CREATIVPAPER Magazine
Vol 1
Issue 016
Welcome
If there is one thing that we have learnt in 2019, that is creating under stress is never a good idea. Not only are you in a vicious cycle of self-sabotage, it can also take a toll on your physical health and everyone around you. It is in times like this that you have to take a step back to look at the bigger picture. Impart a stoic approach to the obstacles in front of you. Is this something you can control? If not all you can do is focus on controlling your emotions and their outcome. This, as we all know, is easier said than done. Never underestimate the impact of your mental health on creativity. Harness those dark moments, transfer them on to paper, canvas, glass or earth. Whatever your medium may be. The artists we have worked with in this issue have all pushed through these strenuous moments and come through victorious, stronger and more resilient than before. We hope you enjoy browsing through the pages of this issue and remember, no matter how impossible things may be, you are never alone, and there is a solution on the horizon, failures are only different outcomes and new beginnings. Its all a matter of perception.
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Contents
06 MOHOLINUSHK 12 RITVA GEORGIADES 16 DAVE CURTIS 22 LARRY GRAEBER 28 MATTHEW HEIMGARTNER 30 JOAN ANDAL ROMANO 34 LARRY SIMON 38 JEROME CHIA-HORNG LIN 44 GILBERT SALINAS 48 LEE MOHR 52 LAWRENCE LEE 62 HAIMENG CAO 66 DEVON GOVONI
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Cover Artist
moholinushk moholinushk.com
Playing with abstraction and forms in her work is Zurich based artist moholinushk. Using chalk, ink, watercolour and colour pencils, she experiments with abstract shapes, the circle forming the nucleus of her work. Some drawings reflect her realities; others play with the geometry of her visions. After a busy professional life as a social anthropologist and diplomat, moholinushk started to explore the creative side of her personality. She draws her inspiration from Japanese graphic, traditional Islamic design and the Bauhaus. We had a conversation with her where she talks about being a global artist, creating dialogue through her work and the importance of downtime.
Your current body of work has a lighter palette compared to your previous pieces, what factors influenced that decision? My surroundings influence me profoundly, the palette reflects the colours and the lights of my environment when creating. Among the previous pieces, a large part was created in Switzerland, very often under gloomy weather conditions or in the mountains during wintertime when everything is more or less shiny greyish white.
situation represented. I couldn’t be an artist sticking to a specific palette of colours. I would feel restricted.
The palette already changed in work realized in Oman, showing the different sand and grey colours of the country contrasting with the intense turquoise blue of the sea along with the coastal areas. Japan, the last body of work, is lighter, very much reflecting the May atmosphere on the main island. The focus of my work is to represent my mundane experiences with abstract forms; the palette changes with the places and the
Another important factor influencing the palette is, of course, the choice of material I use; when I was in Japan, I found different inks not available in Europe. The Japanese inks are traditionally used for calligraphy, classical drawing or manga. Mixed with water, the inks give interesting colours. Part of the challenge is to try and play with different kinds of colour material. Do you think being a global artist in this day and age comes with its unique challenges? The “global artist” is not a new phenomenon. Even in the middle age, artists were travelling, exchanging with other artists, and developing new elements borrowed from different cultures. What has changed now is the way it is done.
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Above: Near Kyoto – walking with Tomoko in the bamboo forest Drawing on Paper, 30 x 30 cm, 2018
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You have travelled extensively throughout your life both personally and professionally, what advice would you give someone who may not have the means to do so but wants to discover the world creatively? Sometimes I am just sitting on the local bus, observing what happens around me, listening to the discussion, looking at the expression on peoples faces. I suddenly realize that I am just collecting fantastic situations and visions, which then gives me a lot of material to prepare a small series. The classical artists used to do sketches. I don’t do sketches, but I listen, look, observe and reflect. I am aware of my surrounding; it is then up to me to translate my observation into art with my creative means. Observation can be done around the corner.
The modern artist can virtually show his work everywhere he wants. The exchange of ideas and technics takes place at many levels and very quickly. On one side, it is encouraging and satisfying when your work is appreciated in another country or in a different cultural context; on the other hand, the artist feels an absolute pressure to please everyone everywhere. The artist’s work is subject to global criteria, the international critic can be very harsh and the artist has to work quite hard to develop his very personal signature. How important is creating dialogue through your work as an artist? When I was in my thirties, I convinced myself that the main aim of art is to create dialogue, be it political, cultural or sociological. The conversation was supposed to be provocative, critical, interrogative and constructive as well. At that time, a lot of international artists were creating for that purpose. In this day, a lot of artists tend to be more autistic and create either for the pleasure of creation or to show off and don’t really care about the varying feedback.
A step further is to read books and discover other universes, going to exhibitions to see how others express themselves with their creative means. I enjoy going to different types of exhibitions, especially ones showing foreign artists, in the city where I live. The confrontation with other artworks is motivating.
Just because the diffusion through the media is immensely vast, there is less dialogue but more parallel monologues losing themselves in every direction. People look at your work, but usually, you don’t really know how your audience reacts, you don’t get the real critic, and the dialogue face to face is missing. From my point of view, the dialogue is still critical, but honestly, it is restricted to small “like-minded” groups. Having the opportunity to show my work in different cultural contexts, I personally appreciate this kind of “intercultural” dialogue very much, physically taking place with a restricted number of persons but from different cultures. These are very concrete and real feedbacks.
How significant is downtime for you? Do you think we live in an age of pressured productivity? Pressured productivity has always been an issue for an artist who has to make a living out of his art. Looking back at the history of art, throughout the ages, artists were producing under pressure just to survive; very few had the chance to be supported by wealthy patrons and at the same time to create what they really wanted. A lot of art has been and still is commissioned. I suppose every creative person has a kind of high peaks followed by downtime. As we live in an age of speed, downtime is usually perceived as lost time, it’s frustrating. I am extremely privileged to work creatively by choice, to be in a position to refuse pressured productivity, and therefore, i can
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Above: Tokyo – Shibuya crossing, Drawing on Paper, 30 x 30 cm, 2018
Above: Kyoto – To the tea house, Drawing on Paper, 30 x 30 cm, 2019
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Above: Japan – Plate on table, Drawing on Paper, 30 x 30 cm, 2018
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Above: Kanazawa – Japanese garden with iris and bamboo Drawing on paper, 30 x 30 cm, 2018/2019
afford downtime. However, downtime can indeed be very frustrating and challenging to deal with, but at the same time, it can enlarge your vision and creativity, giving you time to lay back and win a new creative energy. What does art mean to moholinushk? Art is expression of one’s inner world. In that sense, art is a testimony - of an artist’s life, perceptions, and emotions - a testimony of the time and the place when and where the artist lives. Art is like a piece of a person’s biography.
exchange of visions, sharing of impressions and meanings. Personally, I delight in creating something completely different from my former life. Art is pleasure. Do you have any upcoming exhibitions? No, because I don’t want to have this kind of pressure. I prefer to show my work around and answer requests. An exhibition means a lot of preparatory, administrative work, which I don’t really want at this point. As I started to create quite late in my life, I do not depend on my work to make a living. END
Art is communication – between human beings living at the same time or at different time and age – and communication between different cultural contexts. Art is an 11
Artist Feature
RITVA GEORGIADES ritvag@icloud.com
Why does an artist create? This is a question many ask themselves through the journey of creativity. For some, art can be a therapeutic process, channelling trauma, anger, joy or pleasure into a medium. Releasing it into the world to ignite conversation and possibly change. For artist Ritva Georgiades, art is an ongoing adventure, a sanctuary where she can find peace and calm from her inner turmoil. Originally from Finland, she made the United Kingdom her home since 1969. She has a degree in Fine Art from the Surrey Institute of Fine Art and Design. Primarily working with mixed media and paper, her pieces combine abstraction with realism. Not shy to venture out of her comfort zone, she often uses acrylics, inks, digital prints and hand stitching to create collages.
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Above: CANDY, Cardstock Collage, 12.5cm x 12.5cm
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Above: SAILING THE SEVEN SEAS, Cardstock Collage, 12.5cm x 12.5cm
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Above: SUNSET, Cardstock Collage, 12.5cm x 12.5cm
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Interview
DAVE CURTIS
davidecurtisart.weebly.com Whether we like it or not, change is constant and uninhibited. For millions of years, our planet has been changing in the form of extinction, evolution, death and rebirth. Each cataclysmic event leading to the dawn of another era, the rise of another species. But of all the ages, we live in a time of accelerated change. Our environment is being decimated and shaped faster than it can recover and keep up. Born in Washington DC, artist David Curtis’s work acts as a link between time and change. A combination of dystopia and the primordial soup of prehistoric earth, he creates dialogue around different themes such as history, religion, literature and philosophy. We had a conversation with David where he talks about various topics such as the current trend of tribalism, and challenging himself as an artist.
Your paintings often have references to the primordial soup of life or prehistoric Earth, if you had a degree of control in the process, what would you change? In Judeo-Christian mythology, the Garden of Eden represented the hominid world created by females of the species who discovered Agriculture. Likewise, the story of Cain and Abel represents the violent overthrow of this Matriarchal Society in favour of a Patriarchal one centred upon a culture of strength and power. I would exert my hypothetical degree of control to find support with Cain’s offering of the fruits of his labour in the fields rather than to the blood offering of a young member of Abel’s flock of domesticated animals. This, I hope, would result in a continuation of Matriarchal Society which is centred
upon creativity, compassion, and cooperation rather than upon the male attributes of intolerance and selfishness governed by brute force. Among other benefits, had Matriarchal Society prevailed to the present day, I believe we would have peace in the Middle East. Could you talk us through your current pieces? The first thing most people comment on is the eyes. Well, what do eyes signify? “The Gateway of the Soul”, some might say. “Awareness”, perhaps, or “Knowledge”, others might say. Some might note that many of these creatures have only one eye, so perhaps they lack depth in their perceptions. After a little more investigation mouths, ears, noses and hands may be found--a veritable feast for the senses, 16
Above: Creation With Pan-Seared Flounder And Eggs”, Acrylic on Canvas, 24” x 24”, 2019
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What are your thoughts on the current trend of “Tribalism” that seems to be taking over the planet? In the beginning, tribes were family groups banded together through customs invented in regards to sanitation, cooperation, etc., to ensure the survival of Another might notice that the brainy the group. Self-sacrifice was common, necoctopi I had at first portrayed have evolved essary, and accepted in these symbiotic into “pentapi”. It may come to mind that not relationships. Tribes met, sometimes fought, only are there five senses and five and sometimes found common ground. Alfingers, but that five is a symbol for Man, liances and consolidations formed Nations as well as for Satan...and then there are the through cooperation, and oral and written human skulls that make up the dominant histories, mythologies and religions adapted features of the landscapes. Do they and were assimilated to these changes for represent “Mother Earth”, a dead god, or the common good. do they merely portray the actual remains of a species now extinct upon which new life Trade of products and knowledge provided is evolving? benefits felt by all and should have resulted in a united planet. Our recent return to Many will comment upon the inclusion of tribalism is a regression to primitive ways. The Beatles’ Yellow Submarine in some Our minds have hardened and become paintings, and that 2019 was the 50th closed to anything that challenges the anniversary of the movie that I first saw in preconceived notions of our superiority. the theatre as a child. What does The Once Religion was the main impediment Yellow Submarine signify? Well The Beatles in our quest for knowledge and the rise of themselves said that it was nothing more Scientific Discovery; now we are driven by than a song for children to sing, but no egotism and selfishness that overrides the one believed them. At the time, it seems knowledge that Science could provide. The that the prevailing thoughts related it to our health of our planet is nothing when it impending nuclear war and that the Yellow interferes with our selfish greed for Submarine represented a repository for power and possessions, and the health of DNA, similar to Noah’s Ark. Myself, I always our ecosystem is nothing compared with thought that it had more of a psychological our concern for the health of our fragile implication, that we all keep our true selves egos. hidden within a cautious and protective outer skin. Whatever it means, I intend it as Could you tell us a bit about “Jefferson a tribute to artists who have had a profound Street Artists” and the work that they impact on my life. do? Are you still based there? Jefferson Street Artists, I am told, is How one focuses on and interprets available on Facebook, and offers tutorials specific symbols and their possible meanand hosts special events. It is a very small ings creates a “psychic mirror” of the view- loose-knit community of artists clustered er. I confess that the implications for myself around “Art and Frame of Falls Church”, vary by time and whether I am in a political, which rents out spaces to the artists and a ecological or theological state of mind, and few small businesses. The rooms all have so I see my work as alive and evolving, windows so that visitors can observe the perhaps touching upon some Higher Truth. artists in their natural habitat, (Please do not tap on the glass, please do not feed!). as lots of evidence of feasting can be found as well. One of the prevailing thoughts that I have is that we all see our world through our single viewpoint in time, space and experience, and so what we see and know is woefully incomplete.
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Above: Ringo, I don’t think we are in Pepperland anymore, Acrylic on Canvas, 24”x24”, 2019
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Above: Aquarium Fall, Acrylic on Canvas, 24”x24”, 2018
Above: Aquarium Winter, Acrylic on Canvas, 24”x24”, 2018
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I have been here since 2015 and have seen artists come and go, and a few have been here longer than I, most notably Andrea Uravitch, who not only has provided CreativPaper with professional photographs of my work, but also creates wonderful sculptures of plants, animals, birds, fish, and insects from soldered steel, handmade paper, ceramics and fabric. There are currently a nice variety of painters, fabric artists, and even a filmmaker alongside artistically-related small businesses. I love it there, everyone is wonderful, and it is only a 10-minute walk from my home.
sented the survivors of the original creation. I have since returned to the theme of this world is God’s Aquarium almost 30 years later. The occupants of the aquarium have become more cartoonish and more metaphorical, and less dependent upon photographs.
How do you find a balance between aesthetics and dialogue in your work? Not easily, and at first, I failed. When I first set out to become an artist, the meaning of the painting was everything, as I was more of a philosopher who had just begun to learn how to paint. I had all these profound ideas, mostly critical of Western Religions Is it true that your “Aquarium” series first and the dichotomy of Good and Evil. I set started in 1987? How has your style and out to redeem the villain; Judas and Cain the series evolved through the years? No were favourite subjects, and to criticize the pun intended! “hero”, notably St. Paul and Moses. Yes, actually I was inspired in 1987 by a visit I received from a couple of Mormons. I found myself having to explain my work Having had read “The Book of Mormon”, to gain respect for it, but eventually, my and having been horrified by its contents abilities progressed to the point where espousing racism and genocide, I invited the aesthetics made that no longer seem them in to see how they could defend these necessary, and the messages themselves beliefs. To my surprise, they seemed began to take on a life of their own. What a utterly ignorant of the contents of their book long strange trip it’s been! and instead launched into bizarre teaching of how exemplary Mormons would, upon How does David challenge himself as an death, be given their world by God to artist? govern themselves. In several ways, beginning with my use of the square canvas, which started as an act I later remarked upon this possibly rogue of rebellion against a painting instructor teaching to a friend, and he remarked, “so who taught that square compositions are a Mormon’s idea of Heaven is having your impossible, or at least inferior, to those cenown aquarium?” The idea was born, and tred upon the “Golden Rectangle”. Compothe 1987 “Aquarium” was the first result. sition was always my strong suit, and so I The image was cobbled together using still challenge myself by attempting to lead Michelangelo’s “Creation of Adam” like the the eye around the square canvas with the back of the aquarium. I painted fish, starfish goal of creating a mandala that draws the and frog from photos within the aquarium, viewer inward, both visually and and roaches, ants, and a butterfly outside psychologically. END and on the aquarium. The symbolism here was that the cracked painting from the Sistine Chapel represented the demise of Man, the interior of the aquarium represented the primordial sea replenishing Earth, and the foreground insects repre21
Artist Feature
LARRY GRAEBER larrygraeber.com
From a tender age, artist Larry Graeber exhibited a keen interest in building things. Long summers spent working at his grandfather’s lumber yard and having an architect as a parent ignited his creativity. In college, Larry studied architecture, but the attraction to create made him transition to sculpture and painting alongside printmaking, jewellery and filmmaking. By his second year, he had already found a studio in downtown San Marcos, Texas which he devoted to painting. He started exhibiting his work in 1971, with his first solo exhibition in 1974. Graeber currently paints in West Texas where he has a small studio.
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Artist Feature
MATTHEW HEIMGARTNER matthewheimgartner.com
Matthew Heimgartner is a visual artist living in San Jose, California. His art explores the highs and lows he has personally experienced. “I am a storyteller, but I tell my stories with paintings. I tell stories about my life from the point of view of a person in the LGBTQ+ community, a man who has battled for his mental health, struggled with alcoholism and drug addiction but has also succeeded in many aspects of life. Everything that I am and what I have been through goes into my art. I often reflect on my life as a young boy who did not fit in while growing up in East San Jose. Creating art is the therapy that I use to work through any unresolved conflicts that I’ve encountered both internally and externally. By making such personal Art, I hope to encourage people to dig into their selves to truly understand who they are. I am inspired by all the things that I see, feel, hear, touch and taste, but I am most inspired by the emotions that run through me. Sometimes I do not even understand the sentiment until I see it in acrylic paint on my canvas or in watercolour and ink on paper. I hold degrees in English and Visual Art. Since graduating from San Jose State University, I have been featured in several art shows and festivals throughout the Bay Area. In March 2019, KALEID Gallery held my debut solo visual narrative, Things Unsaid.”
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Above: Party and Play, Mixed Media, 14” x 11”, 2019
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Interview
JOAN ANDAL ROMANO joanromano.weebly.com @joan.andal.romano
Artists create for different reasons, some to channel inner angst, struggle or pleasure, some to make themselves heard and start a dialogue. Toronto based artist Joan Andal Romano began her journey into the world of art in 2010 with an argument in the Louvre in Paris of all places. The crux of this argument was the claim of Joan being an artist because of what she creates rather than who she is as a creative individual. This pressed her reset button, and she landed up marrying the critic! The event also opened the gates to her creativity in ways she had never before, focussing on her cognitive state rather than what she created. Growing up in Toronto, the diversity and multiculturalism Joan was surrounded by was a source of inspiration that continues to this day.
Could you tell us a bit about your time growing up in Legazpi city in the Philippines? Do you ever go back? I have a few broken-up memories. Memories of my grandparents, their large house always filled with people, family, friends, everyone in the community. We lived with my grandparents. The only silent moments were during the night; I can still hear the mosquitos as I slept under a fragile net. I left the Philippines when I was four. I did go back to visit a few years ago.
describe the inspiration or the process itself. I have this recurring vision; the setting is an art exhibition; I am standing in front of one my large canvas pieces and the art fan is the one doing all the talking; I am the one listening.
When did you move to Toronto? Toronto was the city we arrived in when we moved to Canada, forty-plus years ago.
Is it true that you are a structural engineer? Yes. I have been practising as a professional engineer for twenty years. On construction sites, I appear very different wearing my white hard hat, ankle-high steel-toe boots, neon coloured safety vest and large protective site glasses; but it’s still me under all that safety gear.
Do you think an artist should be defined by the work they create or their approach and belief systems? I personally do not think artists should be defined. When I am in the zone, in the creative process, there are no words to
Would you say your creative process is a polar opposite to your meticulous career as a structural engineer? Yes‌but. As a structural engineer, I need to follow many rules. These rules are in place to keep everyone safe. 30
Above: Our Beautiful Flaws Situation 2, Mixed Media & Stitch on Unstretched Canvas, 8.5 x 10 in
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Above: Our Beautiful Flaws Situation 3, Mixed Media & Stitich on Unstretched Canvas, 8.5 x 10 in
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Safety is paramount in everything we do; from the conceptual to the design stage all the way through construction and post-construction. As an artist, when I create my art, I break the rules during the process. Experimenting with different materials, working with my hands and trying not to over-think things. Yes, my two careers are polar opposites, but at the same time, each one influences the other. For example, my artwork has a lot of square shapes and fine lines, and as engineers, we are supposed to solve problems that were never solved before; abstract thinking helps with problem-solving.
and eventually became the proud owner of ‘Flow_1’; and to an art collector who shared how she relocated furniture and redecorated her living room area just to make way for the new art. The stories continue to live on. As someone who has grown up in a community of diversity and acceptance, what advice would you give artists who may not be supported by their community or cultures? Artists that live in a community or culture that do not support diversity and therefore do not carry the idea of acceptance; saying it is difficult to live as an artist in such an environment is an understatement. But if and when an opportunity for change presents itself, as artists, one should take up that opportunity and do something. A small act can lead to a significant movement; one never knows. Have courage and try to be true to your craft. A close artist friend of mine always reminds me, when I am going through a rough time, that ‘this too will pass’.
What are you currently working on? I am currently producing new artwork for a dual art exhibition scheduled for August 2021 at Urban Gallery located in the heart of downtown Toronto. My twenty-four year old daughter and I will be the two artists showcasing our work together. This will be the very fist exhibition my daughter and I will be collaborating in. I had Kristen when I was in university and I am very proud of her achievements as a creative individual finishing up her studies in university. On display will be individual art pieces along with artwork we will be collaborating along side each other. It will be one amazing art show. How important was your first show titled 50/50 as an emerging artist? Were you surprised by the response it received? I am glad my very first solo art exhibition was held in downtown Toronto and that art fans well received it. There was such a positive energy in that small art gallery. I was a bit surprised by the impact my artwork had in the art community. To this day, I can recall all the stories behind each art buyer who took home one of my art pieces. From the nice lady who did a beeline to the back of the gallery and bought a small-sized art piece; to the doctor who did not take no for an answer once he was advised that ‘Flow_1’ was supposed to go up for auction
Where is Joan’s favourite place in Toronto to grab brunch? The restaurant is called the ‘Harlem Underground’, and it is located along Queen Street West. The food is soulful and the atmosphere is down-to-earth with a bit of edge. My sister and I would visit art shops and galleries along Queen Street, and then we would make our way to the ‘Harlem Underground’. The first time we walked by the restaurant, we could not see through the dark entrance glass, and so we let our empty stomachs lead the way; looking back, we are happy we did. END
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Artist Feature
LARRY SIMON larrysimonphotographer.com
Exploring the streets of Lisbon, a bus stop caught my eye. Actually, it was the textured surface of the bus shelter that stopped me. As the sunlight filtered through the pebbled surface, I noticed people gathering as the time for the next bus arrival drew closer. This surface would become my blank canvas for several days. Through my lens, these people whom I would never meet, and who might never know each other, became painterly figures frozen together in a quotidian moment: something many do every day, but for me, were doing for the very first time. words and photos: Larry Simon
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Above: Bus Stop 1, unmanipulated digital photography, Lisbon, 2019
Above: Bus Stop 2, unmanipulated digital photography, 16�x24�, matte finish archival paper, Lisbon, 2019
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Above: Bus Stop 3, unmanipulated digital photography, 16”x24”, matte finish archival paper, Lisbon, 2019
Above: Bus Stop 4, unmanipulated digital photography, 16”x24”, matte finish archival paper, Lisbon, 2019
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Above: Bus Stop 5, unmanipulated digital photography, 16”x24”, matte finish archival paper, Lisbon, 2019
Above: Bus Stop 6, unmanipulated digital photography, 16”x24”, matte finish archival paper, Lisbon, 2019
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Interview
JEROME CHIA-HORNG LIN jeromelin.net
The egg is often described as life at its earliest. No matter the species, this vulnerable phase is one that we all have to go through. Taiwanese artist Jerome Chia-Horng has been exploring this as a subject matter for quite some time now gaining him worldwide recognition. Having showcased his work at the Florence Biennale, we spent some time talking to Jerome earlier this year where he spoke about the logistics of taking part in international shows, his evolution as an artist and the inspiration behind some of his recent pieces.
Could you tell us a bit more about the progression of your egg series of pieces? It derives from my “water series”, both of the protein in eggs and water are in liquid forms. I considered the “egg series” as the extension of my water series. Water is the essential requirement for livelihood and eggs stand for the first stage of life. Previously, I did several pieces in completed egg forms. During the exhibition in Taipei last July, someone advised me to break the eggs for further experimentations. I thought it was an interesting idea then I took the suggestion. Therefore in the following pieces, I adapt the broken eggshells images in my composition, and they indicate the life right after the incubation. I start to think of the content inside eggs. How beautiful the new life gestated within would be. It’s about hope for the future, our love for the next generation, and how we can endure our suffering at this moment
and look forward to moving on to the next stage. It’s also a way to examine my awareness of the world. I am a person who left “the egg” for years. We subconsciously try to avoid the torment from the world and seek shelter from our mother or the Mother Nature. In reality, we have a hard time doing so. But we symbolically need the comfort. The eggshells are broken for us forever. But we will find ways to commemorate them. How do you deal with the logistics of showcasing your work internationally? It has always been a very challenging task for me. I didn’t realize its complexity until I deal with the actual situation, and consequently, I obtained some experiences. So far, I am still trying all kinds of alternatives to see the pros and cons. I used ocean shipping when I attended Art Fair London. The cost seems to be very high for me since I only showcased four medium-size oils.
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Above: The fantasy of blasting eggs, Oil on Canvas 150x60cm, 2019
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I learned that I only use it when I have a certain quantity of artworks. Later I tried to carry the framed paintings as flight luggage to Miami in 2016. It turned out to be very annoying because custom officers stopped me whenever they see the extraordinary packaging of my paintings. I also use DHL and FedEx to deliver some pieces occasionally. The cost is such a burden for me, considering the fact that my paintings haven’t reached a very high market value yet. Someone advised me to roll my oils in the luggage and redo the stretchers once I reach the destination. It means I have to use different stretcher specs, for instance, they use inches in US and cm in Europe. Taiwan used sizes derived from an old French system. I have to figure out where to exhibit then I will decide the size accordingly. I shall see how it turns out soon. Tax and paper works dealing with customs are also tedious for me. My mind does not function well when I have to do both creative and administrative tasks. I think this is true for every artist. We live in a globalizing market nowadays; in particular, the art collectors are the pioneers of all business. It’s unavoidable that artists have to expand their careers internationally. I am still learning to find out the best ways. The egg has long been a metaphor for birth and energy, what are your thoughts on this? The eggs represent a lot more than that. Various scientific studies have shown that engaging in sex can directly affect your immune system. Sexuality can be both beneficial and harmful to the immune system. The relationship between the Immune system and procreation system is complicated and needed to be further studied. It’s about the nutrition allocation in bodies of animals and plants. Studies also show that weapons equipped with animals such as horns are often used to fight for mates than defending against predators. This also
means the resources are used to assist the procreation system most of the time. Women protect their babies while men protect their women as their priority. It seems to be a pretty nature principle to layout the foundation of countless legends and tales. I like to wonder about the reasons behind these facts. From the perspective of evolution, if the procreation system doesn’t consume so much energy and resources, many species would have been extinct a long time ago. And there are probably countless examples that we are not aware of. If not the case, we certainly won’t get nutritious eggs, neither delicious fruits nor other good stuff. Of course, eggs are not programmed for this purpose, but many predators, including us, rely on them so much. For me, it’s the inspiration to think of the mystery of life and many unresolved puzzles. Female humans or animals sacrifice themselves so much to trade off the prolongation and survival of bloodline. The balance between immune and procreation system could be tumbled during this process. Many risked their lives to give birth or to protect their young born offspring. They deserved our respect for their selfless conducts. I think this is how I look at eggs when I paint them. It’s about motherhood, unconditional and dedicational love. What was the inspiration behind the piece “The fantasy of an egg flower”? The funny thing is that egg drop soup is called egg flower soup in Chinese. The protein looks like the shape of flowers in the soup and whose indication is very beautiful, too. In general, eggs and flowers are both related to procreation. Eggs are procreative cells, and flowers are the genitals of plants. For me, they are perfect embodiments to represent the pregnancy, also the expectation carried by all mothers. The girl in this painting stands for the owner of this egg. In this series, I use cracked open eggshells floating above the scenes.
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Above: The fantasy of an egg flower, Oil on Canvas 150x60cm, 2019
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In this painting, it’s above a lake. The setup is surrealistic to bear with an imaginative fantasy, suggesting the life could be spectacular within the eggs. Also, the expectation about the future of these eggs will be bright and adventurous. The image of protein thrusting towards the yolk to form the shape of a flower indicates the metaphor of their mothers’ expectations. Their simple wish to bless their kids with prosperity could be just a fantasy because of endless challenges ahead of them. The eggshell is the shelter to flourish the newborn also the last gift mothers can give. The global crisis has reached a critical point that many environmental factors threaten the livelihood of human species and many animals. I only hope we will figure out better ways to transit into the next stage. This is also one of the fantasies within it. Which factors have pushed you to evolve the most as an artist? There are so many factors for me. First of all, I strongly love art, to begin with. Secondly, I enjoy creating art all the time. I am a maker who needs to feel alive when I am doing something with my hands. The expectation from myself of being an artist also drives me all the way.
mind. I try to figure out what my motivation is made of by tracing back to my youth and childhood. It somehow helps me to understand myself and see clearly what the future might hold for me. It’s a journey of self-exploration within this life. I know the show must go on. Do you have a professional goal that you would like to achieve in the next year? I used to set up particular plans for exhibitions. But I learn that you can’t plan your luck. There are so many factors to determine our destinations. Right now, I am thinking of shows either in London or New York because I know several available art fairs for independent artists might be worth trying. If I can establish some relationship with ideal agents, it would be lovely, too. In the end, through hard work and perseverance, the creation of better artworks is always the core belief to an artist. It will always be the professional goal for me endlessly. END
I would say faith is the essential factor to persist throughout the hardships. Self-motivation and self-regulation are also necessary to establish the habit of continuous execution. I have seen many fellow artists possess the same love about art, but they transform the energy into something else. Or they redefine art in a broader sense like whatever activities they engaged are art-making. I can’t say they are wrong. But I felt it’s just an elusion from difficult tasks. The survival of being an artist is tough, regardless of time or places. It’s never been easy, that’s why faith is the base rock, and self-disciple is like the columns, helping me to get through the challenges. Self-motivation is a mysterious component in my 42
Above: The fight between the eagle and the dragon Oil on Canvas, 150x60cm, 2019
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Interview
GILBERT SALINAS gilbertsalinas.com
Born in Boston, Massachusetts in 1972, artist Gilbert Salinas moved to Puerto Rico at the age of 7. Expressing interest in art at an early age, he started taking classes at the Academy of Central Arts in Arecibo with professor and painter Roland Borges Soto. After completing his Bachelors Degree in Humanities with a concentration in the Plastic Arts, Gilbert became great friends with the great master painter Domingo García, whom he considers one of his teachers and significant influence. A constant at art shows, his works are part of private collections in Puerto Rico, New York, California, Orlando, Texas and Brazil, to name a few.
How has 2019 been for Gilbert as an artist? It’s been pretty busy so far, but mostly in terms of creating. I’ve been learning to develop drypoint etchings, and it takes time to refine the technique. Also, with the socio-economic situation and government corruption of the island, it’s been very hectic. The people of Puerto Rico made their governor resign after 12 days of massive protests, and I participated in them. That accomplishment of the people has been the best highlight so far this year, plus it has influenced me as an artist.
Do you think your home country of Puerto Rico will ever achieve a state of total independence? Well, it’s complicated. The United States speaks about democracy but has never given us the opportunity for self-determination.
We were a Spanish Colony for around 400 years, and with the Spanish-American War in 1898, we became a United States Colony. Both empires have criminalized, killed and persecuted the independence movement for many years. Besides that, many other factors have shaped and influWe believe you are showcasing your enced people’s minds and our economy. To work later this year? Could you tell us a name a few: Lack of Autonomy. The Jones bit about that? Act of 1920 still requires that all goods Yes, I’ll be participating in December in the shipped between U.S. ports be carried on Aqua Art Miami during the Basel Week 2019 U.S. ships, which makes products more plus other local group shows. Besides that, expensive. Corrupt administrations for I’m also working on a solo show, but I still decades from the local politicians have don’t have the precise date for that one. plunged us into a debt crisis and recession. 44
Above: TE 74, Mixed Media on Canvas, 10” x 10”, 2019
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Overly generous welfare benefits with minimum supervision have created an economic dependency of federal funds in the population and even a lack of education. These have all been factors that put Puerto Rico’s population in a divisive opinion towards the political status of the island and has even provoked emigration, but whatever it may be, we need to be given the opportunity for self-determination so colonialism can end. Would you say that Puerto Rican artists like yourself use your work as a platform of guerilla protest against the socio-economic situation in the country? My main work was based on investigating a variety of ways to address the organic forms of nature but I couldn’t stay quiet about what was going on in the island in terms of the socio-economic situation, colonialism, vulture funds and government corruption so last year I started to create art in the forms of etchings, paintings and installations to denounce and protest about what was going on. I won’t abandon my abstractions; I’m just adding what I like to call Resistance Art to my work. So yes, I strongly feel that other artist like myself also use their work as a platform to protest.
the abstract expressionist movement and urban artists, but recently I have become a big fan of my Professor Martin Garcia’s etchings. His works are amazing! What does art mean to Gilbert? Art for me is my catharsis; it’s liberating, it’s a rush of adrenaline and is my way of leaving a positive mark in this world. How do you spend your Sundays? Sometimes I work on my art on Sundays, but I try to take the day off as much as I can so I can be with my family. END
What do the “Pavas” and “Machetes”, symbols used in your latest pieces mean to you personally? The “Pavas” are the hats that the Puerto Rican farmers used to wear to work the land. These hats have become very symbolic of the Puerto Rican Culture. We call those farmers “Jibaritos”. The “Machetes” are the tools that the farmers mostly used in the sugarcane fields. We hardly have sugarcanes anymore, but these “machetes” have become symbols of resistance and endurance. Have you come across a work of art from another artist recently that has stopped you in your tracks? There are many artists that I admire from 46
Above: TE 76, Mixed Media on Canvas, 10” x 10”, 2019
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Interview
LEE MOHR leemohr.com
Nature has always been the essence of artist Lee Mohr’s inspiration. Growing up in the picturesque Pacific North-Western coast of the United States, she was surrounded by natural beauty that is increasingly rare with each passing day. For her latest body of work, Lee draws inspiration from horizons and waves. A conscious environmentalist, she was mentored in her early years by Alaskan artist Joan Kickbush. In our interview with Lee, she talks about translating the visual poetry of nature into her pieces and the obstacles of trying to market yourself as an artist.
What is it about your horizons and waves that has captivated your attention? I am drawn on a raw level to the constant shifting horizon line and ocean waves; I am captivated by the water’s motion. The horizon line brushed by the ocean waves, tilts, breaks and disappears from view. This year has been a year of personal transition in my life and in my art with the shifting horizon line being a metaphor for life changes. These changes have presented themselves in both my creative process and the imagery in my work. The act of painting the ocean waves, trying to keep my eyes on and capture the teetering balance of the horizon line has helped me keep my balance.
Your work is deeply connected with nature, especially around the Northwest of the United States. Have you seen a noticeable shift in the rate of deterioration around you? Am I asleep, unaware, I hope not, but I am a hermit by nature. I haven’t noticed an appreciable visual deterioration in the landscape along the Canadian, Washington and Oregon Coastlines. The Pacific Northwest is still very pristine. Most of us who live in the area are very eco-conscious and protective of the environment. We have a State Legislature that has been pro-environment and pro-wildlife, and that has helped. I do think it is a constant struggle and delicate balance to protect the environment, especially in this era with a federal government that is destruction and money-driven. We all need to keep reminding those in power that every living creature has a purpose and needs clean air, clean water and clean food.
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I have noticed that the Pacific Northwest climate has been gradually changing over the past three decades. The most noticeable difference is the changing temperatures throughout the year; and, of course, the increase in temperatures on an annual basis will affect our coastal habitats. How do you personally translate the visual poetry of the natural world in your paintings? I see and feel everything in the natural world as energy. When seeking inspiration through subject matter, I look for layers of colour in the natural world and how colour is affected by light. My abstract landscape paintings are a translation of what I am seeing and feeling. I am painting light and motion. The painting experience for me is visual poetry.
moment of beauty. What does emotional comfort mean to Lee? I think of three qualities when asked about emotional comfort — being present, being in the current moment, being grounded in that moment. I feel all these qualities when I am at the ocean, on the sand fully embraced by nature, with my family and my dog, Teddy. This is joy!
Do you find it hard to be creative and market yourself as an artist? Oh Yes! Most of the time, I try to separate these two aspects of my work. Trying to paint and market on the same day is crazy-making. The business of art can suppress my creativity, so on days, I paint I don’t think about marketing my work. I want distance between the two disciplines. What do the islands in your current body Painting is more important to me, so I’m of work mean to you? accomplishing much more art than At this moment, the islands symbolicalmarketing. I could definitely be better at ly represent places to pause and ground marketing. I’m in the process of finding my myself. But it is possible they have a deeper way. END meaning yet to be revealed. In a world that is in turmoil, I need these visual markers in my art to remind me to pause, breathe and focus on the rhythm of the ocean bringing me back to a place of calm. Is there a more profound message that you are trying to convey through your work? Yes, calm, is the more profound message that I am trying to share through my work. The images in my work, are present with the intent to communicate calm to the viewer through colour and line. I hope that the viewer who sits with one of my paintings will discover that each painting is a meditation. And with each painting, I am striving to paint the space in-between each breath and layer the in-between spaces over each other much like ocean waves roll over each other. The deeper meaning aside, I am merely trying to paint an ocean landscape that provides the viewer with a 50
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Interview
LAWRENCE LEE lawrenceleeart.com
Being an artist in 2019 is no easy task, aside from the increased competition due to the advent of social media. The dynamics of the art marketplace have changed, with buyers and galleries emphasising astronomically priced pieces of art and conceptual art, leaving very little room for anyone in between. Not only does this stifle creativity but makes it impossible for most artists to make a living with their work. With over five decades as a professional artist under his belt, Tucson, Arizona based Lawrence Lee deals with these everyday realities of being a professional artist and his new series titled ‘Winds of Change.’ A published author and collaborative projects with Ballet Tuscon, a conversation with Lawrence is always insightful and relevant.
Could you tell us a bit about your new series of work? The new series is called “Winds of Change,” which is especially appropriate because it represents a significant change from the kind of paintings I have done for most of my career. Unlike most of my work to date, all the paintings are profiles representing different genders and ethnicities. They are all done on 18” x 36” panels and have strong design characteristics building on the exaggerated horizontal format--focusing on spirals, flowing lines and vibrant colours--and my expectation is that they will appeal to a much broader audience than my highly confrontational shamanistic imagery. They require a lot of careful painting and intricate detail work, and I’ve ended up using tiny brushes, some of which need replacement after just one painting. It takes me about a week to go from the initial drawing to the final varnish.
I decided to create this series as a way of finding new collectors and broader markets in a field that continues to evolve rapidly. The small and medium-sized galleries that have traditionally done well with my work continue to close at an alarming rate across the U.S., so my focus will be not on selling the originals so much as on establishing licensing agreements for prints on metal or canvas. I hope to push these to markets in the “room décor” and interior design markets, since marketing reproductions will allow me to achieve much lower price points. People seem to have an adverse reaction to commercial art. Do you think this is justified? Absolutely not! Just because some art is used in corporate environments or marketing or is in some way “commercially” successful does not mean that it is necessarily bad art. 52
Above: Sunset 2, Acrylic on Panel, 8 x 8 in
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For many years I have looked forward with great excitement to the publication of the new year’s Society of Illustrators Annual of American Illustration. If there was ever a consistent source of inspiration for me, this was it. Each book was filled with great examples of the best work by some of America’s greatest illustrators and “commercial” artists. And in terms of inspiration, more than anything else, it always inspired me to experiment and be a better artist. Some of my interest in that publication was undoubtedly because I had for many years wanted to be an illustrator and at one point seriously considered pursuing illustration as a career. That never came to pass, but now that I am doing more and more collaborations with local arts groups, the dream is finally coming true. These collaborations (Ballet Tucson, The Rogue Theatre, The Invisible Theatre) have encouraged me to apply my design skills in new ways, stretching my thought processes and forcing me to adapt and extend my capabilities in drawing and digital and spatial design in unexpected ways. For instance, the choreographer for Ballet Tucson’s 2018 Winter Concert wanted a gigantic eye designed for a tribute to the composer Leonard Bernstein. Budget and production limitations channelled our discussions through many paths until we decided that simply an enormous painting done on theatre flats would have to suffice. But when someone familiar with the realities of the venue recommended increasing the size of the work, I had the crazy idea to create a highly abstract whiteon-white sculptural eye that would allow the mood on stage to be manipulated by the changes in the direction and colour by way of available lighting equipment. The final product was 8’ high and 24’ long and was built out of theatre flats, faced and un-faced corrugated cardboard, quilt batting, foam pipe insulation, stucco corner mesh and spray paint. It was glorious and added 54
significantly to the choreographer’s flexibility. But my point is that art is art--no matter whether it is paid for by a patron or a corporation. Consider some of the greatest artists of the Italian Renaissance. They all worked for wealthy patrons or the Church and were essentially artists for hire. Making art was a hugely expensive business in those days, what with the need to obtain sometimes rare and very expensive coloured pigments from which they would laboriously create their paints, taking on apprentices, entering competitions and the like. Michelangelo was commissioned to paint “The Last Judgement” by Giulio de Medici [Pope Clement VII]. The resulting work is hardly a homage to crass commercialism. And in the north, artists like Rembrandt created masterpieces of portraiture in such works as “The Syndics of the Amsterdam Drapers’ Guild” [Rembrandt van Rijn, 1662] Rembrandt didn’t choose to paint this group of businessmen because he was charmed by their beauty or because he wanted to make a political statement of some kind. He painted them because they paid him to. And who can deny that artists such as Andy Warhol are anything but commercial artists? Warhol may have been doing art for art’s sake, but his commercial success was what allowed him to grow and build and continue to make art. There’s no denying that—like the rest the world—the art world has seen some considerable changes in the last few years. How has this affected you personally? I retired in 2000 at age 53, having pursued my career as a professional artist since 1979, when I left teaching for good and all. In the twenty years between, I had worked hard and become a millionaire--at least on paper. Not bad for a full-time artist. But life continued to happen, and my wife’s
Above: Summer Bloom, Acrylic on Panel, 8 x 8 in
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Above: Winds of Change: Delta, Acrylic on Panel, 18 x 36 in
early-onset Alzheimer’s then led me to grinding thoughts of suicide and the doorstep of poverty. [Time passes.] So in about 2014, I decided to have a go at resurrecting my artistic career. I found that year on year I was working harder and making less money, primarily because of the extra demands of this new, digital, online life. Costs increased because the world was changing. All the things that were supposed to save time and increase exposure and ramp up sales cost me more time and cash: website updates, photography, Facebook posts, Instagram posts, Twitter posts, CRM systems, scheduling systems, payment processing, content aggregators, digital switchboards and on and on and on. But I was doing well enough until #45 was elected. Then, within the time of one month, sales dropped from “steady” to “infrequent” and--for long periods--”non-existent.” And over the past two years, in spite of my best efforts, I’ve had to move into a MUCH smaller studio (from 1000 ft² down to 100 ft²), put most of my equipment and supplies into storage, and mount sales and auctions to clear inventory and raise operating capital. And that set the end in sight. With less space to create and show and store inventory, my cash reserves have
continued to decline, and I’m once again facing retirement: this time, forced. Oh, I continue to fight and plan and scheme, but it has become evident to me that the triedand-true system of galleries and one man shows that had allowed me to find success in my younger years is now, at least for me, no longer viable. Galleries have closed, the secondary market in my earlier work has flourished as my collectors have aged and downsized or died, and the segment that was my target market for decades has withered under the forces of income inequality as the rich look for very expensive art as investments and the not-so-rich look for really inexpensive art to hang in their rented homes… the same houses they used to own. What a mess. The internet has made it possible for anyone to put up a website and call themselves an artist and to develop an Instagram following for their wares. But there is less money chasing more art-and that does not bode well for any artist. When people can go to Amazon and buy “sofa-sized art” from China’s sweatshops for less than it costs me to purchase materials for a similarly sized work, it seems to be a race to the bottom. And I’m now too old to fight that fight. 56
Above: Winds of Change: Gamma, Acrylic on Panel, 18 x 36 in
Your landscape series of paintings seem to be rather popular; how have these developed over time? I started painting landscapes again about three years ago, after a hiatus of almost 50 years. They are all imaginary, and I seem to be able to do them because I have looked closely at my surroundings with an artist’s eye as I have travelled around the desert southwest. I guess my brain has been soaking everything up, because some of the landscapes I’ve done recently seem like real places, even to me. They look like places that I’ve lived or travelled through. I call them “unearned memories,” though I expect that I’ve really earned every one. When I got started painting them--after I had finished ten or so--I began to notice an evolution of common themes and compositional solutions to typical landscape issues, and they seemed to have a lot to do with light. Some of the paintings were stormy and dark, but with one area of light that created a center of interest. Others were of bright summer days. But there was always a sense of mystery--of something just beyond that hill or below the horizon. And I finally figured out that they were expressing something that lives very deep within me--an unresolved craving for finding that
magical place just beyond… just out of reach… an area of promise and wonder and destiny. One of those first ten or so paintings is titled “The Long Way Home,” and shows a foreground of yellow and ochre and a middle ground of two stands of trees; one is almost hidden by an odd and inscrutable mist. And beyond the trees is only a patch of blue sky--sky that seems to beckon me to walk through the tall, dry grass and crest the hill. From there, I think, I might be able to see the whole world--and a world of possibilities that remain to me. I think that if I could just enter the painting and walk up that hill, I might finally forget the difficulties of daily life and take a long way home--and discover a bit of wonder. I couldn’t bring myself to sell that one. I keep it here with me. And it continues to beckon. How can an artist find a balance between commercial requirements and artistic integrity? I don’t understand the term “artistic integrity.” What does that mean? Is it part of the myth of the artist as an island? Does it imply that artists should be given a pass on
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Above: El Campo, Acrylic on Panel, 16 x 20 in
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reality? Should artists be free to pursue their “artistic vision” no matter that no one other than their mother would ever think it was worthy? Should they not have to deal with reality just because they paint or sculpt?
mother’s house to maintain your integrity as an artist, well--be my guest. Your art probably sucks, anyway.
As an artist, do you think it is essential to push yourself outside your comfort zone occasionally? No. I don’t get it. Artists in academia may I wish I had discovered the amazing make that work. After all, they’re getting benefits of taking an occasional walk on paid to teach, so they don’t have to make a the wild side many years ago. Sadly, as a living selling their art, and most art profesfull-time professional artist, I never thought sors know nothing useful about making a I could risk the time involved, the materials living as a professional artist. And academia consumed, or the possibility that doing so has its built-in system of inbred, mutual might damage my ability to continue to admiration societies designed to advance create the kinds of paintings that I had the academic careers of all involved, even become known for. if they all create crap. They have developed a system with which they can intimidate the But now I know that the benefits vastly public by wrapping their artistic outweigh those risks. In the past few years, creations in rhetorical claptrap, using “Artist I have had the opportunity to be the scenic Statements” to explain they’re their art and designer for two ballets and to work on display their “artistic integrity,” when all too various creative projects with nationally often there is none. I prefer the sentiment recognized theatre groups. In the process, of author Ursula K. LeGuin: “Art is what an I have learned that combining my ideas artist does, not what an artist explains.” with those of other creatives has led me to discover capabilities and flexibilities that I I recognized early on in my career that you didn’t know I had. Those capabilities then don’t have to do good art to be commerfound a comfortable home in my private cially successful. But by the same token, box of artistic tools, and were soon evident just because some art is commercially in my day-to-day work. I did not charge a successful doesn’t mean that it has to be penny for my work on any of these collabbad. Without commercial success, Shakeorations, but receive payment every day in speare would have had to find some other being able to unflinchingly call upon my way to make a living than by creating some enhanced toolbox to help me make my of the most beautiful and insightful art in the bread-and-butter work more exciting and past 400 years. Without commercial sucdifferent, all the while maintaining the cess as a painter, Leonardo Da Vinci would stylistic underpinnings of the paintings that have had to follow in his father’s footsteps have been the focus of my career. and take employment as a notary or as an accountant. Without commercial success, What is the most important lesson that Picasso might have drowned in debt to being an artist has taught you? purchase the art supplies he needed to Only late in my career have I come to pursue his new vision. understand the personal power of art. When I was just out of college and teach“Artistic Integrity” is, in my opinion, highly ing--while developing my professional overrated. If you don’t mind spending your portfolio and establishing connections with days as a personal trainer for a galleries, I knew that I was changing lives, millionaire and doing your art all night in but I had no idea that many of my paintings a cold, cramped basement in your elderly would come to do the same with so many 59
collectors. But not long after my retirement at age 53, I began to receive emails from people I’d never met but who had purchased one or more of my works. Often, the stories were sobering. “I use your painting every day in my work with substance abusers, asking my clients to look at the painting and tell me a story….” “My husband’s last wish was to die while looking at your painting.” “It was love at first sight, and your paintings have sustained me for all these years since my wife died.” And more. “It was because of your work that I decided to pursue a career as a painter, and I am now showing in galleries across the U.S.” I’m still not sure how to best deal with the idea that what I create can have such a powerful impact on certain people’s lives. But in the end, I think it all comes down to being less about what I tried to communicate with the painting and more about what the viewer/owner brought to it. Because that’s really where the art is: in the relationship between the work and the viewer. What brings me to paint a particular painting in a particular way are myriad factors that are based in my own unique life experience. But the viewer brings their own life experience to the work and must perceive it through that very personal lens. I cannot see the painting through their lens, just as they cannot see it through mine. Both are valid, and both are important, but the viewer’s response is where the magic lies. When someone experiences an unusual connection with a work of art, a kind of dialogue opens between the two in which the art reflects something of the viewer back to them. And somewhere within that exchange, the viewer comes to terms.
ally try to do: I was trying to save a little part of a large canvas that was good, trying to paint a painting around that little spot that was just as good as IT was. And that’s almost always a bad mistake. I eventually learned that if I couldn’t nail down a painting in ten hours or so, I was in big trouble. Now, mostly because I’ve had decades of practice, I know pretty well when to cut and run. It might take me half a day to paint an 8” x 8” landscape. It might take me twenty or thirty hours to complete a large, challenging figural piece. And I’ve developed a great sense for when I should abandon a work and move on. Luckily for me, that doesn’t happen often. END
What is the longest time you have spent working in the studio on a painting? Many years ago, years before my first one-man-show, I once spent about ninety hours on a single painting. And in the end, I gessoed over the whole thing. I had been doing something most painters occasion60
Above: Sunset Range, Acrylic on Canvas, 36 x 36 in
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Artist Feature
HAIMENG CAO
artstation.com/haimengcao/profile
I still remember the first time I watched the original Blade Runner movie, the dystopian future felt familiar and distant. The atmospheric towers plastered with neon lights and billboards and the roar of jet-propelled cars still lingers in my mind. It takes a specific individual to conceptualise and create these worlds. Los Angeles based artist Haimeng Cao is one of those individuals. Working with the game and film industry, his skills focus on concept design and visual development. His workflow consists of digital painting, rendering and modelling. Haimeng’s inspirations include dystopian novels such as 1984 and Brave New World, artists such as Mobius and the founder of Akira, Japanese artist Katsuhiro Otomo.
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Interview
DEVON GOVONI . devongovoniartist.com
“Conversation before confrontation”. A phrase that artist Devon Govoni is no stranger to. I think we can all agree that it is much easier to resolve and even avoid disputes if we take some time out to talk things through. Unfortunately, this does not always translate well into everyday life. But we can always try. Devon believes that art can be the medium to have those conversations, tackling the issues that we face in our communities across the world. Stepping into the world of art at a young age with the support and love of her family, Devon began entering contests in grade school and winning competitions. She is also a licensed mental health counsellor and registered art therapist.
What does art mean to Devon in 2019? I love this question. It means everything. Art is representative of everything, good, bad, and indifferent in life (and all things in between). Words do not come easy for many people, but the imagery, song, poetics, movement, acting, and play is relatable to everyone on at least some levels. My personal and professional lives are shrouded in art, and I am beyond grateful for this. Through art in 2019, I have discovered many truths about myself, others, and existence by way of the arts and look forward to seeing what else it helps me discover in the coming years. Could you tell us a bit about your Monster series of sculptures? My monsters were born as a part of my doctoral research studies. They just happened. I was painting one day and could not seem to express myself and what I was feeling through paint. It was strange;
I just kept thinking, “this paint is not loud enough!”. I did not even know what that meant at the time, still not too sure to date. I grabbed some clay and created a monster. That monster felt loud enough. I watched it dry, crumble, and break over the next two weeks and decided to use plaster cloth to mend it. I then painted it once the plaster solidified in its ghastly white form. At the same time, I was struggling with deciding a research topic and was being pulled in a trillion different directions by all kinds of people in my life, feeling particularly troubled by some clients. This helped me realize that I could research my reactivity toward clients through this sculpting process, wondering if the relationships could essentially be renegotiated through the exploration. As it turned out, there was a great deal of change that took place within the way I understood my clients and how we worked together. 66
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More interestingly, my relationship with myself also changed, as I developed much more patience and empathy toward my life and overall existence. This pilot study research led me to conduct dissertation research working with art therapists, hairstylists, and tattoo artists and how the same sculpting process could examine their relationships with problematic clients. I am happy to report that the dissertation is almost finished and I owe it all to my monsters.
or feeling like a block is for them to switch artforms. If you are a painter and can’t seem to paint, start journaling, creating an altered book, or writing haikus. If you are a singer and can’t sing, try painting or playing the drums. If you are a dancer, try acting or meditation. If you are an artist, do not beat yourself up if you feel stuck. Embrace it and head in another direction. The universe is telling you to explore different paths to find your inspiration and magic. I promise this method will work!
Having worked with sculptures on your monster series, do you have a preference over two or three-dimensional art? That is a tough question. I genuinely love all of the arts. Oil painting, mixed media creating, sculpture, and photography are my favourites. However, if I had all the time in the world, I would narrow it down to oil painting and sculpting. I think sculpting would possibly win in the end because it is louder than painting, and apparently that is a thing for me. I will let you know when I find a deeper understanding and words for what it all means!
There is an increased awareness of the negative aspects of consumerism and trends like minimalism, do you have any thoughts on them? Fascinating question. I am sure many artists can relate to feeling overwhelmed at times with artwork and art supplies hanging around, especially if you are an artist who collects items to be later used for creations (whether they end up getting used or not is another story!). In these cases, start giving away art, using the materials you have before getting more, and be more mindful when obtaining materials.
Do you suffer from creative block? What advice would you give others who might be struggling with it? Creative blocks are an interesting concept. I don’t think that I have blocks, but perhaps times where I create less for myself and may end up doing small things at work, with clients, or in brief pockets of time that I find instead. This is my variation of block perhaps. However, I know when it is time to start back up with my own art because I see and feel changes in my mood. Life is not as exciting or magical when I have not expressed myself in the more profound ways that come naturally. Curiosity needs to be seen through all the way, and my way to do that is through art-making. Stagnancy and boredom result and who likes that?!
Outside of artwork and supplies, I realize what a victim of capitalistic consumerism bullshit I had been in previous years of my life. I don’t know if it is a mid-thirties thing now, but I know that stuff does not make me happy. We certainly can’t bring it with us when we leave this lifetime, so why not go minimal and not add to the landfills when we can? What is scary, though, is that the products are going to be produced either way.
Given all of that, the best advice I can give to someone struggling with their creating
I can do my part and not buy certain things, but there is now just so much junk and so little education on what it all means for the world. But maybe if enough people read a magazine like this, or see a show about the problems, or learn the facts at school, or simply discover some of the truths through general conversation, more significant change can take place. 69
Another note on this though for artists, start thinking about what you can create with what is found in our natural world. The options are endless!
pay grade of understanding. We need to trust ourselves and the unconscious intuitions that we all possess. It can certainly be scary to do that. The results though tend to speak for themselves once we can let go and let the art and the processes guide us, instead of our fears and waking cognition.
In your job as a mental health counsellor, do you come across cases where our reliance on social media is having a detrimental effect on society? This is a great question too! I actually see both positives and negatives happening with how people use technology and social media. Anxiety and depression are rampant in western society and beyond. If someone fills their social media feed with all of the things they do not have and are told they need, then it is a recipe for feeling bad all the time. If someone fills their feeds with pictures of baby animals, nature, and hobbies of interest, it can have the opposite effect. So I do find myself at times coaching people on how to engage with media in healthy ways and how to create and place limits on themselves and how often they do use it. Everything in moderation, right? This totally includes technology, as it can be just as addictive as any other device that people seek in excess to alleviate some of the problematic emotions that surface in day to day life.
How can we make a positive change toward the health of our planet today? Could you recommend three simple steps that our readers can take? The health of our planet should be a top priority for everyone these days. Considering sources of products (where and how they are made) and what products we actually NEED are critical aspects to consider when obtaining anything. Also buying local and not from big companies can be positive. This can help with knowing where goods come from, how they are made, and where the money goes back to. The capitalistic nature of the world is drowning the majority of creatures that exist on the planet. Literally and figuratively. It is time to simplify and stop buying into what is told and what is sold without questioning the truths and validity of it all. END
How do you find a balance between aesthetics and meaning in your work? I think that aesthetics is something that comes reasonably intuitively for me. Some people have more kinesthetic intelligence, linguistic intelligence, or mathematical intelligence. Rarely is someone proficient in all of the various ways a person can be “intelligent�. Aesthetics happens to be one of my stronger areas of intelligence. I have always embraced a diverse visual palette, resulting in pleasing results (I think anyhow, I am sure not everyone in the world would agree!). Being fearless when creating can also create an automatic aesthetic balancing that occurs due to the creations coming from somewhere way beyond my 70
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