image overnight or over several days, coming back to the computer after I have imagined a new approach. We are willing to know so many things about how a professional photographer works while creating a photo. So, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you? Since I take photographs of existing subjects rather than creating an object out of nothing, like a sculptor, the creation process for me is observation. Whether indoors or outdoors, I am constantly scanning the environment around me looking for some color, form, pattern, or texture that resonates with me. Lighting is a huge part of my process, so I either manipulate it if indoors, or wait for the optimal conditions in the field. Only then do I get behind the camera and begin the process of framing my subject, deciding what to leave in and what to exclude. The final process involves manipulating the image in Lightroom, where I might stick to the realism of the field, or decide that the image will be more abstract. We know you adopted two taglines, “Part of a Bigger Picture” and “Look Beyond the Edges.” Is there a central concept connecting all your works together or each series or artwork is unique? There are two separate paths I pursue in my photography. One is purely artistic in nature, wherein I work to identify some combination of pattern, form, texture, or color that I find captures a central truth about the image. I usually also focus on a sub-feature of the overlying subject, such as the valve portion of a trumpet, so that the image may not immediately identify itself to the viewer as to what it is. The second goal is to, with accompanying text, identify some social issues or unique attributes of the subject that are less likely to be known to the viewer. A social issue might be environmental health when attached to the Huron River photo or indigenous history when discussing Acadia National Park, and unique attributes might include architectural or art history as opposed to the location it resides such as the University of Michigan. Some artists prefer to get the viewer’s mind involved in the massage of the artwork, while others make the message easier to understand with their explanations. Would you like to give a particular interpretation of your work to your viewers or do you prefer to leave the whole interpretation to your audience? Most of my images are identifiable after a brief reflection; however, my use of the composition or visual enhancement usually presents the subject in a way the viewer might not usually experience in the outside world.

❝Since my days are filled with analytical, process-oriented work, the act of artistic creation is both calming and exciting.❞

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My goal is to entice the viewer into that closer look, for them to contemplate details they might overlook. I shy away from taking panoramic photos of a subject, such as, say, Niagara Falls, but would rather move the camera to the shadows off to the side and concentrate on some smaller subset of that subject. The viewer might identify the subject but would be presented with an aspect of it that they may never have contemplated. Yes, you’ve already said that you want to encourage the eye to wander over the entire image and allow the viewer to take an individual journey of discovery about what the image might say to them. How do you get inspired, Scott? How do you seek and use inspiration for your works? I want to avoid being derivative if I can knowingly avoid it, so I typically do not seek out ideas from other people, or printed materials with actual photographs. As I move about through my daily activities, I am constantly observing my surroundings. I have found inspiration in the way the light hit my son’s trumpet while he was playing, by water beads pooling on a downtown lunch table, or by the blue sky against white columns on a building. Nothing is off-limits to my imagination! Ice crystals, fountain grass, ashes, water ripples are all everyday sights that people ignore because they see them every day, but I look for the unusual viewpoint to redefine them as objects of interest whose detail can provide a path of discovery for the viewer. What about your favorite subjects? How do you select your artworks subjects? Where they come from? I usually do not seek out a particular subject, but respond to everyday objects as they present themselves. To use an example from the images in this competition, the evolution of Native Outcropping began with a trip to Washington, D.C. I came across the Native American Museum, which I had never seen before and though a beautiful building, I did not want to capture the entire façade. I walked around it until I collapsed the view to a series of curves, then later in Photoshop, I pulled out the rainbow of color, which was there in the cascading shadows but not easily seen. By increasing the saturation and adding more contrast, I ended up with the final image which resembled, in my mind, a cover of the old 1930’s Fortune magazines, which were generally highly stylized images of regular subjects. Many things can inspire photographers before clicking the shutter on a scene or subject to capture a moment in time. Is there an artwork or series you would like to be remembered for? And if yes, what is it? I’m not sure that I have a named series or specific image that outshines the others, but what I would like to be remembered for would be my ability to take ordinary subjects and display them in such a unique way that viewers are drawn into them in such a way that they make an effort to identify the subject and then to explore the corners of the images to make sure they have captured all elements. I make a point of bleeding most of my subjects off the edges, in an effort to invite the viewer to think about what might be beyond the confines of the physical image. Scott, let’s talk about your influences. What are your art influences? Who are your favorite contemporary or historical artists and why? Charles Harper – A print artist who practiced what he called “minimal realism”. In his words: “I don’t try to put everything in, I try to leave everything out. His use of pattern and form intrigued me from the first time I saw his work. Ansel Adams – The original spark. Composition and clarity of images. Though I don’t do what he did, his work showed me what was possible. Maxfield Parish and Japanese woodblock prints, for the use of saturated vibrant colors. Vintage Fortune Magazine covers from the 1930’s for their stylized imagery and saturated colors. And, if you could meet one of your ideal artists from the past, who would it be and what will you ask? This is a hard question. I think because I chose a professional career, not in the arts and only discovered my artistic eye and voice so late in life, whoever it might be, I would want to ask how they knew that this is what they wanted to do, and how did they have the confidence to do so, knowing that an artistic career is a difficult one to succeed at. The answer wouldn’t necessarily help me in my artistic work, but would help to put my life in perspective.

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Since our readers are passionate about your photography, I know that my next question is definitely their question. Any upcoming works or future projects that you would like to share with our readers? I have recently become more interested in architectural imagery. Two series, represented in this competition are from the Ann Arbor Campus of the University of Michigan, and Washington, D.C. There are additional images I would like to obtain for both these series, mostly now internal shots, capturing some of the ornate or unique ceilings and decorative works. There are also many historically significant buildings in the Detroit area that I would like to capture, as well. That’s great. We are excited about it and looking forward to hearing about your future artistic steps in photography. Thank you for your time, Scott. I hope you will always shine in creating art like now.

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Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Scott's artistic career. If you want to ask your own question, please scan the QR code and proceed.

Scott Ward

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Dusty Miller Photography W:27 H:21 in 2018 Scott Ward

AW127826550

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Huron River II Photography W:27 H:21 in 2019 Scott Ward

AW127937950

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Acadia Shore I Photography, Color Photography on Photo Paper W:27 H:21 in 2020 Scott Ward

AW127887228

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Lincoln Memorial Photography W:21 H:27 in 2020 Scott Ward

AW127666700

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Untitled Painting, Acrylic on Wood W:48 H:96 in 2021 Craig Wortman

AW127056250

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Craig Wortman Painting

Craig Wortman is an abstract painter whose comprehensive work conceptually handles the discipline’s medium in a multidimensional, multifaceted progression. His process is predisposed to a sculptural manipulation of the materials and ultimately emerging as paintings. Craig attended Northern Illinois University, studying fine art, and then moved directly into commercial success as a scenic artist. He has had an integrative career for over twenty years, fabricating and designing both 2D and 3D for corporate events, theatre, retail display, and large-scale art installation, while at the same time moving forward with his fine art development. Together this has afforded him the opportunity to push the parameters of experimentation with countless materials, techniques, and concepts. He was born and raised in Chicago and is now raising his own family in Minnesota as he works mainly on the advancement of his fine art practice.

biafarin.com/artist?name=craig-wortman

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Issue #18 - Winter 2022 observica.com/winter2022

Untitled

Painting, Acrylic on Board - Wood | W:94 H:49 in | 2020 | AW127398824

Craig Wortman: Cogitative and Whimsical Robin Weißbach Interviewer

Craig, many thanks for accepting our invitation to talk about your art and artistic views. Now, 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? Art has never been a decision for me. It’s simply a way of looking at and questioning everything. When I was young, I think I was fortunate enough to have had my creativity nurtured. This coincided with some natural artistic ability, and the attention and positive reinforcement that came with it. My artwork at that time was almost exclusively representational and heavy toward the development of the technical aspects of art. Adolescence was very much about the ‘what’, and the ‘how’. Then, as a young adult, I found ways to protect it. By college the work and query had shifted heavily into the ‘why’, ‘when’, and ‘where’. The search was for meaning. I knew I had talent, but I was trying to figure out the point. I had tons of naivete, but no patience. So ‘when and where’ were never attainable. I’ve shed all that, and the outright question of ‘who’ is now the only one worth asking for me. And that question delves into everything. You were always trying to find answers to multiple Wh’s at different times, and perhaps that’s why you now believe that painting is a multidimensional endeavor. Was there ever a moment of doubt to question your art career entirely? I have questioned life plenty, but I have never questioned ceasing to make art. Being an artist is not a choice, it’s a perspective that’s rooted in leaving your mark. There is a necessity to influence the environment around me. Art is a way, whether there is a career attached to it or not.

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In fact, art is to represent the inward significance of things. What is your daily routine when working in your studio? I practice art. In other words, I paint as it’s unfolding. Whether it’s going good or bad, I’m going with it. What I bring into the studio and what I take out of it form a path. The stained impression in the middle is the painting. There is no distinguishing between daily life and artistic life, other than that the former is continually offering thoughts and experiences as entry points for the latter. From there ideas simply become action. I don’t mean to sound cryptic. I just believe in it wholeheartedly as a gestural search for understanding of processes. Every work is an attempt. Every attempt is an experience. Every experience is an offering. The ‘when’ of a routine is less important to me than just remaining present whenever you are at it. That’s true. In the art journey, it doesn’t matter when we set off and when we arrive. What matters is the journey itself and when we feel we have to go, and when we realize that it should be over. Now, take us through the process of making your artworks. Currently, my work has become very much a sculptural process. I’m adding and subtracting on multiple layers of a painting. While giving each of those layers their own depth and dimensions, I’m at the same time allowing each layer to break their individual planes and affect each other simultaneously. I prefer not to work with prefabricated ideas. The most deliberate things that I’m bringing into the space are notions, and I go from there. Your world outside of the studio naturally drafts in as well. Do all your artworks have some shared meaning and characteristics? I mean, Is there a central concept connecting all your works together or is each series or artwork unique? My intention is to treat the act of painting in an elemental way. It has a range of properties and I treat it as matter in and of itself, much like sculpture tends to, rather than narrowly as a proponent for an image only. It’s very much paint for paints’ sake in that it’s just as much about the movement and behavior of the materials conceptually as it is about the imagery. Every piece stands alone as a testament to itself. Although, they all spring perpetually from set forth events, prior works, and my unremovable presence. Craig, most of your artworks are untitled. Would you like to give a particular interpretation of your work to your viewers or do you prefer to leave the whole interpretation to your audience? I believe in the adage, “If your work speaks for itself - let it”. Why get in the way of anyone’s take or perception? And if every work of art truly is autobiographical, wouldn’t it stand to reason that every interpretation is autobiographical as well? I’m more than okay with that. Some artists get their motivations and inspirations form their own life experience, surrounding environment, and even their audience's voices, minds and souls. How do you seek and use inspiration for your works? I’m a voracious book reader, image hunter, and strong advocator of happenstance. There is no shortage of things that interest me. As an artist, I don’t find any benefit to “staying in your lane”. I believe that all fields help to shape one another and there are far too many intriguing subjects and subsets out there to not find stimulation everywhere, both visually and intellectually.

❝I love that the only expectations are the ones you give yourself and the only limitations are the ones you allow in.❞

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So, like your artworks, you try to think about the various dimensions of life in your mind and are interested in exploring and experiencing different aspects, spaces. and perceptions. How do you select your artworks subjects? I’m in love with art and impassioned by the act of creation. It’s a distinguisher of our species. I don’t select the artworks’ subject. The artwork is the subject based on the parameters I set each time, just like the movement of a river is the river and based on the terrain, water volume, climate, and other factors. There are some artworks that can be considered as an icon to remember an artist for a long time. Is there an artwork or series you would like to be remembered for? I find my favorite pieces to be the ones that are visually apparent successes, however, they seem to be impossible to pinpoint an exact reason why. It’s like formations in nature. You never question the look of naturally occurring processes in the universe. It all looks placed exactly right, “flaws” and all. Usually, it’s only when you interject with the influence of mankind that it starts to appear like something is out of sync, at least until nature takes it back over. In the same way, you can so often tell a man-made representation of nature because something inevitably seems off. The irony there being that we ourselves are natural so we will spot the defect. If there were something that I wanted to be remembered for it would have to be any and all success I have at creating a completely natural aesthetic. My influence will be apparent, but without any out-of-place sense. Very well said. Craig. What are your art influences? There is no shortage of painting gurus in my eyes. Currently, I remain captivated by the works of Takesada Matsutani, Jack Whitten, Steven Parrino, El Anatsui, and Simon Hantai. Every one of them contributed to the reconception and expansion of what painting is. Takesada exposes definitively the elements of time, space, and form in his work. Jack Whitten is a painter’s painter, if you ask me. Parrino gives you an in-your-face jolting reminder that a painting doesn’t just stop at the edges. El Anatsui is considered a sculptor because of his use of bottle tops as a medium, and yet he is still more of a painter than most. Simon Hantai fantastically brings forth the ground from beneath his paintings and I cannot help but see an association between his processes and my own. I have long had a strong admiration for abstract expressionists and action painters. Since discovering them, I have had a preoccupation with the Gutai group in Japan as well. It’s worth mentioning too that the artist who first turned the idea of being an artist on its head for me was Andy Goldsworthy. When I saw his work and his processes, I was obliged to shed the romantic, stereotypical notions of what an artist is and does. Like so many young artists, I had concocted a giant notion of what an artist should be and I think it would have been completely stifling to remain behind it. In my eyes, Goldsworthy’s treatment of art had annihilated any restrictions in terms of the possibility for me. Let's take a walk and meet the artists of the past era! If you could meet one of your ideal artists from the past, who would it be and what will you ask about? Ideally, I would want to meet Miles Davis, if only to see him play; or most any of the jazz greats for that matter. To talk to another painter, you’re already talking to somebody you know is in your arena, speaking the same speech and trying the same trials. Talking with a jazz legend to seek out if that improvisational, free-form spirit is synonymous with what I’m attempting as a painter; to embody matter and mobilize it. As you know, the outbreak of CODIV19 affected many artistic activities, and artists experienced, perceived, and responded to this changing situation differently. How have you been affected by the current lockdown, social distancing and all the limitations and cancellations in the art world? Prior to the pandemic, I was dividing my time between my art, my family, and a highly respectable gig as a scenic artist. The lockdown took the last thing off the table and it really allowed my art practice to benefit and progress. It wasn’t just the additional time made available to commit to painting. It was also the dismissal of the other creative outlet that normally took the first chair. Creativity, whether it be in fine art or scenic fabrication, still taps the same source. When you flush a lot out of your system for a job, then you’re not allotting the rightful amount of artistic application for your art as opposed to their art. Ever since the world went wonky it has afforded me the opportunity to centralize my creating solely into my practice.

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Great attitude! Now let's ask the artist whose works have attracted a lot of attention from our readers, what other works he has for them in the future. Any upcoming works or future projects that you would like to share with our readers? I have some new materials that I’m starting to use and I’m also playing around with different size pieces that I’m really excited about. I also have a solo exhibition coming up soon. Wonderful, It sounds great, and it definitely will be exciting to see the artistic creations of yours in the future. I appreciate the time you have taken with me, Craig. Your artistic ability to inspire the art world is admirable.

❇

Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Craig's artistic career. If you want to ask your own question, please scan the QR code and proceed.

Craig Wortman

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Untitled Painting, Acrylic, Muslin on Board - Wood W:49 H:49 in 2020 Acrylic & Muslin on Wood Craig Wortman

AW127361936

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Untitled Painting, Acrylic on Board - Wood W:48 H:40 in 2020 Acrylic & Muslin on Wood Craig Wortman

AW127498628

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Untitled Painting, Acrylic on Board - Wood W:30 H:26 in 2019 Enamel, Acrylic and Muslin on Wood Craig Wortman

AW127928540

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Untitled Painting, Acrylic on Board - Wood W:48 H:40 in 2020 Acrylic & Muslin on Wood Craig Wortman

AW127631416

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Farmers Market Series: Tomatoes Painting, Acrylic W:18 H:24 in 2021 Julie Crowder

AW127234668

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Julie Crowder Painting

I live in Richmond Virginia. I love spending time painting on my front porch in the fan, or going on road trips to draw cows and alpacas, mountains and rivers. My visual influences are the works of; John Singer Sargent, Frida Kahlo, the Pre-Raphaelites, Barbara Kruger and Andy Goldsworthy. One thing I love about being an artist is the creative process and I love seeing that in other people. You can see my love of creativity as it shines from one artist to another. When I am not painting, I am teaching little creatives, and spending time with my animals or out in nature. I love audiobooks.

biafarin.com/artist?name=julie-crowder

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Farmers Market Series: Beans

Painting, Acrylic | W:36 H:36 in | 2021 | AW127511722

Julie Crowder: Connection to Earth Robin Weißbach Interviewer

Julie, Thank you for accepting our invitation and talking about your art career and artworks through this interview so warmly. 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 grew up moving around a lot as a kid, and I think that has made me a person who studies lots of cultures and the way they approach the arts. When I went to school, I studied art at both Mary Washington College and then after moving to Richmond, I studied at Virginia Commonwealth University. Mary Washington was a very supportive environment that helped me to grow artistically in a small group of artists. VCU was where I learned to defend my work. That was the big focus when I was there. We had to be able to talk about all the decisions we made and that we make, and be able to take really harsh criticism, so I learned a lot from both places. Artists may naturally encounter obstacles through their artistic path and even become disappointed, and sometimes this causes them to have doubts or hesitance. Was there ever a moment of doubt to question your art career entirely? I have definitely overcome a lot of artistic blocks in my life. There have been whole years where I was crippled by the idea of saying contributing to oppression through my art somehow, or a block where I thought felt like none of my work made sense together. At this point in my life, I call it bobbing and weaving artistic blocks. If a block comes up to me and I can’t get rid of it, I don’t quit painting, I make something completely different. Elizabeth Gilbert’s book Big Magic helped me a lot. She says that all artistic blocks are just fear, and you can’t get rid of fear, but you also can’t let it drive.

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What an admirable attitude! You have never allowed your blocks to keep you away from creating art or even give you up. What is your daily routine when working in your studio? In my studio, it is very easy for me to get caught up in thoughts and psych myself out of doing the project that I had in mind, so what I do when I enter my studio is: I light some incense, I put on an audiobook and I stop thinking, and paint. I know a lot of artists love music, and I love music, too, but if I am singing along I don’t usually get as lost in making the work. I like to start really early in the morning, and I like the space to be clean already. I set up my palette and I start. I stand while I paint so I can move away from the canvas and get closer really easily, unless I am working on the tiny details. You start to work at daybreak because, at that time, nature pleases the senses and mind aesthetically. Now, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you? I begin all of my work in my sketchbook and my journal. I do something I like to call “Rorschach sketching”. I spend several days painting with watercolor swaths into my sketchbook, and then squashing the book closed so that the pages become somewhat symmetrical and also less planned. After I alter the whole sketchbook this way and it’s dry, I go through with a pencil and let my subconscious pull images from the colors and add that pencil drawing on top of the work. After that, I go back in with a colored pencil usually and color the image in. Some of those images stay just in my sketchbook, but when I find I have a big group of similarly themed images in my sketchbook, or when something comes up in my journal a lot , that’s when I start imagining them on the canvas. I get models to pose for images, take digital photos from the images, and then, grid and paint canvases with those images, adding and altering color and adding images from nature and my imagination. I also incorporate text when I think it’s helpful. Great job! The foremost theme of your paintings is nature, appreciation of nature, and respect for the earth. So, is there a central concept connecting all your works together or is each series or artwork unique? I think the look of my work connects it together, but I am kind of distractible and I don’t spend longer than a year or two on one topic. My use of color and my focus on nature and figure are definitely a theme that goes through all of my work, as well as references to art history, but 15 years ago I was fixated on a thick calligraphic outline, and that has pretty much vanished. This Farmers’ Market series is unique in my body of work. Some artists prefer to engage viewers in understanding and interpreting their work, while for others, it is essential to help the audience get the main message. Would you like to give a particular interpretation of your work to your viewers or do you prefer to leave the whole interpretation to your audience? I have gotten blocks, before based on a fear that my intention for the work was meaningless and that somehow the exact opposite meaning would be gleaned by the larger population, like in Barbara Kruger’s “shop till you drop”.

❝I am so thankful that I am an artist and that I can articulate my ideas through visual means and because of that, I can use my ability to be of service to the earth.❞

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That piece, I think, was meant to be a commentary on the gluttony of consumer culture, but the average American took it as advertising to shop more. I love Barbara Kruger by the way, I just hate that this can happen to artists, but ultimately once we create the work, it really is out of our hands and we just have to do our best to be clear and clever and deep. I try not to spend a lot of time overthinking things these days. What purpose does it serve for me to sit around painting nothing because I am afraid one person will misconstrue my intent? My intent is almost always something like: the earth is a beautiful place, we need to return to a place as a culture where we care for her and love her, and see her as magic and our mother. I celebrate creativity and beauty and color. I love to incorporate goddess poses from antiquity into my work. In Farmers Market Series, with an intelligent combination, you present nature and natural life. With the admiration and joy in each character's face and figure, viewers will be inspired by the beauties of the earth in the way they want it to appear. How do you seek and use inspiration for your works? I love art history, and I love to take little hints at art history and incorporate them into my pieces. The Farmers’ Market series, for example, the pose of each of the models is from an ancient sculpture of the corn goddess that I saw at the museum in Mexico City. I also often use poses from traditional catholic prayer cards for poses for my models. I like the way that implies a magic to whatever you are looking at. I go to museums all the time and I read constantly. I try to serve the muses as best as I can…. I usher for our local theaters, I think that service and going outside of your everyday box brings you new images and ideas. You never know where your next inspiration is going to come from. That’s true. Inspiration occurs spontaneously, without intention. What about your favorite subjects? How do you select your artworks subjects? Where do they come from? For the farmers market series, I wanted to really focus on the idea that more than the food presented in the image, and that whatever magical being gives us this food, means it’s to be shared. All of the work refers to that. So I started with my model and a split frame between the big open sky and field, and then contrasted that with language of the city: cement, graffiti, wheat-pasted signs, and then over the top of the central figure and that landscape I added all of the creatures that share a need for that food is shown. The graffiti uses some playful language to also reflect that theme. An artwork moves some to tears, some to anger, and sometimes it stirs passion. And so, it will be remembered. Is there an artwork or series you would like to be remembered for? And if yes, what is it? I am really proud of this Farmers’ Market series, and this last show I did: Mother Earth's Road Trip down Route 1: Dreaming the Divine Feminine into the map of Virginia, but I like the idea that I have no idea what kind of art I will be making 20 years from now, and I will only get better as I practice and try and new things. I hope I will be remembered for my body of work and how it was fluid and grew with me as I grew. Let’s talk about your influences. What are your art influences? Who are your favorite contemporary or historical artists and why? Some of my favorite artists to look at and enjoy are: John Singer Sargent, Frida Kahlo, the Pre-Raphaelites, Rosa Bonheur, Barbara Kruger, Sonya Clark, and Andy Goldsworthy, and while I am sure you can see some of that reflected in my work, it’s the really old stuff that most influences my ideas. The Venus of Willendorf, the Minoan Snake Goddess sculptures, those old Sheila Na Gig relief sculptures you see in Ireland, the cave paintings at Lascaux, and the Greek bull-jumping images. I think those things pop into my mind more than any other contemporary artists do, but of course, I admire them, and I love to look at the way they choose to interact with the world, or shy away from it. I feel both of those impulses. And, if you could meet one of your ideal artists from the past, who would it be and what will you ask? I would love to have dinner with Caravaggio, and Artemisia Gentileschi at the same time. We would eat some really amazing Italian food and then spend the rest of the evening painting together and learning from one another. I think I know some really lovely models that they would appreciate, I would pull in some theatrical lighting that would blow their minds, and then I could learn so much from the way they took it from there. I love the chiaroscuro paintings from antiquity. I am certainly not on their level, but I love to learn and I love to look at it and how much color and drama they were able to achieve. Florence was one of my favorite places ever to visit.

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This series of yours will show how the love of nature can be acclaimed via your sensitive drawings and unique painting. And, Julie, our readers are big fans of your artworks. Any upcoming works or future projects you would like to share with our readers? Coming out of the pandemic I want to do some really lush and whimsical things and just be over the top with my ideas, so the work I am currently in the process of doing is called the “RVA Fae” and is all kinds of really wild mythological creatures set against the landscape of the James River and Richmond, Virginia. I am doing a lot of mermaids, a lot of fairies, some trolls, and there will continue to be some overlaid text about protecting the land and our river. When the show opens I want the show to be rich and lush, with belly dancers and poetry readings, all of the muses will be represented. I do not think we can be too patient as you inform us of your future endeavors. Julie, I am very grateful that you accepted our invitation. Good luck with your artistic achievements, and shine as always.

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Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Julie's artistic career. If you want to ask your own question, please scan the QR code and proceed.

Julie Crowder

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Farmers Market Series: Squash Painting, Acrylic W:36 H:36 in 2021 Julie Crowder

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Farmers Market Series: Sunflowers Painting, Acrylic W:20 H:24 in 2021 Julie Crowder

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Farmers Market Series: Apples Painting, Acrylic W:11 H:14 in 2021 Julie Crowder

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Farmers Market Series: corn Painting, Acrylic W:40 H:40 in 2021 Julie Crowder

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A Hidden Agenda Painting, Acrylic, Mixed Media on Arches Paper W:51 H:38 in 2020 Barbara RydzRoss

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Barbara RydzRoss Painting

Born in Belgium to Polish immigrants, concentration camp survivors, Barb Rydz Ross has lived in New York, London, Hong Kong and Germany. After working in Human Resources for 23 years, raising three children alone, she returned to painting and studying art at the School of the Art Institute of Chicago where she earned certification in both Drawing and Painting. (She has an undergraduate degree in Art from CCNY.) She has also attended classes at Harper College and has taken various workshops across the country with accomplished artists. Ross has exhibited in Chicago at the Merchandise Mart, at the School of the Art Institute of Chicago, New York City at the Jacob Javits Center and her work can be viewed on the website and catalogues of Xanadu Gallery. Four of her larger acrylic paintings are permanently hung in the lobby of One Arlington Plaza, Arlington Heights, IL and other smaller works are hung throughout the building. North Light Books has published one of her collage painting.

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Issue #18 - Winter 2022 observica.com/winter2022

The Whimsey

Painting, Acrylic, Pencil Drawing on Paper | W:50 H:37 in | 2020 | AW127274812

Barbara RydzRoss: Connection and Balance Marian White Interviewer

Barbara, thanks for taking your time to answer our questions. Our readers are happy to get more familiar with your works 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? I got my first coloring book and crayons from my father on my seventh birthday. This was pure magic. I had trouble focusing on anything at length before this but these crayons and books had my undivided attention for hours. This ability to focus on drawing continued throughout grade school and I became the "artist" in the class. We only had Art once every two weeks but when we did I knew I was in my element and the creative zone...no trouble focusing then! I majored in art at the City College of New York and there it was clear that I was studying what I was I meant to be studying...as my grades reflected my success (but not so much in History or Science). After college, I tried finding a job in the art world but was unsuccessful. In order to support myself I took a job at an employment agency, which then led to working as a Personnel Assistant and ultimately as Human Resources Director of a foreign bank on Wall Street. I got married, had three children, and lived in various parts of the world (London, Hong Kong, Frankfurt, Chicago). When we settled in the Chicago area, I enrolled my kids and myself in the local art school, Kaleidoscope, and as my confidence improved Harper College and finally The School of the Art Institute of Chicago where I received a Certificate in Drawing and then a Certificate in Painting (this took several years of evening classes as each certificate required taking 10 classes in various disciplines). This is when I began calling myself an artist. So we can accept that individual life and social status affect art, but most of all, the artist's passion and dependence on art actually keeps this connection and brings the artist back to art. Was there ever a moment of doubt to question your art career entirely? The more success I had, the more doubts emerged. The "Imposter Syndrome" always raises its ugly head. I have two artist-children ...my daughter, Veronica Roth, wrote the "Divergent" series which were made into movies, and my son, Karl Vincent Roth, is a touring musician with the band "Sat sang" and is also a singer, songwriter, producer. We often talk about these feelings of inadequacy and not feeling as competent as others in our fields. The solution is to just keep doing what we do and work through the negativity.

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I have found out that most artists ultimately have self-doubt. That doesn't change, no matter how far up the ladder you've climbed. What is your daily routine when working in your studio? My daily routine starts with a three-mile walk around the lake in the morning where I decide what to work on or how to resolve a painting that I am already working on. I work in the studio in the afternoons. I am in the studio even if I am not actively working on a painting. It is not unusual for me to be in there for 4 to 6 hours. If I am not painting I am on my computer researching opportunities to submit my work to galleries or group shows. And now, take us through your process of making your artworks. I don't usually have any idea what I will paint; it just flows out as I get more involved in the process. I start a painting by covering my substrate with gesso to create texture. I work mostly on Arches Oil Paper. I choose my color palette, usually, three colors in addition to black and white, and I paint randomly, just to cover the white. I then make marks with a pencil, China Marker (black and white), and whatever else I feel like experimenting with. I add stencils (usually, ones that I have created) and paints shapes, lines, whatever. This is a stage where I am not concerned with the outcome yet and I just play. By now, the canvas is covered with scribbles, color, forms, shapes, and lines. Now, I decide what I don't like, what I need to get rid of. I cover these areas using a paint roller and paper shapes I have created. I then glaze areas that need to be integrated with transparent paint. Great job! Your content is emotional and by using vivid color, layers, shapes, lines, and dots, you express the importance of human relationships. Is there a central concept connecting all your works together or each series or artwork is unique? My central concept in most of my work is about "connection". Random shapes get connected to other random shapes by using lines, circles, dots, stripes, etc. And you express your innermost feelings so superbly that 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? My inspiration comes from museum visits, looking through art books and magazines, and looking at other artists' work on Instagram and Facebook but mostly from my imagination. You do know how to attract and engage your viewers’ thoughts through your paintings and drawings. What are your art influences? I have been very much influenced by Willem DeKooning. He was an abstract expressionist and he was constantly evolving. His work shows what a huge risk taker he was. I particularly love his figurative "women" paintings where he neither cared nor wanted to depict women in typical beautiful ways but rather more expressive and bold...but strong. I also love Lee Krasner's work, especially her larger pieces. Her patterns covering the entire canvas, her use of color and repetition of shapes; and her constant experimentation has inspired me to think outside the box. Her work has such rhythm and balance. And she was prolific!

❝The way a painting gets resolved, like pieces of a puzzle, is very fulfilling and so is the wonderment I experience when a painting is finished.❞

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Barbara, 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? I love Robert Rauschenberg for his audacity! I would ask him how he had the courage to make the crazy art he created. I would pick his brain...his thought process when facing a canvas, where his ideas came from, was his creativity motivated by politics, emotion, or did it just flow out of him without much thought. I also wonder if his titles were given after the work was completed or if the work was made with the title in mind. Your vibrant acrylics evoke a range of emotions intuitively and overpower the need for balance and connection. Any upcoming works or future projects you would like to share with our readers? I am working on a collaborative project for the Baldwin Public Library in Birmingham, Michigan called "Zip US Up!". Forty artists are working together with canvasses that have zippers sewn on each end. Each artist collaborates with the artist to the left and the right of the canvas. The reveal takes place in October. I am also on a panel of artists to paint the windows of the Barrington Public Library. This is in its early stages of development. Thanks a lot for taking the time and making us familiar with your luminous art. I am also looking forward to visiting your brilliant works in numerous future exhibitions. We wish you the best, Barbara.

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This interview ends here. We hope that you enjoyed reading this inspiring interview with Barbara. If you want to ask your own questions, please scan the QR code and proceed.

Barbara RydzRoss

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It's A Mystery Painting, Acrylic on Paper W:20 H:24 in 2020 Acrylic on Paper (mounted on a wood panel) Barbara RydzRoss

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Not So Mellow Painting, Acrylic on Paper W:22 H:30 in 2020 Acrylic on Arches Paper Barbara RydzRoss

This painting was started with free movement and expression in mind. There are sweeping strokes of color and shapes created with free careless gestures. I painted many different layers and then eliminated parts to simplify and unify. The yellow circles were transferred from another wet painted surface and then sanded down to give them character. The stripes were created by making a stencil and rolling paint over it. I cut out different stamps and stamped areas that needed a bit of detail and finished the painting with large sweeping circular brush strokes. I looked at the painting and saw the predominance ...

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Three Is a Crowd Painting, Acrylic, Pencil Drawing on Paper W:51 H:38 in 2020 Acrylic, Pencil, China Marker on Arches Oil Paper Barbara RydzRoss

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Painted during the COVID pandemic, this painting represents the difficulties we experienced trying to socially distance from each other. Vibrant colors were used on a highly-textured surface. I created templates and stamps for this painting and used pencils and China Markers for the mark making. Other techniques like mono printing were used to create and repeat shapes throughout the painting, Painted on Arches Oil Paper, it was then mounted onto a wood panel for easy handling and without the need for framing.

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Thrice Painting, Acrylic on Paper W:22 H:30 in 2020 Barbara RydzRoss

Acrylic on Arches Paper The first layer of this painting is really just a palette of leftover paint from previous sessions. I then cut templates of the circles, laid them on top and rolled the blue acrylic over them. I did this also several times with transparent paint in different colors to make it more interesting and to give it some depth. I finished with painting circles and figure eights so that the eye moves easily across the entire painting from edge to edge.

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We Stay Connected Painting, Acrylic, Marker, Pencil Drawing on Paper - Cotton W:51 H:38 in 2020 Acrylic on Arches Paper. Mark making with pencil, and china markers Barbara RydzRoss

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Painted during the COVID pandemic, this acrylic painting represents the need for people to "Stay connected"...we were all staying away from each other afraid to catch the disease, but finding ways via Zoom or telephone to stay in touch. The shapes are connected with red links, some multiple times, floating in a sea of rich blue, reaching the edges of the pages giving the feeling of desperation for connection. The painting was painted on Arches Oil Paper and mounted on a wood panel.

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Being Jare (w apologies to Chauncey Gardiner) Painting, Oil Color on Canvas W:16 H:20 in 2017 Gary Aagaard

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Gary Aagaard Painting

As a fledgling illustrator in Brooklyn during the 1980’s, I took on any project thrown my way. I refer to that time as my “snack or famine days”. Eventually, I zeroed in on editorial work and soon scored assignments at publications like The New York Times, Los Angeles Times, NY Newsday and The Village Voice (primarily covers). Since the early 2000’s, I’ve concentrated on gallery work with an editorial, satirical slant... essentially larger oil paintings with conceptual content reminiscent of my illustration years. Lampooning politicians, pundits or spiritual leaders who specialize in alternative facts, manufactured outrage, false equivalents, convoluted conspiracy theories and tunnel-visioned tribalism (whew) is my form of protest and provides a satisfying outlet. Of course, visually addressing the daily insanity of politics, punditry or social upheaval requires an occasional break, which is when I paint relatively non-confrontational pieces. My work has received recognition from American Illustration, 3x3 Magazine, the Society of Illustrators (NYC), the Society of Publication Designers, Print, Art-Competition.net, the Society of Illustrators of Los Angeles, Artavita and Applied Arts. My paintings have been displayed in many galleries including the Museum of American Illustration (NYC), Gallery-Henoch (NYC), the Smithsonian Hirshhorn Museum (Washington D.C.), Gallery 110 (Seattle WA), The Studio Door (San Diego CA), David Anthony Fine Art (Taos NM), Arte Ponte Gallery (NYC), Whatcom Museum (Bellingham WA), Gallery 25N (Online gallery), Viridian Artists Inc. (NYC), Greg Moon Art (Taos NM), Contreras Gallery (Tucson AZ), Tubac Center of the Arts (Tubac AZ), H Gallery (Ventura CA), Naples Art Assoc. (Naples FL), Axis Gallery (Sacramento CA), The Center for Contemporary Political Art (Washington DC), Blackboard Gallery (Camarillo CA) and was part of the Museum of American Illustration 2000-2001 Traveling Exhibition (40 selected works). New publication: I have 8 paintings & commentary in "Not Normal: Art in the Age of Trump" by Karen Gutfreund (available on Amazon).

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Fox Muse

Painting, Oil Color on Canvas | W:24 H:18 in | 2019 | AW127851000

Gary Aagaard: Sociopolitical Visualizations Marian White Interviewer

Gary, thanks for taking your time to answer our questions and make our readers more familiar with your works 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? When I attended college, I went to play football. I had absolutely no idea what I'd focus on academically. When I was a junior, my counselor stressed I needed to declare a major. I drew quite a bit as a kid, so I picked Art. After graduation, I kicked around as a plastic fabricator, burl table maker and finally landed a job as a yardman in a Seattle lumberyard. Finally, making money for a change allowed me to go back to school and major in illustration/painting. Several years later, I moved to NYC (Brooklyn) and freelanced as an illustrator, and after 9/11 as a so-called fine artist. Great job! After all, there was a trace of art in each of the jobs you did. Was there ever a moment of doubt to question your art career entirely? Of course, there were times I questioned my decision to go into The Arts. When I first arrived in NYC, I started doing romance book covers. Considering my focus was editorial work, this was a tough period. Within a year, a newspaper in Riverside CA, The Press-Enterprise, hired me to be their editorial artist, which I jumped at despite still not getting my fill of NYC. After 2 years in Riverside, I returned to NYC (again Brooklyn) with a portfolio full of editorial illustrations. This garnered editorial work from The New York Times, Village Voice, New York Newsday, etc. I was finally in my element. And finally your doubts faded. What is your daily routine when working in your studio? Rather than bore you with my daily routine, I'll focus on my painting process. Since my paintings are generally conceptual with a focus on political satire and social comment, I keep up on current events (depressing as that sounds). Once I decide to zero in on a concept, I do a series of pencil roughs until I arrive at an image that echoes what I'm attempting to convey. Thereafter, I draw it on a toned canvas and then paint away, making changes as I go. I used to paint a lot at night, but my new dog is an early riser, so I've adapted.

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Our readers want to know how you move from an idea to an artwork. So, take us through your process of making your artworks. I kind of responded to this in my previous answer, so I'll supply some specifics. I spend at least a day working on sketches. This is a luxury I never had as an illustrator when deadlines were tight. Conceptual work requires you to convey your theme in an interesting way, hopefully with humor (satire), conviction, and avoiding visual cliches. Painting well helps, but the concept should always be paramount. I always tone my canvases, so I can cut to the chase when I'm doing likenesses, which I do frequently. Your artworks' themes are known for your use of satire and humor, as opposed to some artists’ sledgehammer approach. Is there a central concept connecting all your works together or each series or artwork is unique? Generally, I jump from theme to theme, usually social or political comment. During the last 5 years; however, I've aimed my paintbrushes at Trump and a few of his shadier associates. The experience has been both gratifying and depressing. I'm starting one more political painting, which I'm excited about. Thereafter, I plan to paint frisky unicorns, multicolored butterflies, and seascapes with rocks shaped like hearts. But, I kid...... Viewers can form their own conclusion by viewing an artwork, but sometimes they seek for explanations to read an artist's art. Would you like to give a particular interpretation of your work to your viewers or do you prefer to leave the whole interpretation to your audience? I try to let the viewer make his/her own interpretation. However, sometimes at an opening, when asked a specific question about a painting (and if I feel they are on the right track), I'll supply a hint. At one solo show in Tucson, visitors kept asking about the meaning of one of my paintings, Eve's 1st Day. I finally gave one of the group a hint. She returned to the people gathered around the painting & repeated the hint. Soon, one of the groups solved it verbally and the rest shouted out the answer. It was kind of gratifying. You illustrate political and religious hypocrisy, general apathy, and dogma. How do you seek and use inspiration for your works? Usually, my inspiration is news-based. I'll see something which moves me, digest it for a while, confirm it's a fact (not an "alternative fact"), add it to a painting list in my notebook, and if my desire to paint it persists, I paint it. Note: I still have a long list of concepts. Politics has been my primary focus for the last half-decade, but prior to that, social comment took priority. I look forward to getting back on that horse. So the daily news, political and social events, and environmental issues are the things that have caught your attention over the last three decades. How do you select your artworks subjects? It's easy to do research for political caricatures which are often subjects in my paintings. Trump, for instance, loved to be photographed, even prior to being President. So, there are plenty of pics of The Donald. Other politicians’ pics are readily available thanks to the internet. I always work from at least 3 photos, so I really get a sense of the subject's face.... bonus, You don't infringe on any copyrights. When I work on subjects for conceptual pieces, I'll usually hire a model who has a face and essence that will help me nail the concept.... bonus #2: Some friends work for beer.

❝Painting provides an outlet to protest, reveal, display solidarity or simply lose yourself in what you find beautiful or intriguing.❞

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Gary, is there an artwork or series that you would like to be remembered for? And if yes, what is it? Probably my Trump series. I think it was important to call this guy out. I had already finished 3 Trump paintings before he was elected. I lived in Brooklyn for 22 years, so I witnessed many of his cons. As a grifter, he couldn't be equaled. Also, several of my Trump paintings have won Best of Shows in international and national juried shows. Eight of them were recently published in "Not Normal: Art in the Age of Trump". My 2nd choice would be my two Mother Nature paintings. "Ma Nature: This Time It's Personal" and "Ma Nature Revisited" were painted 20 years apart. Like the decline of our environment, the difference in the two paintings is telling. What are your art influences? Were there any artists or artworks which significantly influenced your art in different eras? My up-close-and-personal art inspiration was a remarkable illustrator named Dick Brown. He taught at Cornish College of the Arts in Seattle. Later, he founded and taught Illustration at The New School of Visual Concepts. His work was so painterly and expressive. He'd be featured in CA Magazine profiles and Society of Illustrator Annuals. He masterfully painted the illustrations for The Franklin Library's version of "The Reivers". His career was just taking off when he died of a brain tumor. The last thing he said to me several weeks before he passed was, "Go to New York", which I heeded. Other inspirations were illustrators N.C Wyeth, Brad Holland and Bernie Wrightson, and painters Edward Hopper, Eduoard Manet, and Edgar Degas. Honestly, too many to mention. And, if you could meet one of your ideal artists from the past, who would it be and what will you ask? Well, I'll stray from my favorite inspirations, and pick Michelangelo. I graduated from college with a BA in Studio Art (Sculpture), so I admire Michelangelo's diversity.... painter and sculptor extraordinaire! I'd be interested in what it was like to paint parallel to a ceiling, back against a hard scaffold, for 4 years with poor lighting. Talk about poor working conditions. Our readers are awaiting your near future projects. Any upcoming works or future projects you would like to share with our readers? I've got a toned canvas with a pencil drawing on it sitting on my easel. It stares at me every day. My working title is "GOP 2.0: The Imperfect Organism". Now, let your imagination run away with the possibilities. Amazing! we are looking forward to your future work impatiently. I appreciate your time and consideration in this interview. We hope to visit your brilliant artworks in numerous future exhibitions. We wish you the best, Gary.

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Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Gary’s artistic career. If you want to ask your own question, please scan the QR code and proceed.

Gary Aagaard

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Blinded by Delight Redux Painting, Oil Color on Canvas W:20 H:30 in 2018 Gary Aagaard

This painting warns of the dangers of blind love. Whether it manifests itself via unprotected sex, obsession, infidelity, etc., there is often an unhappy ending. AW127282200

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White Lie Painting, Oil Color on Canvas W:16 H:20 in 2015 Gary Aagaard

I swore I'd never use the Pinocchio visual cliche for lying, but I succumbed to the flagpole usage opportunity. This painting calls out the Heritage (vs Hate) rationale used by many after the church shootings in Charleston SC. The scene is continued around all four 1" edges so no frame is required.

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Ma Nature Revisited Painting, Oil Color on Canvas W:22 H:31 in 2017 Gary Aagaard

This painting examines Mother Nature's reaction to years of environmental neglect and in particular, the probable results of the current Wheeler-led EPA's oversight, or lack thereof. Remnants of Trump donors lie in the rubble.

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Sambuca & Cigarettes (after Degas) Painting, Oil Color on Canvas W:20 H:24 in 2016 Gary Aagaard

Inspired by Degas' "The Absinthe Drinker", this painting, "Sambuca & Cigarettes (after Degas)", adds a Southwest flavor via Tucson's Thimble Peak, a Southwest palette, stained cement floors and slump block walls. The Absinthe is replaced with black Sambuca and a jello mold echoes Thimble Peak.

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Alien Art: The 2nd Wave Painting, Oil Color on Canvas W:36 H:18 in 2013 Gary Aagaard

This self-portrait (oil on canvas) is my tongue-in-cheek response to the suffering of many traditional artists (myself included) due to the popularity of computer art, or as I refer to it, Alien Art. I channeled the Renaissance painting, "The Madonna with Saint Giovanni", to help make my point.

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Closeup Series #14, Diptych Painting, Oil Color on Canvas W:54 H:48 in 2021 Gabriella Di XX Miglia

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Gabriella Di XX Miglia Painting, Drawing, Mixed Media

Born in Genoa, Italy, Gabriella Di XX Miglia received an education in the Ligustica Academy of Fine Arts in Genoa doing studies with with Rocco Borella and Mimmo Rotella, than for three years continued her training under Guido Chiti and Palma Viardo. Finally in 1979 she obtained a Master Degree in Art Restoration and Conservation. Gabriella's works have been shown annually in both national and international shows. Her paintings are in the collections of private, corporate and public sectors. Gabriella paints a variety of subjects using different media, however she can not be categorized as still life, portrait, trompe lʼoeil, oil, pastel, watercolor or mixed media artist. She pushes herself even more working on sculpture and designing jewelry and fashion. Her ultimate satisfaction comes from continually inventing, stretching and improving herself. Her search for new ideas, new methods, new techniques is a never ending quest as an artist. Gabriella takes pride in being part of a family of artists such as her mother, a fine china painter, her grandmother, a violinist and author, her uncle, Alessandro Casagrande, a pianist and composer, and her great uncle Alessandro Lupo, a very accomplished postimpressionist painter and protegeʼ of Emile Bernard.

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Issue #18 - Winter 2022 observica.com/winter2022

Hero Navalny

Painting, Oil Color on Canvas | W:54 H:48 in | 2021 | AW127416752

Gabriella Di XX Miglia: A Discovery Journey Peter Lévesque Interviewer

Gabriella, thank you for taking your time and introducing us to your art by answering the interview questions. 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 proud to be part of a family of artists such as my mother, a fine china painter, my grandmother, a violinist and author, my uncle, Alessandro Casagrande, a pianist and composer, and my great uncle Alessandro Lupo, a very accomplished postimpressionist painter and protege’ of Emile Bernard. Since I was a child I was connected to art and inspired by my great uncle's story. After classical studies, I enrolled in The Academy of Fine Art in Genova, Italy, where I studied with Rocco Borella and Mimmo Rotella. Later I continued painting at the atelier of Guido Chiti. I knew I wanted to be an artist from an early age. My first exhibitions were in Italy in my twenties. Amazing! In an art-loving family, when children are appealed to art at an early age, their curiosity for art discovery and experience is aroused, and their imagination awakens. Was there ever a moment of doubt to question your art career entirely? I got a bit intimidated by the art world and while I was painting I decided to go back to school to learn a skill that would give me a job, so I got a Master in Art Conservation, and I became one of the Master Conservators in North Italy. I was still painting but the two jobs were conflicting: one technical and the other creative. I continued working on restoration when I moved to the USA, but I got to the point where I decided to be a fulltime artist. The beauty of doing art is that is always a fresh approach and a continuous learning process. This is my strength and hope.

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After working with different materials and techniques and experiencing the beauty and elegance of art, the artist realizes that he/she can better convey feelings and emotions to the audience through art. What is your daily routine when working in your studio? I work in my studio everyday. I normally have two paintings on my easels. Sometimes I like to leave them for a few days to fully dry and work on smaller studies on my art book that is set on a table easel, other times I like to draw directly with pen and watercolor on my sketch art journal. Now, please take us through your process of making your artworks. I love to paint people, I take a lot of pictures and I download them on my computer. I start drawing with a charcoal stick on a light tinted canvas or birch. I continue with a grisaille (one color + white) with values. At that point, I leave that painting to refresh my eyes and I start another painting with another subject on a diﬀerent easel. My process takes a long time because I paint in layers, I use very little color, and I let the painting dry between layers. I like to focus on something in my whole image (eyes, hands, gestures). I use all sorts of materials: rags, fingers, sandpaper, palette knife, squeegee, rollers. I add and remove and continue the process with changes and revisions until I decide the painting is finished. Great job! According to what you say, the beauty of people’s faces motivates you more than anything else to portray the feeling hidden in their faces. Is this what includes most of your work? I mean, is there a central concept connecting all your works together, or each series or artwork is unique? Sometimes from one painting, I get inspired to make a series of 8 or 10. Other times each artwork is a story of his own. Gabriella, you push the viewers into an awareness of the introspective process, and some of your artworks seem to come alive. How do you seek and use inspiration for your works? I get inspiration from people and certain colors around them. When I continue in a painting sometime it goes in a totally diﬀerent direction and the mood and colors change. And, what are your art influences? Rubens; the portrait of Marie de Medici, John Singer Sargent, Boldini Klimt, Turner Frans Hals, Gerhard Richter Let's meet the eminent old artists! If you could meet one of your ideal artists from the past, who would it be and what will you ask about? Rembrandt! I would ask him how he made the lightness of that feather and that incredible expression in the portrait of man in armor giant feather plume. I get never tired on looking at that masterpiece. Our readers are enthusiastically waiting for loads of your future artistic endeavors and art presentations. Any upcoming works or future projects you would like to share with our readers? My project is to continue painting people and enhance the feeling of lightness, transparency dreamlike images, and mystery. So, we look forward to seeing your unique artworks at upcoming Exhibitions and Art Galleries. Thank you for participating in this interview and sharing your artistic story with us. Wish you the best, Gabriella.

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This interview ends here. We hope that you enjoyed reading this inspiring interview with Gabriella. If you want to ask your own questions, please scan the QR code and proceed.

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Self Portrait 3 Painting, Oil Color on Canvas W:24 H:36 in 2021 This work was inspired by the encaustic roman paintings. I wanted to achieve the same feeling using oil paint on canvas. It was a long process because I worked on layers and layers of glazing, removing and adding Gabriella Di XX Miglia texture as I went along on my discovery.

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Closeup Series #14, Diptych Painting, Oil Color on Canvas W:54 H:48 in 2021 This work of art is done in two canvases placed next to each other composing one image. Technically is called a diptych but I would call it an uniptych because is one image in two canvases. Is representing women's Gabriella Di XX Miglia empowerment and is part of my Closeup Series, a collection of portraits were I choose to paint only a part of it. I leave something to the imagination of the viewer. Nota Bene: This work is in two panels of 48"x27". The total size of the two panels together is 48x54 inches.

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Beatrix Painting, Oil Color on Mirror W:16 H:20 in 2021 This portrait is on a mirror, the surrounding is reflected and changes the painting as you like it, it changes as you change the location and all is incorporated in the overall of the artwork. Gabriella Di XX Miglia

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Closeup Series #8 Painting, Oil Color on Canvas W:36 H:48 in 2020 I was inspired by the Movie " Gone with the wind" and the fabulous balls of the 19th century, the fashion, the elegance of the ladies. Gabriella Di XX Miglia I hope the viewer sees in my painting this desire of having a good time. This work is part of a series called "Closeup". It is a closeup portrait of my sitter. I leave it to the imagination of the viewer to guess the rest of it.

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Blue Period - III Painting, Mixed Media on Canvas W:24 H:36 in 2019 Rich Sheaffer

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Issue #18 - Winter 2022 observica.com/winter2022

Rich Sheaffer Painting, Mixed Media

Rich Sheaffer resides in San Marcos, California. Since retiring from the electric utility industry at the end of 2016, Rich has branched out into the areas of writing and art. While much of Rich’s career in engineering and management was rather mundane, the exceptions were when he did not follow conventional wisdom and explored on his own without necessarily doing things the accepted, “correct” way. That is when breakthroughs occur, discoveries are made and quantum improvements can be initiated. It is with that spirit that Rich creates art by inspiration and imagination. While Rich’s works generally reflect the angst of a common man regarding events occurring in the political milieu, some have eerily also predicted future events. For example, “The End of Democracy in the National Interest?” was inspired by things said in the course of the impeachment defense in early 2020, yet also proved to predict the rhetoric and events that would follow the 2020 U.S. national election. Rich is active with the Artists Guild of the San Diego Museum of Art, the Artist Alliance of the Oceanside Museum of Art, and others.

biafarin.com/artist?name=rich-sheaffer

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Issue #18 - Winter 2022 observica.com/winter2022

If I Can't Have It, Nobody Can

Painting, Oil Color | W:38 H:22 in | 2021 | AW127839400

Rich Sheaffer: Abstract Messages Peter Lévesque Interviewer

Rich, thanks for taking your time to answer our questions to let our readers get more familiar with your works 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? People notice that I had not started my artwork until after my engineering career in the electric power industry, asking whether I had really always wanted to be an artist. Surprisingly, no, I had never thought of pursuing art earlier in life, and never thought I had any talent for doing so. After my retirement from engineering, I took up the task of writing a novel to capture my angst of the 2016 U.S. national election campaign, by creating fictional setting decades into the future. After many months, I realized that I would not be achieving my goal in a year or two, but more like ten. So how could I express my feelings more quickly? Ah, yes, abstract art! After my first work, “The Story of My Life: An Experiment of Love, Faith and Chaos”, I decided that I could capture my angst by “abstractionizing” hot-button social issues through art. Thus was created my genre of Socio-Political Abstractionism. As you said, you had never thought of pursuing art earlier in life and never thought you would be talented in this field. Was there ever a moment of doubt to question your art career entirely? Although I never use the name “Trump” in my artwork descriptions, I found much fodder for the creation of my art during the Trump Administration. But since the attack on the U.S. Capitol on January 6 and the subsequent inauguration of a new administration on January 20, my inspiration dried up. We no longer had the angry, daily rhetoric from the White House. The attacks against democracy were not completely gone, but seemed to be fading away. I no longer had the angst, the nightmares, and the fears that I had for nearly five years. Was I done with art? But then we had Afghanistan, and of course, the finger of blame will point back and forth, but once again, we had chaos. Using a variant spelling, my latest work has been “Khaos in Kabul”. Now the question remains, how much inspiration will I have over the next few years? We wait to find out.

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It’s very exciting for the readers to have some clear ideas about the artists’ daily artistic life. So, what is your daily routine when working in your studio? Although I have many activities in my daily life, the inspiration for my genre of art is sporadic. When society and politics are full of tumult and turmoil, I may have a vision or a nightmare, and that’s when I bolt up any time of the day or night and try to capture what I see by painting or sketching to capture the image before it fades from my memory. For the artwork that I create, working sporadically on issues as they arise, and not having a routine, is what helps differentiate me from other artists. Rich, take us through your process of making your artworks. How do you move from an idea to an artwork? Visions by day and dreams by night are the sources of the images for my artwork. I practice dream work, which is to say that if an issue is on my mind, I think of that as I fall asleep at night. Often, I may have a dream that captures a vague, primitive image relating to that issue. When I awaken, which hopefully is immediately after the dream, I jump out of bed and try to capture the image by starting to paint or at least making a rough sketch of that image. Then the ensuing artwork, which usually involves many steps of a process, usually takes weeks. For a work that involves only painting, I generally use acrylic paints on a stretched linen canvas. For a work that requires a firm structure, such as one involving wooden forms or moving parts, I start with a Baltic Birch or other hardwood painting panel. The only time I would use oil paint is when I intend to actually set it on fire with a blowtorch, as in “If I Can’t Have it, Nobody Can”, referring to the rioting and violence following the 2020 U.S. election. Good job. You’ve been developing a new genre of art that you call Socio-Political Abstractionism. So, is there a central concept connecting all your works together or each series or artwork is unique? The central concept connecting all of my works for public exhibition is what I call Socio-Political Abstractionism. That is where I “abstractionize” hot-button social issues that are being heatedly debated. Rarely have I digressed from that genre: examples would be a couple of abstract landscapes inspired by Yosemite National Park, or works intended as gifts to friends, but those are held privately and not for public exhibition. Some artists prefer to provide detailed artwork descriptions to elaborate and guide the audience in receiving their message via art. What’s your idea? Would you like to give a particular interpretation of your work to your viewers or do you prefer to leave the whole interpretation to your audience? For many of my works, since they represent real issues in abstract form, the audience might not have a single clue as to what inspired the work or what it meant if I didn’t get them started. So, I offer a brief description for each work, to set the stage for what had inspired the work. However, the real value of my work is to encourage people to think and talk about an issue, and to assign their own interpretation and opinion to my work. Once that happens, and my work has been a catalyst for thought and discussion, then my own interpretation fades in importance, as it should.

❝I love expressing my feelings through art. I am happy about not competing with other artists by trying to be like them, but rather by practicing in my own style.❞

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Rich, you create art by inspiration and imagination. How do you seek and use inspiration for your works? My inspiration comes from current events and concerns. I rely on many news sources to attempt to present multi-faceted, complex issues as simplistically as I can, in as unbiased a fashion as I am capable. Although I try to not take a side politically in my artwork, it is political in nature, as all of society’s significant issues are. I strive to take something said, an event that occurred, or the fear of an event that could occur in the future, and abstractionize it through art. Hopefully, the topic is presented as an issue in as unbiased a manner as I am capable, and people are free to interpret and discuss the work, and debate the issues. That is my goal, to encourage people to think, to discuss, and to share opinions on a topic, without my artwork taking an obvious side in the debate. So the daily news, politics, and social events are the things that catch your attention, and you portray them without prejudice, judgment, and bias. How do you select your artworks subjects? Where do they come from? My favorite subjects are the very significant issues that affect all of us as a society. There are so many people who are fixated with “I’m right and you’re wrong”, “my opinion is the only correct opinion” and “my belief is the only true belief”, that we must question, after thousands of years of that kind of thinking and the conflicts that arise as a result, can we ever change? Can an artist make an impact? It is my job to do my best to choose artwork subjects that challenge that type of thinking, and it will be long after I am gone before it is seen whether I have had any impact at all. If I have caused anyone to think and contemplate, considering alternatives rather than keeping their thought process on auto-pilot, then I will have succeeded. Some artists may look at some of their artworks or a collection of their works specifically and value them more than their other works. Is there an artwork or series you would like to be remembered for? And if yes, what is it? I would like to be remembered for creating the genre called Socio-Political Abstractionism, the process of “abstractionizing” significant, complex issues of our society into the simplistic, primitive expressions of a common man. My favorite works are those that were not only inspired by past events or fears, but then came to predict the future as well. As an example, “The End of Democracy In the National Interest?” was not only inspired by things stated on behalf of the President during impeachment proceedings in early 2020, but also was predictive of our democracy being attacked following the 2020 U.S. national election. Maybe some artists or artworks could influence your art career in different eras. What are your art influences? Jackson Pollock was my original art influencer, and by his work, I was inspired to create my first work of abstract expressionism, “The Story of My Life: An Experiment of Love, Faith, and Chaos” on a 4x6-foot canvas. After capturing my entire life, as I saw it, I found that I very much enjoyed that creation. Then, as I ventured into my new genre of Socio-Political Abstractionism, I consciously decided to avoid (or at least minimize) art training, so as to avoid being influenced by others. I did not want to compete with well-trained, highly-talented artists as a “little fish in a big pond”, because I would surely not succeed with that approach. So, I decided to be “the only fish in my own pond” by creating my own genre of art. I have been ever-so-happy that I chose that approach. Although I associate with other artists and appreciate their work, I continue to avoid being influenced by other artists as much as possible to maintain my unique style. Although I share my work with other artists, I deliberately do not seek their critiques or suggestions for improvement, since my goal is to maintain my own style and uniqueness. And, if you could meet one of your ideal artists from the past, who would it be and what will you ask? I would have loved to have met Vincent Van Gogh. I consider him to be brilliant, and he lives on through his wonderous work, although in his time his work was generally considered ugly and distorted. He did not follow the art conventions of his time, but painted as he alone saw things, not as a camera or as his fellow artists saw things. One of my favorite memories is having visited Auvers-Sur-Oise in the countryside outside Paris, where Vincent spent his last days and where he and his brother Theo are now buried.

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As the song goes, “… this world was never meant for one as beautiful as you.” If I could ask him one question, it would be “How do you find the inner strength to carry on with your artwork in spite of all the scorn and taunting?” Vincent would have never been considered as a founder of Modern Art if he had merely been like any other artist and not maintained his own style through all of his sufferings. Our readers are waiting for your near future endeavors and projects. Any upcoming works or future projects that you would like to share with our readers? Future projects will be inspired by future events and future concerns. We all await to see what those will be. So, we will wait, as well. Thanks a million for accepting our invitation to this interview. I hope your wish will come true. Good luck, Rich.

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Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Rich’s artistic career. If you want to ask your own question, please scan the QR code and proceed.

Rich Sheaffer

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Dare to Say 'Diversity' Painting, Acrylic on Canvas W:40 H:40 in 2017 Rich Sheaffer

At a meeting held in December 2017, the administration’s list of seven terms that were to be "avoided" by the CDC were conveyed; one was “diversity”. Was the prior administration connected to the diverse American people, and shouldn't we be dancing together as if colors on a canvas?

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Full Circle: An Identity Crisis Painting, Acrylic W:29 H:29 in 2020 Rich Sheaffer

Acrylic on 29 inches Round Painting Panel Mounted on Turntable Entering the 2020 election, did we know what fascism is, what its defining characteristics are, who its greatest supporters tend to be, and what it is against which we fought in the 20th century? What do you see when this work is inverted on its turntable, and what was all the talk about "Antifa"?

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Out With the Old, In With the New Mixed Media, Acrylic on Panel W:36 H:24 D:3 in 2020 Acrylics on Painting Panel with Sledgehammered Wooden USA Rich Sheaffer

The Statue of Liberty was a gift of friendship from France, and has traditionally been seen as a welcoming symbol of liberty and freedom. Now, her flame seems to be flickering out and up in smoke while the country itself has become ripped apart and splintered, and is now itself in flames. The Statue of Liberty has traditionally been seen as a welcoming symbol of liberty and freedom. Under the prior administration, her flame was flickering out and up in smoke while the country itself was ripped apart and splintered, and was in flames. Is it different today?

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Rage vs. The Blue Wall Version 2 Mixed Media, Acrylic on Panel, Wood W:24 H:36 in 2021 Mixed Media, Acrylic on Panel with Wood Forms Rich Sheaffer

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A terrible experience with extremely dangerous drugs Painting, Mixed Media W:50 H:46 in 2021 Joseph Gattulli

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Joseph Gattulli Mixed Media, Painting

Born 1966, Plainview, New York I am a self taught artist who suffers from early childhood PTSD and these works are part of a healing process.

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Covering the story a glimpse of the press in action ugliness Painting, Mixed Media | W:48 H:48 in | 2021 | AW127052424

Joseph Gattulli: Experimental Emotions Marian White Interviewer

Joseph, thank you for taking the time to talk to us 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. I have always been attracted to the visual world around us. At a young age, I would sit and create visualizations and interpretations of what I was seeing around me. At that young age, in the era I grew up in, artistic pursuits weren't necessarily encouraged, and it wasn't until my late 20s, early 30s that I began to explore my creative side in more detail. There wasn't a pivotal moment per se, it was more of an evolution and me being comfortable to explore and develop that side of me that had been so dormant for years. A lot of the work I produce now has elements from my works earlier on in my career. In the last 10-15 years, I have also developed a passion for photography and digital mediums. My work is now an extension of who I am, a part that I accept and uniquely embrace. You now uniquely accept a part of what you are and expand it day by day, and it is a very significant event in an artist’s artistic life. Was there ever a moment of doubt to question your art career entirely? At times, I haven't had the conviction to follow through on ideas. This could be trying a new technique or approaching a piece in a new way. With the explosion of digital content, I started to feel a bit left behind. Suddenly with Instagram, everyone had access to a camera, a platform, and a medium in which to put themselves out there in a public forum. I struggled initially to see how I could also leverage this for my own work and personal brand. I have built up a core group of people online whom I follow and get inspired by. Early in my art career, I struggled with accepting positive feedback. I have continued to challenge myself and welcome feedback.

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Every artist may face doubts and even fears, but the important thing is to be able to overcome the situation and continue the journey. What is your daily routine when working in your studio? My daily routine usually revolves around my home studio. I gather inspiration throughout the day with both mindfulness exercises such as meditation and yoga and also artistic exercises such as neurography art. While in the studio I prefer to work naturally rather than structured. Some days I have a lot of ideas, other days I can spend 4 hours redoing or re-working a small portion of a piece. Music also helps inspire my creative ideas, I generally have The Grateful Dead playing. If I am working on a photographic piece I will leverage the best times in the day for lighting etc., depending on what the piece of work involves. I generally reflect on what I have achieved at the end of the day and if thinking of making a major change, I will usually step away from the piece for a period of time to ensure that it's something I really want to do. A lot of my work is more fluid and that is reflective in my approach to studio time. Great job! Now, take us through your process of making your artworks. How do you move from an idea to an artwork? Where does an artwork begin for you? I generally start with an idea or concept that has been inspired by the world around me or even an emotion or feeling. I visually conceptualize how this will look in a physical sense. Sometimes at the end of this process, I reflect back and see how much variation in the final work there is compared to what I initially was thinking and I surprise myself, but that's part of the evolution of art. In terms of materials, I like using unique techniques in painting or items when painting. Not everything needs to be perfect and I celebrate so-called mistakes and usually add a level of depth to them in my work. I have been known to utilize a lot of lost and found items, such as old magazines, posters, rubbish from the beach. I like the depth and texture it can add to an otherwise plain piece. I don't follow a linear process when producing my pieces. There isn't always a definite start and end. I have been known to "finish" a piece and then return to it months later with a new idea or adding a new layer of depth. I try to keep the palate simple, the colours are dictated by the mood and feeling of the piece. Yes, Sometimes there's no bright start and end and no definite process in an artist's mind, as well. And the artist's feeling illuminates the path and guides the artwork. Is there a central concept connecting all your works together or each series or artwork is unique? No, all my pieces are unique although within a body of work there may be a central theme, for example, I have a series of work that evolves around circles as a shape and pattern. The scars and tears on some of my work represent hurt and pain, both literal and figuratively. I try and let the theme unfold as I am working on a piece rather than trying and conform to a specific theme. It is through this process that some of my series has evolved. I didn’t necessarily start out with the intent of it being a series of circles or digits, it evolved to that. I would struggle to try and connect everything together and I am ok with that.

❝Being an artist gives me a chance to heal, grow and express emotions that I wouldn’t normally have the opportunity or ability to.❞

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Oftentimes, there is an unconscious burst of creativity in artistic endeavors. It is an inspiration. How do you seek and use inspiration for your works? While I do get inspiration from physical people and books, most of my day-to-day artistic inspiration comes from the visual world around me. As mentioned earlier, I have always been drawn to what is happening around me in an emotional and physical sense. I also get a lot of inspiration from nature, for example, trees provide inspiration through their shadowing and the way the light casts on them. I can see visual shapes as well as techniques to apply to my work. I try to approach each day looking for depth and character in my experiences and try to approach situations with an open mind as to what can inspire and motivate me. I sometimes never know what I am going to end up as a result. I let the materials guide me. How satisfying it is to get a rush of visual inspiration, isn’t it? You know some influences are motivating enough to fuel a productive streak. What are your art influences? Who are your favorite contemporary or historical artists and why? Jackson Pollock is someone who I have always looked up to. The main reason is his innovative technique and his use of the materials. He was known as ‘Jack the Dripper’, doing things that were innovative for that time period. I have adapted a lot of these techniques into my own work and I let the materials take control. Now Joseph, how about a trip to the old world of art? If you could meet one of your ideal artists from the past, who would it be and what will you ask about? I would have to say Jackson Pollock again. He is a Long Island local and I have always been drawn to him and his style. I would want to understand his back story and the demons that he battled through his life. How he was able to translate those into his work. I would try and understand his thought process and why he approached his work the way that he did. I appreciate your concern about my interview. Our readers will be so grateful that you shared your artistic story with them. I hope you are successful and always shine, Joseph.

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This interview ends here. We hope that you enjoyed reading this inspiring interview with Joseph. If you want to ask your own questions, please scan the QR code and proceed.

Joseph Gattulli

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My guilt was so gross explanations were useless Painting, Mixed Media W:30 H:24 in 2021 Joseph Gattulli

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Savage Lucy , teeth like baseballs , eyes like jellied fire Painting, Mixed Media W:30 H:26 in 2021 Joseph Gattulli

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Untitled 1 Painting, Mixed Media W:48 H:48 in 2021 Joseph Gattulli

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Untitled 12 Painting, Mixed Media W:22 H:28 in 2021 Joseph Gattulli

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Untitled 15 Painting, Mixed Media W:11 H:14 in 2021 Joseph Gattulli

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African Daisies Painting, Pastel, Mixed Media W:30 H:22 in 2020 Ellen King

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Ellen King Painting, Mixed Media

A native Angeleno, Ellen Armer King has always loved making art. As a girl, she drew and painted constantly, and began winning school and city competitions by age ten. In her early 20s, she moved to Europe to visit museums and learn from the masters. She lived Haarlem, Holland and Paris, France where she studied at the Sorbonne. King's travels throughout Israel, Africa, and India have inspired much of her work. Today, King's mixed media work is vivid, fiery, teeming with energy, sometimes subtle but always alive. Her Southern California roots have influenced her love of bright, rich illuminated color. She currently resides in Manhattan Beach, CA, where the sun, sand and sea provide endless inspiration. Her ongoing body of work grows out of her search for honest expression. "We all have something to say to the world," King says. "Painting is my way of finding a universal truth, revealing our humanity, our vulnerability, and our grace."

biafarin.com/artist?name=ellen-king

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Issue #18 - Winter 2022 observica.com/winter2022

Chinese Lanterns

Painting, Chalk Pastel, Mixed Media | W:22 H:30 in | 2021 | AW127890464

Ellen King: Sensually Alive Nancy Krüger Interviewer

Ellen, thank you so much for taking your time to talk about your art. 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’ve always made art ever since I was a little kid. In 4th grade, we were studying the Hopi Indians. We had to paint fields of corn from slides (dating myself) the teacher had shown us. Mine was surprisingly beautiful. They looked like they were blowing in the wind. I was shocked. Everyone came over to admire. I decided then and there that I was an artist. Being nurtured at UES, an experimental grammar school, part of UCLA, encouraged me to think outside of the box. After graduating, I moved to Europe living in Holland and France for 4+yrs. The cities themselves were works of art. Walking through museums housing some of the finest art in history was an educational joy. Coming home I found the perfect fit in an art school where I taught and trained artists and teachers alike. A kind of hidden artistic talent displayed with the enthusiasm of success and completed by gaining experience in visiting art places. Was there ever a moment of doubt to question your art career entirely? I am sure that every artist has moments of self-doubt, myself included. As a single mom, I needed a “real” job to support my family. Teaching, developing programs, training was fulfilling but left no time for my own creative expression. I was often running on empty. It’s then that I would question the pursuit/feasibility of my own art-making. Was it worth it, should I bother, did I have what it took, and so on? Through it all, there was always that little tingle, that longing to create. It (still) feels like panic. The “time stands still, there is nothing else in the world that exists” feeling needs to be honored. So while I did not make a whole lot of art in those years, the art I did make was powerful. To honor the need to create is the highest form of self-love. When I start to doubt, I start to work, even if I do not feel like it. In that way I honor myself.

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Very nice. Indeed, you use the doubt as fuel. What is your daily routine when working in your studio? I have a ritual/routine as I walk into my studio. Before I get there I put on comfy clothes, I get myself some munchies and water. In other words, I prep so that I have no reason to walk back out again. I have great music at my fingertips, I light candles and burn incense then I start by mixing colors. This focuses me and gets me (sounds corny) in the zone. If I’m painting with pastels, I’ll prep paper, paint mediums, anything that’s fairly mindless. And then at some point, I never know when, the flow is there, and I’m working, and there is nothing else. I have 2 windows, 2 skylights that pop up, glass doors to let tons of natural light in. I have both incandescent and fluorescent overhead lighting. I much prefer working during the day that hasn’t always been so. I love a long stretch of hours to work, with no obligations at the other end. What a wonderful atmosphere! Comfortable, calm, and inspiring space that can convey many feelings and meanings. Now, I am curious to know how you work in this unique space. Take us through your process of making your artworks. Taking my pup on long walks during lockdown I noticed nature in plants, dirt, growth that I hadn’t before. This was the genesis of my last series Art In The Time of COVID. I never know what ideas will take shape until they do. The idea can be visual, a thought, a phrase. If I stop to notice it, I know it’s a seed that might grow now or later or not at all. I trust this progress. When I find myself thinking about it, I say hmmm. While driving, falling asleep, waking up, randomly, the ideas germinate. I love this idea part. I also love mixing media together. Experimenting with papers, paints, tools, oils. A new tube of paint might inspire. The idea exists while I play with these different possibilities. The media may dictate an idea or reshape it. Stay open so the pieces fall together. Listen to the painting. It will direct you. Don’t force it where it does not want to go. This is giving up all control. It feels wonderful! A cute story you can use or not: I moved into a new place a few years ago. I did some remodeling. Outside in the back, there was an ugly worn out aluminum awning covering most of the small yard. When I had it taken down there was a giant telephone pole dead-center in the yard right behind me that you couldn’t help seeing. It was HUGE. I knew that it was there to stay so the only way I could live with it was to do a painting of it. So I did. I added real telephone wire to the canvas as well as picture framing wire with picture hangers, hooks, and all. The painting was terrific. It was chosen for the cover of LAAA’s “Communication” show. It may not even feel like “inspiration” but it is just the same. You are Amazing! Creativity is characterized by the ability to understand the world in new ways, to find hidden patterns, to communicate irrelevant phenomena, and to create solutions. Is there a central concept connecting all your works together or each series or artwork is unique? There is a central concept connecting all of my work. I have a unique style as we each do and it is recognizable. I love powerful colors, not necessarily the brightest but ALL colors and all of their values. I love lines, be it marks on paper with pastel or brush strokes in oil, even the thinnest line of a pencil.

❝. It feels like magic. I love picking or mixing the exact color that ties hunks of the painting together or helps it emerge.❞

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I love details, noticing what makes things unique unseen at first observation. I love the human form-finding it in nature or inanimate objects, it’s always there. Like looking for the animal in a cloud formation. This combination of power and subtly is my signature. I feel happy about this. I know that painting motivates you to find and display a universal truth and reveal humanity and grace. How do you seek and use inspiration for your works? One of my favorite ways to find inspiration is in the art store. I love to wander around looking at all of the possibilities of paint colors. Or a variation of marks made by different kinds of brushes or tools. But new or unusual paper may be my current favorite thing. I can see it, touch it, layer it, examine the thickness or texture, marvel at the handmade variations and begin to imagine what could be discovered. I may not even have a subject in mind. I have found that if I wait around for inspiration I may be waiting a long time. If I start working on anything, inspiration inevitably arrives. I trust this giving up of power and control. It’s freeing. When an idea arrives I am always amazed at how it happened. But it does. That’s true. Inspiration can sometimes flourish in the middle of the work. As soon as art flows, inspiration arises from the artist's sense and mind. Now, what are your art influences? Who are your favorite contemporary or historical artists and why? Some of the most influential artists I admire range from contemporary artists, Jim Dine, Eric Fischl, Richard Diebenkorn, the Bay Area Figurative artists to the great Italian baroque painters like Michelangelo Caravaggio. And I have to include Vincent Van Gogh. Memorizing slides in college I didn’t get what the big deal was. Then living in Amsterdam, seeing his work in person, his paintings created movement and power that exploded before my eyes. But the most tattered book I have is Figurative Drawings by Jim Dine. I’ve used this book a 1000+ times while teaching life drawing. I’ve poured over his use of medium, texture, and line. I adore the movement in and out of focus of the contour/outline of the figure, where and when he uses detail in contrast to vague fields of color and texture. I was lucky enough to meet him in person though I would have loved to spend an evening discussing his techniques, examining his mind. I could discuss each artist with you in-depth space permitting. Perhaps another time. Do you want to come with me to the artists of the ancient era? If you could meet one of your ideal artists from the past, who would it be and what will you ask about? Meeting Eric Fischl would be a genuine thrill. When I first saw his paintings I was instantly captured. This sounds crazy but he painted exactly the way I would have loved to invent. It was me. It felt like a piece of myself was in each and every piece. His technique of applying the oil to canvas was all at once solid, grounded and yet sparse, understated. Detail left out and yet details were completely understood and viscerally felt. His subject matter was beyond intimate and intrusive. I would ask him where his ideas spring from which I would predict are from his own experiences, real or imagined. Possibly books read, stories heard. I would ask him technical questions about the path of his discovery and how his style developed. I would tell him how often I used his images while teaching life drawing and that he is one of my heroes. Ellen, our readers are into your vivid and fiery mixed media works. They are waiting for your future creation to get swarmed with the energy of your subtle and alive artworks. Any upcoming works or future projects that you would like to share with our readers? While ideas have been germinating, (even while writing this) in my gut, it seems I will be heading in the direction of a combination of figurative and nature using an array of papers and neon paint, collage, and drawing. We will see what comes of it…stay tuned. We look forward to seeing what will come of it. Thank you for sharing your artistic story with us via this interview. Wish you the best, Ellen.

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This interview ends here. We hope that you enjoyed reading this inspiring interview with Ellen. If you want to ask your own questions, please scan the QR code and proceed.

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Coral Bells Painting, Pastel, Mixed Media W:22 H:30 in 2020 Chalk pastel layered over cold press watercolor paper Ellen King

AW127119200

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Falcatta Painting, Chalk Pastel W:22 H:30 in 2020 Ellen King

Working with soft chalk pastel with its richness and texture over acrylic washes on heavy cool press watercolor paper, has created a foundation for these paintings of nature to grow on. The flow of wet and wet movement and blending of acrylic adds an element of surprise often imitating nature.

AW127766272

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Red Hot Pokers Painting, Pastel, Mixed Media W:22 H:30 in 2020 Chalk pastel layered on cold press watercolor paper with acrylic Ellen King

AW127122840

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Ruby Lipped Cymbidium Painting, Pastel W:22 H:30 in 2020 Chalk pastel layered over acrylic washes on cold press watercolor paper. Ellen King

AW127556792

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White Birds 1 Painting, Pastel, Mixed Media on Rag Board W:38.50 H:32 in 2021 Pastel Mixed Media On 4-Ply Ragboard Ellen King

AW127272040

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Red Stool Painting W:36 H:108 in 2021 Elsie Gray

AW127103542

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Issue #18 - Winter 2022 observica.com/winter2022

Elsie Gray Digital Arts, Mixed Media, Painting, Photography

Elsie Gray. 1999 Will earn her BA in Studio Arts from Hamline University in May. She has previously worked as an intern for Minneapolis Art.com in Minneapolis. Her work explores what not only does an eating disorder look like, but drawing attention to eating disorders and exemplifying how these disorders emaciated the body and mind. By using her own experiences with an eating disorder, she creates pieces that will resonate with survivors as well as educate.

biafarin.com/artist?name=elsie-gray

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Starving Nightmare

Sculpture | W:7 H:7 D:7 in | 2021 | AW127835424

Elsie Gray: Realistic, Intense Nancy Krüger Interviewer

Elsie, thank you for accepting our invitation to talk about your art. 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? Always was interested in drawing as a child, at an early age I was unable to talk, my tongue just didn't work, up until I was about roughly 6 years old, I was very discouraged by reading, math, and science courses growing up, and drawing made me feel better about myself. Took me to a place where I didn't have to worry about anything other than what I was creating. Therapeutic in a way. Throughout my former education, continued on with art; however, I could speak now, but remained silent, I suffered from depression, anxiety, PTSD, and anorexia/bulimia, these problems that I have faced helped me with my art however, by creating inspiration and wanting to spread awareness of these mental illnesses. Wanted to convey to the audience just how real the struggles are and how they're not just simple little non-important issues, these are issues that affect thousands of people and are very serious, so my art and pieces want to scare and make the audience understand just how important these illnesses are. You are amazing. You did not give up and resort to a sedative called art. You create artworks to depict the problems you were struggling with and help people with similar dilemmas. Was there ever a moment of doubt to question your art career entirely? I have doubted my work several times, before I started making the pieces I currently create, there was a time that I thought art only solely relied on drawing people's faces, and I was TERRIBLE at it, couldn't get the proportions accurate enough, I then came to realize that art doesn't just mean drawing people's portraits, and began to take a more abstract sculptural approach I've discovered during my undergrad.

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Our readers are willing to know about their favorite artist’s daily artistic life. What is your daily routine when working in your studio? I get in my studio, and I clean. I cannot work in a messy studio, everything has to be put in its place and I will spend the next hour or so putting it there. I then take out my sketchbook and look at all my ideas I have so far for the piece (pieces) etc. put my hair up, my welding boots on, and anything loud on a speaker turned to the highest degree. Sometimes ill have an idea and just go straight to making the piece, oftentimes, I just melt something on a canvas, throw something on a canvas and see what that looks like. I put magazine images related to the pieces in / for trying to create, and tape them all over the wall, my studio often looks like a crazy detective’s office. How cool! Now we are eager to know more. So, take us through your process of making your artworks. At first, I develop an idea I want to reach the viewers with, I then think of personal experiences. I tend to like to incorporate personal items in my works, such as patient itineraries, pill bottles, and personal notes I wrote in my notebook while attending treatment. I often build the scary thin outline of the structure with thin wire, nice I have the structure completed, I cover it in the skin, also known as black trash bags, I will then melt the bags with a heat gun to the pieces to give a melting/distorted look, makes the pieces come alive. It seems that drawing attention to eating disorders and embodying how these disorders emaciated the body and mind is the concept that you convey in your artworks specifically. Is there a central concept connecting all your works together or each series or artwork is unique? Central connecting points would be mental health and drawing attention to eating disorders and the fatal quest of thinness often reflected in the media of today's world. Some artists allow the artwork itself to speak to the viewer, and some prefer to provide detailed artwork descriptions to guide their audience in order to receive the message. Would you like to give a particular interpretation of your work to your viewers or you prefer to leave the whole interpretation to your audience? I prefer to have my artwork speak for itself, I attempt to make my pieces very gut-wrenching, so when the viewers look it immediately gives a reaction, either scared, uncomfortable, or uncomfortable. Great job! Elsie, How do you get inspired? How do you seek and use inspiration for your works? I’m very inspired by people. After being hospitalized for a severe eating disorder, I looked towards others around me in the facility for inspiration in my artwork.

❝The aspect I love the most about being an artist would involve the ability to make whatever you want, having that individuality while conveying an important message throughout your work.❞

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Where do your subjects come from? How do you select your artworks subjects? My pieces' subjects come from personal experiences, as well as what a majority of people struggle with. Artworks are often best driven not just by emotion but by artists' messages that will then provoke an emotional response in both the artist and viewers. Is there an artwork or series that you would like to be remembered for? I would like to be remembered for my piece "starving nightmare" this is my first piece that was in a gallery, It really kicked off my idea for future pieces incorporating the effects of an eating disorder. I think it’s very important and eerie and that's exactly what my goal as an artist is, of course, that and drawing attention towards the illness in an abstract sculptural way. People are very hush-hush when talking about these things, that shouldn't be the case, as with my work I will continue advocating and drawing attention to this slow death. What are your art influences? Which artists were the key influences in your art career in different eras? Eva Hesse Magdalena Abakanowicz Zdzisław Beksiński And of course Gustav Klimt, With their usages of color, shape, and form in their sculptures, and paintings it gives the audience a very urgent initial feeling when first looking at the pieces. Varying from life-size sculptures, to murals or paintings, these artists and their work have inspired me in getting across a message very effectively and quickly to the audience's eyes by use of size, materials, and concept. And, if you could meet one of your ideal artists from the past, who would it be and what will you ask? What inspired Eva Hesse in her work, and what her process for making pieces entails. Since our readers enjoy your works and the message you transfer via your art, they constantly ask about your new endeavors or projects. Any upcoming works or future projects you would like to share with our readers? Future endeavors include, working on a current series, depicting the female body and its “fatal quest to thinness” will be 4 pieces of series ranging from life-size sculptures, to more abstract expressionist paintings with depictions of the human body associated with the pieces. Plan on continuing this idea of battling the idea of thinness as I've recently digressed with my weight personally. I will be continuing to create pieces that explore more of the physicalities and negative outcomes these disorders can result in, such as infertility, organ failure, and poop bags. That’s great. Thanks for taking your time to answer our questions, Elsie. There is a trace of rich art in each artwork you create. Good luck with your future artistic creations.

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Dear art fans, thank you for your attention and we hope that this interview answered a considerable part of your questions about Elsie’s artistic career. If you want to ask your own question, please scan the QR code and proceed.

Elsie Gray

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Thought Vomit 1 Mixed Media, Mixed Media W:7 H:11 in 2021 Mixed Media Painting Elsie Gray

This piece gives the audience a glimpse inside the mind of ones own thoughts, in which the individual whom suffer from a mental illness, disability, or eating disorder. clippings from medical centers, psychiatrists, and mental help facilities "helpful hand-outs" are scattered throughout the piece.

AW127024978

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Issue #18 - Winter 2022 observica.com/winter2022

Red Stool Painting W:36 H:108 in 2021 Acrylic-Oil, Whiteboard Canvas, displaying the fatal quest of thinness through the viewers gaze. Elsie Gray

AW127103542

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Issue #18 - Winter 2022 observica.com/winter2022

Starving Nightmare Sculpture W:7 H:7 D:7 in 2021 Wire Sculpture Elsie Gray

AW127835424

I wanted to create a horrific, burnt, yet lifelike piece distorting the form of the human body and its entirety.

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OBSERVICA Magazine

Issue #18 Winter 2022 March - 2022

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