CreativPaper Issue No. 003

CREATIVPAPER Magazine

Issue Three

April 2017

Intro What will strike you the most when you go through the latest issue of CreativPaper Magazine is not only the love the artists featured have for their craft but also for our planet. It’s a theme that repeats itself amongst the interviews and features, and rightly so! We only have one home, for now. One this one is used up we don’t have anywhere else to go.

Species and habitats are being wiped out at an alarming rate, leaders of first world countries are denying climate change, despite of all the scientific proof to support it. In times like this what hope do we all have?

The instruments of change lie within our hands, in the choices we make.

We can choose to be silent or take action. Reduce our consumption and waste, shop less. Even something as simple as carrying a reusable bag when you go shopping makes a huge difference. We all know what to do, we just have to take that step. We hope you enjoy this issue as much as we enjoyed putting it together.

Jimmy Outhwaite and Jefferson Pires Founder | Creative Director

Left: Photo Edit by Jefferson Pires

FEATURING

SCOTT LEIPSKI ANDREW BINDER

MARC BEAUDETTE

KATE PETLEY

MARCUS ESORIBANO

ERIC OCKRASSA

FEATURING

JOE KARLOVEC

JOHN SAILE

JOSIANE DIAS

DAVID ANGELES

JUSTYNA NERYNG

PETER BUCKLIN

COVER ARTIST

/JOSIANE DIAS Hailing from the beautiful city of Curitiba in South Brazil, photographer Josiane Dias has a unique perspective when it comes to her work.

This has been further refined by the fact she has lived in cities such as Tokyo, New York, Geneva and Tel Aviv, where she is currently based.

Her work is inspired by both the urban and natural landscape. In this interview, she talks about how travel has shaped her both artistically and personally, her hometown and what keeps her motivated.

Documenting the world we inhabit is a core belief for most photographers, how do you approach this task differently?

I try to capture the poetic dimension in everyday life. I look for something hidden, unseen, and not obvious. I like things that are not evident; I search the extraordinary in the ordinary.

I tend to agree with her these days because I realise that I am photographing what is in my inner-self and simply depicting the outside world. I want to capture a certain reality and interpret it, give it a meaning that is mine.

It is interesting to notice how people see the same things in different ways. I particularly like I am reaching for the artistic something that Franz Kafka once expression, a narrative of the said about photography. He said present moment that is timeless. I that “One photographs things to enjoy exploring the territory that is get them out of one’s mind”. So my beyond our daily experience. Once, work is subjective in the sense that one of the professors at the School I am trying to create my version of Visual Arts said that we are of the world, my vision of it. I also always expressing something about consider the photographer as a ourselves in our work. creator. In my latest project,

Flora Abstrata, I look for the relationship between photography, painting and our perception of nature. I manipulate the image to present this dialogue between natural and built landscapes.

important to modern art. But the city that played the most important role both in my personal and professional lives was surely New York, and that for a lot of different reasons.

I tried to create an organic and abstract composition to show my interpretation of reality, not only reproducing this reality but challenging the idea that a photograph has a direct relationship to the subject.

Instead, I wanted to make visible my perception of it, my subjective response to what I see.

First of all, it was there that I felt most at home since the very first day. I felt I was welcome and accepted and I think this is because it is a place of such incredible cultural diversity.

It is a unique city in this sense.

Secondly, for an artist, New York is a paradise not only because of the numerous cultural options, such as You’ve lived in some very museums and galleries but also for different cities throughout your the high quality of schools and career ranging from Tokyo to academic institutions and the Geneva, New York and Tel Aviv to people who work in them. name a few. Do you have a favourite amongst them and why? I had the chance of studying at the I’ve lived in each one of these International Center of cities at different moments in my Photography (ICP), founded by life. They have all contributed Cornell Capa and among the best incredibly to my trajectory as an places in the world for studying artist. I think I can say that each photography. one of them is like a building block of my identity.

A rare privilege, really. Another experience that played a crucial Tokyo, in particular, was a very rich role in my formation as an and diverse experience because it artist was the time I spent studying opened the doors to Asian culture fine arts at the National Academy and aesthetics which have been so School,

where I found wonderful professors and a friendly, warm, collaborative academic setting.

seasons, and the winter is rather harsh and humid with subzero temperatures sometimes.

To sum it all up, I usually say that my experience in New York was like living 50 years in 5 for all the intensity of the professional and personal experiences I had during the 6 or so years I spent there.

How did it shape you as an artist?

My passion for photography came from my passion for European cinema, particularly Wim Wenders, Fritz Lang, Bergman, Fellini, Rossellini, Eisenstein and Truffaut, to name a few.

You were born in the beautiful city of Curitiba in Southern Brazil. Could you tell us a bit more about the city?

Curitiba is a city that has a strong European heritage, particularly from Eastern Europe.

For instance, I studied at a school that was run by German teachers, and I spent my teenage years watching European art house movies. Also the city is agreeable and well organised, and it has the best public transportation system in Brazil, maybe in Latin America, and many public parks.

It is in many ways a very environment-friendly city. There has been a trash recycling program for several years for example.

Unlike other cities in Brazil, the weather in Curitiba has all the four

I watched everything that showed at the city’s art house cinemas.

Maybe because Curitiba is not a coastal city and its weather is always cold the movie theatre ends up being a great and cosy place to spend time. I also went very often to the Public Library.

It used to be an incredible place. I spent whole afternoons there, getting acquainted and making my personal incursions into distant and diverse worlds. So I see that this more subjective and artistic narrative greatly influenced me.

I wasn’t very much interested in the current reality but in unveiling other, unknown or unseen realities.

To travel through imagination.

How do you keep yourself motivated on a daily basis? I know a lot of younger artists could benefit from your advice.

I like very much to discover new things and places. Besides frequently visiting art exhibitions, I keep a daily routine of readings on art and artistic production. I read magazines, articles, books on art.

Ukiyo-e culture that represents the transient and ephemeral nature of life and also the realm of worldly pleasures. Interestingly, the term “ukiyo” in Japanese Buddhism also represents the sorrowful world with its endless cycle of birth, life, suffering, death and rebirth.

The flowers portrayed in this series are experiencing a process of When I was in New York, I used transformation, between life and to go to all the most important art death, pleasure and sorrow. They fairs (Armory Show, Frieze, Aipad, are no longer part of a plant or a Scope, Nada, etc.). This contact whole. They are now free to seek with contemporary artistic activity and follow their individual path. is very enriching. I try to cultivate a They are alone, by themselves and sense of curiosity about the current are at the mercy of nature, of the art scene. I am always in search of unknown. So, these flowers something to inspire me, to represent an individual with his/ provoke me. her personal and unique history spreading out through his/her I also like to try new things, existence and also at the end or the including projects with other transformation of it. artists. Another thing that I consider important is always to be They are not portraying a still life working on some project. I work but a changing, moving life. For everyday, even if for a few hours me, each picture represents a sometimes. This keeps me feeling or a state, like birth, motivated. passion, encounter, separation, loneliness, splendour, strength, and Could you please tell us a bit so on. Those pictures were taken at more about your brilliant body of The New York Botanical Garden. I work titled ‘The Floating World’? chose to work with the macro lens Of course. The Floating World because it gave me more freedom series is based on the Japanese to capture this moment/piece of

reality with a more artistic approach.

Where are you currently based at the moment? Do you go back home to Brazil often?

After having lived for almost six years in New York, I am currently based in Tel Aviv.

I moved last Summer. I go to Brazil every 2 or 3 years if I can. I would like to go every year, but this is not always possible.

What was the best piece of advice you were given?

I received a lot of good advice over the years. One of the most useful was to always get out of your comfort zone. We have to try new things as much as we can to avoid finding ourselves stagnated into something because it is easy or because of the fear of failing.

It is like Samuel Beckett’s famous line: “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better�. This brings me to another advice that I think is particularly relevant to the young people nowadays: always have patience, and persevere.

It is important to experiment new

things, to be open to novelty and not be afraid to be in a constant learning process. I know it can be hard at times, but it is necessary.

If Josiane were a colour, what would she be?

I like all colours, but the one that best expresses who I am is orange. www.josianedias.com

INTERVIEW

/JUSTYNA NERYNG A multi-award winning fine art photographer from Poland, Justyna Neryng uses each frame to narrate a story. Influenced by the time spent with her father’s photography gear, darkroom and the forests of Chelmsko on the Czech border Justyna’s work, especially her portraiture combines elements of vulnerability, isolation, eroticism and alienation. In this interview, Justyna talks about overcoming her personal battles, her childhood and working with her beautiful daughter.

Photography is traditionally known as a tool to document the world; we would love to know your thoughts on using it as a tool to create art?

I wouldn’t say that photographers who document the world are not artists. Martin Parr and Richard Mosse both push the boundaries of the document in very creative artistic ways.

But I suppose I draw more on the traditions set out by Cindy Sherman, Joel- Peter Witkin and Julia Margaret Cameron, in that I try and photograph my ideas and thoughts rather than the world in

front of me, trying to capture people’s souls not their likeness.

Do you remember the first time you discovered your father’s cameras and took a picture?

I remember my dad giving me his camera to play with on one summer day. My mum and siblings were all sat in the garden so the first ever photographs I took were portraits of my family.

A few days later I had the chance to learn how to develop all the images in the darkroom we had at home. It was a fantastic experience.

Opposite: Decaying Flowers I

Since that moment I became interested in photography.

Unfortunately a few years later due to our financial situation the camera and the darkroom was no longer available to me, so I decided to follow my Grandmothers dream and went on to study dress making , which came handy for making costumes for “Childhood Lost “project.

photographs a timeless feeling.

The second time I have come close to photography , I remember being approached by Brighton based artist, photographer Tobias Slater-Hunt who asked me to model for him. So I did. While doing a little bit of modelling I started to experiment with self-portraits and portraiture, and I have been doing it ever since.

The second series “as yet untitled” will deal more with Nell’s adolescence, she now is on the verge of being a young adult woman. It is a strange time for her, part of her still in childhood, the rest of her rushing towards the adult world “Growing up is an awfully big adventure”.

The other main component of this project, is the painstaking style and prop building, which are used to evoke different personas played out

by Nell my daughter. I am currently in a process of making new costumes for part two of “Childhood Lost”, having had three years break from it.

What excites you the most about Could you tell us a bit more about photography? the project you are working on The personal contact I have with with your daughter titled the people I photograph and the Childhood Lost? possibility of making great images.

“Childhood Lost” is an I love the feeling when I know I’ve autobiographical project a self got a good shot. portrait in a different body.

What led you to move to your The images are aesthetically adopted town of Hove? inspired by portraiture from the Before moving to Hove I lived in Golden Age of Dutch painting. I London for 8 years where I studied use traditional drawing on and worked. paintings as inspiration, giving the

I have been visiting Brighton&Hove regularly with my partner. In 2001 we were both involved in motorbike accident and unfortunately he didn’t make it, few weeks after his funeral I find out that I was carrying his child.

Soon Nell was born and to keep all my beautiful memories from my short but fulfilled relationship I decided to move to Hove. I find Brighton&Hove an inspiring place to work and live. It’s full of creative people like Nick Cave for example and many others, actors, artists and musicians. I also feel fortunate to find myself in very good collaboration with local models and artists.

We are intrigued by your body of work titled ‘Ghost Dance’, Could you tell us how that project came about?

It was a combination of many things. I had been researching Victorian photography, as I had been inspired by a visit to Julia Margaret Cameron’s studio in the Isle of Wight, also I stumble across a book called “Phantasmagoria “by Marina Werner. The book tells of how photography was used by the Victorians to photograph the super-natural, ghosts, etc. I was

amazed at how photography was so entwined with the fantastic and the imagination.Rather than merely as a tool for documentation.

At the same time I was experimenting with self-portraits in the studio, it’s a process I often use to teach myself new techniques.

Never really intended as an end in itself, but I think it is important for all artist to play with the medium they use, and I am often the only model available.This was how I found the technique I eventually used for “Ghost Dance”.

More research led me to discover Japanese ghost paintings, and by the time I found the model I used to pose with me, all the elements were just there to fall in place.

As an immigrant who has carved a life for herself in the United Kingdom what are your thoughts about its decision to leave the European Union?

I believe the British people made the wrong decision. As an artist, I am deeply concerned with the impact leaving the EU will have on culture in the UK and in museums and galleries.

Above: Childhood Lost X

Above: Childhood Lost XI

Has it changed the way you see the country?

The decision to leave the EU clearly divided the whole country, and it’s not a good thing. What shocked me the most it was the hate crime raising against migrants soon after the results, and that’s scary.

Do you think mobile photography has had an impact on the profession that you are in?

I suppose living in a digital age mobile photography have some impact in a way, selfies, for example, I think they undermine what was once a rich vein of creativity in the arts from Durer to Sherman.

When it came to posing though I didn’t have to do anything as soon as I had the camera in my hands pointing at her, she completely transformed, she is a wonderful model. Nell is 15 years old now and is more understanding and appreciative of what I do as an artist.

That certainly makes the collaborations on the new series much more interesting and stronger.

What is your fondest memory of being back home in Poland?

My childhood was filled with the myths of Eastern Europe, and I would spend my days roaming free among the forests and wild.

Without this memory, I wouldn’t be able to create “Childhood Lost “.

Also, I like my work to be as highest quality as possible, and I don’t think you can get that from mobile photography like you can from analogue and digital cameras. www.justynaneryng.co.uk Is your daughter a willing accomplice when it comes to your work or does you have to bribe her with treats?

Yes, when we started the project, she was only eight years old, really lively so to make her still I had to give her small amount of chocolate.

Opposite: Sarah

Above: Ghost Dance II Opposite: Ghost Dance IV

INTERVIEW

/LAUREN LAKE As both an artist and an educator Lauren Lake creates and empowers at the same time. Her work is influenced extensively by botany, garden architecture and agriculture capturing the fragility and beauty of the flora it encompasses. Lauren talks about her job as an art department chair, the students that she works with and what art means to her.

As someone who is both an artist and an educator how important is it to teach future generations the importance that art has as a medium of expression and as a documentation tool?

Art practice is a sustainable tool for expression, innovation and communication.

problems of our time, and art is a key component to those solutions.

You have mentioned that you work strives to inspire a feeling of ‘saudade’ which is rooted in Portuguese and Brazilian culture, do you have any personal connections with these places?

I have always loved the music of Many artists are visionaries — they João Gilberto, specifically the 1959 album, “Chega de Saudade” where create things that never existed I was first introduced to the word. before, just like great scientists, engineers, and writers. They The word Saudade has no direct embrace experimentation, as well translation in English and therefore as collaboration and working in teams. It is our responsibility as art has the power to help shape eloquent thoughts about educators to support students to find creative ways to approach the bittersweet emotions.

What does art mean to you?

Art is a purposeful investigation to create, discover or learn something new.

Have you noticed any trends amongst the art students that you deal with as an educator that are What is it about botany, garden architecture and agriculture, a different from when you were a recurring trend in your work that young artist? keeps you coming back for more?

In my work, I examine the Our students have a greater entrepreneurial (aka “can-do”) surreality of the “garden,” which attitude. They ask themselves, exists as both natural and artificial.

“How can I use my methods, methodologies, and means of Instilling contradictory symbolism dissemination to make the world in unfamiliar imagery, the garden better or have an impact on the epic challenges of our times?”. itself is an ironic place that symbolises perfection and What historical artist’s journey imperfection at the same time. would you love to be on and why?

I am particularly interested in the I find myself inspired by the cultural constructs of gardens that anonymous abstract Tantric must be seen in a broader paintings from Rajasthan discovered by the French poet sociological and political Frank André Jamme on his journey perspective, as well as the consideration of gardens as “neuto India in the 1980s. tral” or “pure,” devoid of political I would have loved to be with him or professional interests. when he discovered these I regard the garden landscape as an devotional, meditative, sensual analogy to drawing and to paintings on paper. consciousness in that the garden is a locus of the human condition.

Not limited to specific cultures, sadness and longing carry a substance that gives shapes to who and what we are- flawed and imperfect.

I found your series of images titled ‘Swath’ visually arresting, what inspired those?

My current studio investigation considers what author, journalist, activist, and professor Michael Pollen describes as “messy places where the human and the natural come together.”

My drawings borrow the grammar of botany, garden architecture, and agriculture to create artworks that inspire Saudade, a nostalgic longing to be near again to someone or something that has become distant or has been loved and then lost.

You’ve exhibited extensively as a professional artist, what in your opinion is the toughest part of showcasing your work?

For me, it’s finding a balance between my art practice and being a faculty member and art administrator.

point for effective arts administration in higher education.

In that, I must be sure those “seats” are taught by excellent faculty, provided scholarships & awards, provided appropriate staff, facilities, equipment, and access surrounded by strong co-curricular programing, arts integration, all-the-while partnering with key strategic university offices.

Each of those “seats” is also supported by strong relationships with community partners, engaged donors, and student engagement with our city. Thus, my day to day work life is working toward creating an environment that allows others to have a purposeful investigation into art practice and art history. Each day, I work to create “seats” that are safe (facilities), inspirational (curriculum, faculty & instruction), and sustainable (budget, fundraising and future planning).

Could you talk us through an average day in Lauren’s life? www.laurenlake.net My studio days are limited as an administrator. As an art department chair, I have half-jokingly described my job as “filling seats.” Not as some simplified or even crude metric, but as a starting

INTERVIEW

/PETER BUCKLIN Everyone has their own routine when they work, playlists even. While some of us may listen to Giacomo Puccini or a spot of Led Zepplin, artist Peter Bucklin prefers progressive electronic dance music. Letting the rhythm of the track direct his brush strokes. Occasionally this results in simultaneous dance, making the art of creation an art installation in itself. His work is inspired by nature, transforming themselves between waves and landscapes.

Tell us about your creative process?

For me, painting is an act of love, an expression of places I find inside me quietly asking to be set free, to be given life.

It is my spirit, a poet seeking to turn descriptive words into visual imagery. My painting is much more about the process than the outcome. Although I enjoy the result when it finally arrives.

Creativity and my process are more about mystery than definition. A process of getting lost to find something.

What are you trying to communicate through your work?

This is a hard question for me.

I am an explorer of my creative consciousness seeking the beauty within me asking to be set free. Places that blend desire, nature, reality and illusion; how my mind perceives all I see. I am an expression of my environment; my environment seeks expression through me.

As I sit and think on this some more and stare at the quote from Carl Sagan and think about a conversation I had recently with a very good friend, this is what comes to me:

We are here for the experience, to add our experience to the fabric of space.

In the fabric of space, the totality of experience is woven. My painting is an experience of energy in motion that is expressed on canvas as energy finding form in the fabric of space.

The truth of who I am, the totality of our experiences engaging in the moment — that’s it, that is what I’m trying to communicate.

Tell us more about what you are doing when you paint?

Painting is the primary way I meditate. I’m trying to get quiet but also arouse a deeper energy to come to the surface, to the light, into being. I like to listen to music, I’m painting places on a map that leads to the wide-open space where mostly DJ mixes that range from progressive electronic dance music life is truly free. In the wide-open to trance, jazz and eclectic mixes space, my experience is unconditioned by this life’s experiences. that don’t conform to specific

genres but incorporate all types of music. One reason I like mixes is that you get music that flows for an extended period and this allows me to get lost and begin to paint more freely. I don’t ever feel blocked. I just start painting. I use all kinds of tools along with brushes and to get into my process I just need to start applying paint and allowing myself to trust my intuition to guide me.

My paintings all have many layers.

There is the getting started layer which is typically chaos and a riot of colour, then layers of sometimes

a single set of colours until I start to recognise forms, shapes, composition that feels like I’m going in the right direction. And if I leave and return and don’t recognise what I’ve done as fitting my feeling, I just add another layer.

I love the thickness and texture that develops in this way. I also like to dance while I paint and paint with a lot of motion and movement even when what I’m painting appears to be stillness.

You use a lot of blue in your paintings, tell us about that?

The simple answer is I love the colour blue. So why? Blue, for me, has such a mysterious quality, and depth, seemingly endless when contemplated.

The blue of the sky and the sense that space itself is somehow the colour blue and an idea that entering into a blue space would take me into a place of universal energy, profoundness, and in some way absolute joy. Working with blue, the blueness of space is a way

for me to get lost in my work, in a place, where things can be found.

How did you get started painting?

From early memories, I recall always wanting to draw or write.

But I got separated from making art. I had a very challenging childhood. My mother became an addict, and my father was lost in his own world and also did not like my interest in art.

What are key influences?

I think every experience, every sight and sound I’ve taken in, influences my art. I live quite close Fortunately, I was put in situations to the Atlantic Ocean, and here in that made me want to have my own Maine most of the coast is granite, life, and doing the work to recover not so much sand. my life has given me a willingness to be open, question, seek, explore, I love the rocks at the edge of the be curious about what I might be sea. The shapes they become worn missing, what I don’t know, how by the waves, the storms, the am I limiting myself. At some never-ending motion. I’ve also point, I started writing poems and spent quite a bit of time in the then as I got further into my American south-west, especialhealing process I starting doing ly around the Navajo Nation and a lot of sketches and then started Hopi Mesas. The landscape of the to play around with watercolour desert and colours, especially the painting. wide-open sky, have had a profound effect on me.

But life intrudes and some more years went by without doing much Mountains I’ve hiked in, especialof anything. Then I came to this ly the White Mountains of New place where I wanted to write a Hampshire, the next state to where book. I just started writing in a I live, have also engraved images stream of consciousness and came within me. There is a ridgeline just to realise that my lead character below the summit of Mount was a painter. And then I decided Washington and carries along what maybe I needed to go paint to is called the Presidential Range that better understand my character. If is a place of pure beauty to me. you could see me, I’m laughing.

There are hidden flowers in the I could also say I became more cracks of the rocks, and you can sit of me. And just kept on painting. there and watch the weather just Perhaps I’ll go back and finish the sweep in and completely change book someday. everything and then pass away Life was chaotic, to say the least.

There was a time where I just drifted.

seemingly sometimes in a matter of my peers there. Also, moving into moments. a studio made me take it all more seriously and treat my work with I’m also influenced by Picasso, Rot- the importance it is due — respect hko and a French landscape painter from myself for my work.

Francois-Louis Francais. I’ll leave it at that.

You studied architectural design at Boston Architectural College, Could you tell us a bit more about is this profession you plan to the Running with Scissors art pursue in the future or alongside community that you are part of in your career as an artist?

Portland, Maine?

I don’t think I will go back to This is a wonderful community of architecture. I do love the design of very different artists owned by a space and also the building wonderful person, Kate Anker. aspects, carpentry. When I attended the Boston Architectural She has fostered this amazing home College, it was the Boston that feels safe and inspiring for me Architectural Center (BAC). It had and many others. It’s a big place, a volunteer faculty and offered a over fifty artists. There is a separate wide range of artistic and architecsection for ceramics, printmaking ture courses. and some artists making jewellery.

I loved my time there even though I’m in a section we call “Nason it was a very challenging part of my Hall” after one of our esteemed life. The BAC was my oasis from members, Robert Nason, who is in the chaos of my emotional dyshis nineties and remains quite function that seemed to overwhelm prolific. Robert has been such my life at that time. a wonderful mentor to me and In the BAC I could get lost in demonstrates what it means to be creating, drawing, designing, fearless with creativity and art. really challenging a part of me that To me, one of the great gifts of I didn’t know had existed, but the being a part of an artist community professors who taught me seemed is the shared experience, teaching, so gifted to bringing those aspects encouragement that comes from out of me.

In some ways, I feel I’ve come to far from it to go back. And in other ways, I’ve gotten closer to the Me that I was inside the BAC and have found the outlet to pursue that part of my life in my painting.

However, as I sit and reflect on what I was doing this is what I have to say now.

When I created the Sky Meadows pieces I was doing a lot of meditating, more traditional sitting, someCould you tell us a bit more about times in the dark, sometimes with your series of paintings called music, sometimes using Kundalini ‘Sky Meadows’?

Yoga breath work and mantras.

It is funny to look back at what I wrote about my work. And this is I would often find myself seemingwhat I wrote at that time: ly floating in the sky as if nestled My current work explores using into the softest of colour and air motion and blended colours to and space, very hard to describe create a flowing visual experience but also a lot of energy and of depth and music, and hidden sometimes I would witness these private places — something beyond huge plumes of colours. I would that cannot quite be experienced, then attempt to paint these places just a knowing of something more and what I had experienced. there.

I see this now as part of my journey Some of these paintings resemble to go deeper. Rather than mediate waves and landscapes, in some and then paint, to turn my painting cases each becoming the other. experience into the actual As my paintings take on a greatmediation. er sense of actuality, I find myself compelled to move towards space I’ll also add that Kundalini Yoga without definition — ethereal has had a profound impact on my images arising out of patterns of life and worked as a painter. It’s brushwork and colour that brought a different approach for represent the music I listen to. me to go “inside” and explore.

Doing Kriyas, or sets of exercisThis is the process that led to my es, especially with an experienced current series of paintings entitled teacher, Sky Meadows.

has allowed me to open up spaces seem to recognise anymore. Art within me and experience a deeper redeems, changes, moves, awakes, Me and much more of life. us to seeing beauty, again, and to being shocked awake to the I think this is something one has to painful truths of how quickly life experience to truly understand and overwhelms us, diminishes us, I’m not sure how to better explain steals our ability to choose peace my experience. and love.

What’s Peter’s favourite guilty pleasure as far as food is concerned?

Well, I do eat a lot of salads and healthy food. And I laugh.

But here goes, cheese pizza, ice cream sundaes and fried shrimp.

Here in Maine, there is a lot of great options for homemade ice cream and some really tasty fried shrimp. I like to make my own pizza, but the best pizza I ever had was in New York City at Patsy Grimaldi’s under the Brooklyn Bridge on Front Street in Brooklyn.

Art is the opposite of religions of fearful worship. And although we too often find ourselves the harshest of all judges, [me looking at me] art transcends the smallness of thoughts giving us opportunities to see and believe in the bigger presence in life. Art is religion that offers experiences to be connected to wholeness, connecting to the connectedness of all others. Art is seeking enlightenment that nourishes our souls.

Art is a gift of life-giving-energy even if only a few truly receive it.

For one must be present to see, to hear, to sense, to be let-in, to takeArt is the greatest religion humans in, to be fully alive, to receive. We, will ever have or know. It speaks to the artists, through our courage, our spirits in ways no dogma can our willingness, our being, our ever penetrate. It is light seeping energy, our spirit provide the very past shadows, opening into the vast real possibility of finding heaven is darkness of what lies beyond free in the beauty of art. suppressed imaginations.

It illuminates the mysteries of www.peterbucklin.com wonder that too often only children

INTERVIEW

/ANDREW BINDER Comic books, cartoons and science fiction are vastly underestimated.

While most adults may consider it a “waste of time”, they have a profound impact on children either in the form of a refuge or inspiration for later years. Artist Andrew Binder took those influences and translated them into art. Drawing from an early age, he progressed into analogue photography and upon discovering digital realised the possibilities of incorporating it with his previous love of drawing and painting. His works reflect the same, combining elements of digital painting and photo-manipulation with traditional painting, drawing and 3D rendering to name a few.

Did you have any other aspirations growing up as a child other than being involved in art?

Not beyond the usual childhood clichés when I was very young. I didn’t think to myself, “I want to be an artist”, per se, when I was growing up. Not until later.

I did know that I liked to create and I liked using my imagination.

I started drawing when I was young. I loved to draw. I was always drawing. I suppose I probably thought I wanted to be

a comic book artist at some point because I grew up reading a steady stream of comic books and that sparked my initial interest in drawing. I used to create my comic books with my original characters and storylines. I was also into a lot of fantasy and science fiction, and all of that sparked an interest in creating visual imagery due to the artwork that came along with that whole world.

But it wasn’t just visual art. I used to like writing. When I was young, my friends and I created our games

based on Dungeons and Dragons.

I used to enjoy creating the storylines for that, and all the possible outcomes. Later, I wrote short stories.

There was a point that I seriously wanted to be a writer. I was also into music, I learned to play the guitar and that became a serious pursuit for a few years. I just enjoyed creating and expressing. I don’t think it was until Junior High that I first started becoming interested in fine art. Even then, it was probably not until college that I consciously looked at myself as an artist.

for film and records in certain circles these days, but I think it can be replaced. For me at least, it’s been replaced. I’m very happy to be done with film and the deadly toxic chemicals and the expense that came with it.

I replaced it with my work, many years ago. There was a certain “magic” to seeing a photograph slowly appear while it was being developed, but that’s about the only nostalgia I hold for film. I’ve discovered a lot more magic working in a digital format.

You transitioned from working in the darkroom to incorporating It is maybe a cliché but happens to digital technology in your art, be true in my case, that I am not an what elements of the former did artist because I aspired to be one, you carry forward with you? but because I need to create.

I think in my case, it’s more a matter of the elements of drawing I create art because I must. From and painting, which I had carried the time I was growing up as a forward and incorporated into the child until now, I have always had darkroom, which I then the need to create. It’s just who I subsequently returned to when I am and have always been. transitioned to digital. I had explored those mediums before I ever laid my hands on a camera.

What is it about the stepped down and tactile nature of working with When I was working with analogue film that cannot be replaced? photography, I used to experiment I know it’s not the opinion du jour- a lot. I would print through there does seem to be a nostalgia different textures,expose through

scratched plastic and glass, I would play with toning, I would scratch negatives, use chemical staining, etc.

ly- are mostly digital photography.

Others still, never have any photographic elements at any stage in their creation. It all depends upon what type of image I wish to create, what I want to express, and the type of aesthetic that is in my mind at the time.

Back then I felt my outlook was much more like that of a painter than a photographer because I was interested in expressing myself through the experimentation in the I have too much of a wide-ranging darkroom, rather than “capturing a interest in different types of visual moment” when shooting. art to stay stuck in one type of medium.

The darkroom was where the real creativity and self-expression What does a typical work day occurred. When I began look like for Andrew? transitioning to digital, I found that Probably not very interesting, the practice of layering was very if one were a fly on the wall I’m similar to what I had been doing in afraid. It depends on what I am the darkroom. I also found that the doing. If it’s going to be a full day of limitations of analogue art, I try to get started early. I make photography, which increasingly my coffee, and plenty of it. Coffee is barred me from creating the things essential, then I start working until in my head, quickly vanished.

I need to break for more coffee or food. Sometimes when working, I Now, photography is just one of do forget to eat for a few hours. many possible components of my work. Some images are a combina- Usually, I am at the computer, with tion of photography and elements my tablet, likely working in of traditional media and digital Photoshop or Painter. Sometimes painting. our cat Pippa will jump up onto my desk and “help” out, by staring at Others begin with a photographic the movement on the screen, base, used more like a study, from occasionally swatting at what she which a digital painting is sees. Other times I may be at my developed. Some the scenics main- workstation sketching or painting

with traditional materials surrounded by an array of inks, acrylics and other materials.

Whatever I am doing, there is most always music playing.

Where do you draw inspiration from for your work?

This is hard to answer because I draw inspiration from a multitude of sources; too many to attempt to list. Obviously, as can be seen in the “Figure + Abstract” series, I have an interest in the human form as well as abstraction. The short answer is I get concepts in my head that I wish to express, or images come to me that I wish to create, or there are simply feelings which I wish to express.

More often than not, when I am working on an image, it evolves from my initial fragment of inspiration. In the end, the finished work may be very different from the original inspiration or concept and may reflect multiple sources of inspiration.

Do you often find yourself re-working older images?

I would say that is a relatively recent development. I have gone back and re-worked a couple of images, and there are a couple more that I am planning to do the same with.

Mostly it’s due to be dissatisfied with the image in some way. In the case of “Bare” for instance, the The spark for these things may original version was more come from many places. Somephotographic based with a lot of times it is music, or a work of art texturing. However, I originally that I saw, or something I have read envisioned a more painterly look to about art or history, or an it. Since then I have been experience I had, or something exploring digital painting a lot going on in my life at the moment. more and incorporating it into my work as a main aspect, as well as It could even just be a movie or more heavily integrating traditionTV show I watched. On some ally painted elements. I decided to occasions, it was as simple as re-work “Bare” because I was never seeing a patch of colour combined satisfied with the original version with another colour somewhere and where I am now artistically that I found pleasing and wished to speaking, caught up to what I had play with. originally envisioned.

In the case of “White Skull”, I very much like the original, but desired to create a different interpretation.

At some point, when I was looking at it, I began seeing it disintegrating in my mind and becoming more ephemeral, and so that became “White Skull II”.

air. When I am not intruded upon by outside sources of stress. When I see a work of art that I am inspired or moved by in some way.

When I can travel somewhere and experience something new. When I can spend some quality time with the love of my life, Sarah. And of I used to have reservations about course, when I have a productive doing reworks for some reason, but day working on my art. have since gotten over it. I realised that there are many examples of www.andrewbinder.com famous artists doing this- either painting over an original version or creating multiple versions of a work over time.

Munch created four different versions of the Scream as well as lithographs. If the likes of Munch and Picasso can do it, then why not?

I am beginning to like the concept of returning to a particular idea over time, again and again, and re-exploring it, letting each new version reflect where I am and who I am, at that particular time. An ongoing conversation.

What is your definition of a good day?

When it’s not hot out, or even better, when there is a chill in the

INTERVIEW

/EMILIO MALDONADO Working with mixed media and paintings artist Emilio Maldonado seeks to bring about a discussion with regards to topics such as consumerism.

He took some time out to answer some of our questions. Emilio talks about his favourite medium, the objects that inspire him and his favourite childhood treat.

How did growing up in the Dominican Republic shape you artistically?

My immediate family has always been a big source of inspiration as their living conditions always kept me in judgment of mine (who grew up in a middle-class household), I was always an emotional kid and regardless of the constant taunting, proper of Dominican culture, I tried to always remember and never forget; now I use those memories to trace parallels between those experiences and the world I live in, trying to point towards the incongruences between them.

Where do you source the materials for your pieces from?

I try to find objects that are not yet in the trash, but that maybe should be put there, everybody (as far as I’ve seen) has in their possession some object that does not have an active use, but is not disposed of (like that unpaired socks in our drawers, which we hope to reunite with its peer someday).

Here in the United States it spawns Garage Sales and Thrift Stores, which I still find somewhat uncomfortable (in the Dominican Republic things are used until there is no possibility of fixing them again)

Do you already have a concept in mind before you start or does the raw materials at hand dictate the artistic direction?

Sometimes the environment dictates the piece, sometime I find an object that encapsulates something that I’ve wanted to say unsuccessfully, it all depends.

Do you have any favourite materials that you like to work with?

I love resin; it binds all together, its shine also references the plastic wrapping of toys and other objects (mostly dollar store ones).

What does art mean to you Emilio?

It has changed with time, at the beginning, it was literally what kept me alive, I was in a very dark place and had made the goal to create something meaningful before deciding on ending my life, that is why I try to say things as sincerely as possible.

Thankfully that is not the case, art is another level of thinking, like changing a channel to play video games, the perk is that I refuse to make art about the happy things in my life and always tackle the topics that loom my mind and make me feel uncomfortable.

I also like working with toys; they are both a reminder of childhood as a critical time in our lives, as well as a microcosmic Could you tell us a bit more about representation of the world at large. your painting titled ‘Motherly Frieze’?

What are your thoughts on the It was a school project at Altos de amount of material we waste as a Chavón in the Dominican Republic species? with Kamalky Laureano, Desiree I wish the economy were not such Sosa, Rony Avila and Paolo a necessary and driving force; I Guerrero. believe de-acceleration could be a viable choice; nevertheless, it My then-girlfriend becomes impossible in a discovered she was pregnant from market-based society. her previous relationship and we all collaborated to make a composition out of her first sonogram images.

Are there any contemporary artists that you look up to?

From the Dominican Republic Jorge Pineda, I used to see his art long before I had an idea of what it could be and remember just thinking “WAO”, from the United States Paul McCarthy, his irreverence is always refreshing (also having a small army of helping hands), the rest is a mix of impressions of many artists that come out with brilliant but simple ideas, they force me to stay humble and understand that there are great people out there.

minds to think in big of ambitious ways.

You can see this represented in the intent of its art (and sadly, in its political system).

When did you move to St Louis, MO? In 2013, I moved to the city from Savannah, GA, where I finished my education.

A favourite childhood treat?

Gofio, it is basically ground sugared corn, packaged in a piece of paper rolled in a thin cone.

What would you say make the visuals from the Dominican Republic different from its www.emiliomaldonado.com surrounding countries?

That is a difficult question to answer, first of all, I have been away from the island for the last 10 years, with one exception of three days, and as we know, social media and Google searches can bypass much; also, as an island we tend to have a lot of connection with tendencies around the world (hurray for tourism) but in recent years the term “Insularism” has been used to bring up the discussion as to how living in a small geographical area (therefore the insular character/narrow) drives artist

INTERVIEW

/ERIC OCKRASSA Simplifying form with geometry and colour artist Eric Ockrassa’s work is an aural feast. It is hard to not be taken back by the clean lines and flatness of the colours, harking back to the works of artists such as Roy Lichtenstein who was an inspiration for Eric. In this interview, he discusses his goals for the year, tips on how artists can build successful relationships with galleries and the joys of being an educator.

Geometry holds a cornerstone in your work, has that always been the case?

Geometry is my way of simplifying form. The hard edge quality of the work is only attainable with linear shapes and flat transitions. With that being said, I am not always thinking about geometry as I am making the work, it is more the means to an end. I have been working this way since I was allowed to start experimenting in the mid-stages of my undergraduate degree.

What are you working on at the moment?

I am sort of between projects as I

am currently renovating a new studio and have a full teaching load. With the little time, I do have to paint, I am currently working on a small series of paintings and forcing myself to make more intuitive choices in the process.

What would you say is the key inspiration behind the pieces you create?

More than any other impulse of representation or abstraction, I am interested in the formal qualities of the work. Color, line and form are always the structure of the work and the factors that define how the work will be received.

Opposite: Residual Crash

Are you originally from Texas?

How has it shaped you artistically?

My parents were in the army, and I moved around a lot as a child but finally settled down in Austin TX when I was in the 7th grade.

How important in your opinion is the significance of educating future generations with regards to art, especially its history?

Society is defined by its culture and culture is comprised of many different types of art. Visual art, music, food, architecture, all of the things are how we describe different societies.

Austin, where I spent most of my adolescence, as well as Houston, where I got my MFA are both great art cities. Lots of practising artists Art is important in society because and kindred spirits supporting the that is how we remember the past, arts. define the present, and create the future.

We often look back to the work of great artists for inspiration, what in your opinion was a key decade as far as art is concerned?

Sort of a big question. The early 1900s were important because artists like Duchamp and Picasso were questioning what art could I started thinking about art even be and it became much more seriously in my sophomore year of interesting. I am personally drawn to the 60’s Pop/Pop Abstractionist college when I took my first painting class. I knew almost movement where Roy Lichtenstein and Nicholas Krushenick were immediately I wanted to spend as much time as possible pursuing the making bold colour choices and using flat colour to describe craft. intricate spaces.

What attracted you to making art in the first place?

As long as I can remember I have enjoyed drawing. Whether it was what I could see or what I could imagine, I have always had the impulse to draw.

What are your goals as an artist this year?

A big part of my life right now is being an art educator, and I am hoping to get better acquainted with the organisations I am currently working with as well as others in the area to find a long-term, stable relationship.

I have also applied to a number of artist residencies that I hope to be hearing back from.

You are represented by the Zoya Tommy Gallery in Houston, Texas. What advice would you give upcoming artists who are looking for representation from a gallery or creative agency?

There are pros and cons to any professional relationship and having a good relationship with the gallerist or organisation is important. It is a mutual relationship, but you still want to protect your work.

As far as marketability, find your craft and perfect it.

That doesn’t mean you should become complacent and get bored with your work, but it’s always good when someone can recognise your new stuff because it feels like

older work that they are already familiar with.

What was the best advice you were given?

It’s very easy to overwork a piece; sometimes it’s better to stop at the 90% and call it done. www.ericockrassa.com

Above: Spiraling Jetty

ARTIST FEATURE

/MICHAEL MANALO Currently based in Taiwan, Michael Vincent Manalo was born in Manila, Philippines. His work focusses on photography, photo-manipulations and installations. His dream-like visuals transition into post-apocalyptic, nightmarish creations. His work has been exhibited in many countries internationally ranging from Germany and Italy to South Korea, United Kingdom and Japan to name a few. www.michaelvincentmanalo.com

Opposite: Memories we have Always Chased.

Above: Cold, Quite Night You Wandered

Above: Life I’ve Lost

Above: The story teller

INTERVIEW

/MARCUS ESCRIBANO Looking at his work, it’s hard to believe that Marcus Escribano only took up photography just over a year ago. His work ranges from the conceptual to street portraits and fine art. It is the former that drew our attention to him. Tackling socio-political issues such as religion and the wave of violence against members of the African-American community by the police, the very group that is meant to protect them. The powerful imagery of his work ignites a range of emotions.

Your views on religion resonated with us, have you always thought of religion in the same light as you do now?

Since I can remember I’ve always been sceptical about religion. I understand that religion was man made and seemed to create order and a way to give a concept to how everything started.

However; Every religion leads to one, the almighty. Should religion be taught? Yes, but it should never be forced and told as fact. I personally believe in the universe, universe being God and God being the universe. The sun is the son of God with its 12 zodiac signs, like many other religious stories that

deal with the number 12 (12 gods, 12 Disciples, 12 tribes, etc.) but that’s too much to get into.

Could you tell us a bit about your piece ‘No justice, No peace’?

That was one of my first controversial shoots I did. This was during the time where many killings of unarmed black men were being caught on camera, and the police officers that murdered them were getting away with it with little to no kind of penalty.

People took to the streets, and there were many protests around the U.S.A and some riots as well, but what can one expect when this has constantly been happening?

If there is no justice, there will be no peace. As a person of colour, these events make me feel disgusted, and I try to portray what I see going on through art, so it hits home.

When did you begin to develop an interest in photography?

March of 2016 I began to get into photography.

to expand your knowledge in the art field you want to pursue.

Although I am self-taught, that just makes it, so there is much room for improvement on skills and education.

Your work demonstrates that you are definitely in tune with the current socio, economical and political climate in the As soon as I bought my camera, I United States, do you think we knew this was it for me. I’ve always have reached breaking point yet? had creative thoughts and ideas; I Honestly no, not yet at least, I feel just needed a medium to express it. like the people of the United States The universe introduced me to the are coming together as a whole photography world, and I quickly now more than ever though. taught myself and fell in love.

Yeah, we’ve always had these types You are currently studying of problems, but we weren’t able to photography at Western actually see what was happening Connecticut State University; because technology was not what it most photographers do not have is today. any formal education. How important do you think A lot of people are becoming aware education is about art in general? and can see all the problems going This 2017 Fall semester will be my on in not only in the U.S. but also first time being a photography around the world, and I’d say it is student. My first two years of because of the internet and the college I had no motivation, so I advancement of technology. took a year off, and in that year I found photography.

I’m going back for photography because I feel it is very important

What will it take for things to change for the better?

The people need to speak and be more open; we need to use whatever medium we have to express the problems we see going on. Know our rights and utilise them to our advantage.

selected to take part in the group exhibition “The Image of the Savage” in the city of Rome, Italy at the space Millepiani on dates 23 – 31 of May 2017.

What is your definition of a perfect evening?

A perfect evening to me is a simple one; it would be successfully creating and bringing to life an idea.

What has the response to your photography been so far?

I’ve received so much love for the work I’ve put out, even with the controversial pieces I’ve done. Yes, www.highbrowblog.com I’ve gotten some negative responses but it wouldn’t be art if it didn’t spark some emotions of people, so I like that.

What are you inspired by right now?

Inspired by everything, especially religion, the universe and women.

It for sure is a man-made world, but women make the world go around.

Imagine life without them; I don’t think it’s possible to imagine that.

Do you have any upcoming exhibitions coming up?

Unfortunately, I won’t be able to make the exhibition, but one of my artworks has been

INTERVIEW

/JOHN SAILE Being an active artist is no easy task, creativity like any skill and profession requires tenacity, patience and passion. Artist John Saile has been a professional artist for 15 years. During this time he has been honing his art, creating pieces that in his own words “maximise visual stimulation”. In his interview with CreativPaper John talks about working with multiple mediums, his use of colour and guilty pleasures.

As an abstract painter would you agree that abstraction and its underlying form go hand in hand?

To me, abstract painting is mental projection, backed with my visual tradition. I would not say that form and abstraction go hand in hand; I would say that form and colour are both essential to the creation of abstraction.

While colour is light, the form is the arrangement or structure of visual elements. For me as the artist, colours and form symbolise my soul’s journey.

If one were to ask an abstractionist what they are going to paint, the

standard reply is to let the painting begin, and we’ll see what happens.

You often combine multiple mediums in your pieces, is there one you like working with more than the others?

I recently started working with Flashe, a vinyl water based paint that is made in France. It has an excellent creamy consistency and responds easily to blending and thickening with pouring medium or moulding paste, etc.

Above: Gino Gino Next Page: Stairway to Heaven

The impact of colour on emotions is undeniable, if you could not use colours in your paintings how would you convey emotion?

If I could not use colour in my art, it simply means the removal of only one aspect that I use to make my art, so my artwork would be black‌or white‌or black and white. You can project a lot of emotion through a black and white painting.

Of course, art is the absolute front runner as a catalyst for cognitive and visual stimulation. Thanks to the way we see things in our culture, art is everywhere.

Are your pieces superimposed memories, observations or a combination of the two?

As I said before, painting is a mental projection; which leads me to believe that our memories and collective observations are both fully accessible in the process of creating abstract art.

Do you think other artists should incorporate more colour into their work?

I love colour. I think it is the Are you a morning person? vehicle upon which our emotions I am a morning person, early are delivered. More colour is always morning. advisable.

Name three guilty pleasures that What are you listening to these you cannot do without? days? Do you have a playlist for Privacy, my soulmate, avocadoes. your studio?

I am listening to the sound tracks www.johnsaile.com of the recent movies, Lalaland and Moonlight, one energising and uplifting and the other, morose.

And all of my playlists are like that. As the mood of the painting evolves; so, does my choice in music.

How important is art as a catalyst for cognitive and visual stimulation?

Above:Ocean Laughs

Above:Streaming Mind

INTERVIEW

/MARC BEAUDETTE As a race, we underestimate the fragility of the world we inhabit.

Each and every action that we take, however, minuscule it may be has long-lasting and sometimes irreversible consequences. Born and bred Vermont native Marc Beaudette is very aware of this and nature plays a vital role in his work. He even donates a percentage of the profits he makes from sales to the Centre for Biological Diversity. Marc took some time out to talk about his current projects, climate change deniers and the work of the CBD. Could you tell us a bit about Mishap?

Mishap is a violent painting about contamination and energy use that came about by playing with technology in a technology-conscious way.

created what I imagined to be subatomic particles. Then I tried to superimpose a pattern I had designed on graph paper onto this chaotic mess, not unlike what humanity symbolically tries to do all the time, everywhere.

The first step was pouring liquid white acrylic into the airstream of an electric blower over a black-primed hemp canvas.

Conscious of using electricity partially produced with nuclear power, I was amazed by how finely the paint atomised and

Things happen in the process, and the pattern breaks down, chaos claims intention. The more orderly structure is attempted, more chaos responds.

Above: rexno423 sent you a message.

The figuration, which came from a still of the ongoing Fukushima cleanup, expresses my concern that the dance we do with chaos ought not to be inclusive to those industrial processes with which the outcome has the potential to be so dire.

Mass Extinction (Holocene Extinction) on this planet caused directly by man. What are your thoughts on that?

It’s extremely depressing because, if we think we’re going to survive, we need all these other species not to go insane.

The figuration was projected, so a lot of electricity was used in making Mishap. Therefore, by depicting a nuclear disaster, it’s one of my more honest paintings.

Animals are so much a part of our identity, and yet we don’t even recognise that. Half of John Oliver’s jokes are about animals!

Unless we humans are just meant to be the genitalia of technology the thing that gives birth to Artificial Intelligence, which I hope is not the case.

Where or whom do you draw most of your inspiration from?

I get ideas doing mundane things like day jobs, reading and listening to lots of media, and I keep a little notebook and write them down sometimes.

All these other species including amoebas are different modes of being for spiritual development. I have always thought it must be I also have sketchbooks for visually extremely fun to be a raven. exploring ideas, but I only ever use about point-one percent of them.

Do you have a message for any To me, the blank rectangle of the climate change deniers out mysteriously makes all prior ideas there? uninteresting. The present That is a particularly sticky and moment, the materials in front of vexing topic. A lot of people think you—that’s where it’s at. climate change is a crisis made out of a natural phenomenon meant You have studied biology amongst to scare people into submitting to other subjects, which have been state slavery. incorporated into your work.

We are in the middle of the Sixth

Above: Henrietta’s Dream

money at stake for them, and yet the deniers would rather believe that thousands of scientists all over the world are in cahoots to betray their principles so that they can There’s a lot of anger towards the continue to get whatever piss-ant left in this country, and I think amount of grant money that barely that the oligarchs have shrewdly sustains them. They’ve been hitched their bullshit cart to this pony. Have you noticed deniers are programmed to self-identify with always far right? I think there’s a lot the giant corporations that are screwing them. of good reason to be deeply suspicious of the “elites,” and that’s I can’t understand it. Every time I why I don’t understand why the deniers don’t direct their suspicion try to objectively read their propaganda online I never have to the institutions feeding them this malarkey. We know Exxon and to dig far before finding ties to far-right think tanks like the John Shell suppressed climate research Birch Society, the Koch brothers, they performed back in the nineties. etc. They seed the internet with just enough doubt to thwart real policy change.

We know there is serious, real Those aren’t my words, that’s a quote from a right-wing comment section.

Above: O’Neil

And now we’ve got a president who has bought into it. A denier I met recently was sure that the vast amount of CO2 from the world’s volcanoes made our emissions negligible.

You mean like baseball? I like cool music, books and films. I play the drums, classical guitar, and I’m into wildlife and the forest.

I’ve been kind of an amateur naturalist, learning all the species Humans put out 100 times as around me, and it’s like, the more much. So I guess my message to the you know, the more interesting deniers, including the everything is. denier-in-chief, would be, if you hold a minority opinion, especially The slightest clue can reveal so one that alleges “hoax” on so much. It’s like an endlessly important a topic, then it’s unfolding, fascinating dream. incumbent on you to prove it.

Could you tell us a bit about the On average how many hours work that the Centre for Biologwould you say you spend in your ical Diversity does? How did you studio every week? get involved with them?

It depends on the time of year, I wanted to have a charitable sales which dictates my day job’s hours. model, which is an idea I got from Winter: maybe 80. Summer: maybe the artist, Christopher Reiger. zero.

The idea is that, if you’re an artist Are you working on anything at and you’re spending all your time the moment? and resources on art-making, then Yes, I’m working on several you’re not part of the very real fight paintings at once. One is a painting going on to protect the with text about the prices and costs natural world from the worst of drones and air strikes juxtaposed aspects of capitalism. In fact, you’re with pop imagery. Another one participating. The same thing seeks to subvert the visual language applies to the buyer. of computers.

Are you passionate about anything else apart from art?

Above: The Malingerers

Do you have any advice for artists that might be just starting their career professionally?

No, because I’m just starting my career professionally. I take to heart something Albert Oehlen said, I chose CBD because they seemed which was, “One must go joyously to be the most present on the issues berserk.” That, and be a CEO at the I care deeply about, and they hire same time, which I’ve yet to high-powered lawyers and fight fire manage. with fire. For example, they’ve got multiple lawsuits right now going Three things you have to do if against President Ratfuck. And passing through Vermont? they will win.

1. Lunch at the vegan café Superfresh in Brattleboro before You are a born and bred Vermont buying apples at the co-op. native-- what are the perks of 2. Chain yourself to Bernie living in this biologically diverse Sanders’ desk in Burlington to part of the United States? protest his support for militarism.

Well, I had to live with a bunch of 3. Hang out with the rescued owls, other places to appreciate it as I do vultures, ravens, and other birds at now. You know in the Jungle Book VINS in Quechee, have dinner at when Baloo Bear sings “The Bare Windsor Station, decide you want Necessities” and, like Mowgli, you to move to Vermont. get the feeling everything is going to be all right? www.marcbeaudette.com By having this sales model, which gives a percentage of sales to the Center for Biological Diversity, I seek to mitigate and reverse that.

It’s a win/win/win.

That’s how it is all the time. For example, there’s a barred owl hooting outside my window right now. He’s probably telling his wife, who’s sitting on eggs somewhere nearby, “Not to worry, love, there’ll be a vole for you real soon, I’m sure of it.”

Above: Indecision no. 17,539. Next Page: Mishap.

INTERVIEW

/JOE KARLOVEC Some of the most innovative moments in art and science have come at the most unplanned of occasions. Fleeting moments when we are relaxed or come across inspiration while on the move. Artist Joe Karlovec feels the same way about his work. Transformative and intuitive, he pays emphasis to the formal investigations of line, colour and rhythm which results in the emergence of abstract metaphors. The observable elements of his pieces reveal his disposition at the time but the complexities of emotion that lie under the surface take longer to assimilate. www.joekarlovec.com

INTERVIEW

/HUGUETTE MAY We often forget how young we are as a species on this planet and yet have had the most profound impact on it. On the other hand, we have species of wasps that have been around since the Jurassic period and have kept pests in check and tormented others, myself included. Artist Huguette May, through her drawings of Paper Nests, highlights the beauty and intricacy of these natural creations. In this interview, she talks about her book, living in Bristol County, Massachusetts and what excites her the most as an artist.

Could you tell us a bit more about the Hawser Series of drawings and the metaphor that knotted rope is in your work?

In 2010 I completed The Hawser Series, a suite of twelve large charcoal drawings based on a single length of found rope.

guest artist at the Ropeworks building in New Bedford during the 2007 Open Studios when I encountered the rope that was to launch the Hawser Series.

Do you remember the moment you decided to pursue a career as an artist? What brought you to Finding the Hawser: that moment?

I think of what I do as a vocation.

Around 2006 I had been drawing Cliche as it sounds, all I ever rope imagery at wall-sized scale for wanted to be was an artist, and I about a year and a half, a different knew that from about age 8 - long rope for each drawing. I was before I had a clue what that even exhibiting those drawings as a meant.

Opposite: Mother Ship

My Dad was creative; a highly skilled carpenter who became a pattern maker for the Detroit auto industry in the 1950’s up to the 80’s. He could make or build anything three-dimensional, with or without blueprints. He built the house I grew up in - and about five others before that. But we were recent French Canadian immigrants isolated in our suburb in Toledo, Ohio and didn’t know any artists. When I was about ten years old, the nuns at my school recommended that I take some children’s art lessons offered Saturday mornings at the Toledo Museum of Art. One or another of my parents needed to drive me in or put me on a city bus.

first exposure to world-class art - or any art, except for the reproduction of a romantic painting of three beautiful women in satin dresses playing violins that hung in our living room. Walking through the museum galleries for the first time, I was nothing less than STUNNED!

There was a massive architectural painting by Thomas Cole, works

by Degas, Van Gogh, El Greco, Holbein, Matisse, Miró, Monet, Picasso, Rembrandt, Rubens, Turner, and the Impressionists, not to mention a room full of authentic Egyptian Mummies! I was smacked in the head with the realisation that so many human beings had produced the work I was viewing; The classes were held in spacious their names were on placards! And classrooms beneath the museum I thought they must be super-hugalleries. There were rows of thick mans, so overwhelming was their tempera paints in large opened jars ability to describe something lining the windows; they smelled visually with just paint on canvas! so strong I’d feel woozy by the end Although that wasn’t the moment I of class. The diesel bus fumes also decided to pursue art as a career - it made me feel ill - and that’s why WAS the moment I felt a sense of I didn’t attend beyond a couple validation for the fact that I spent of seasons. After class, I would my non-school time scribbling wander upstairs, happy to breathe away with pencils and crayons on fresher air and stroll through the paper. galleries for half an hour before my ride home showed up.

It meant I wasn’t the only one The Toledo Museum of Art was my there were others - and they were

in the beautiful white marble museum. Fast forward to AD 2000: After years of self-study, piecemeal art and photography classes, a two-year Associate of Arts in photography degree and a year at a classical atelier in Baltimore in my early 30’s, I was finally able to realize a life-long wish: attending a professional art school full time to obtain a BFA and then an MFA.

enjoying an increasing resurgence, at least since Vija Celmins’ seminal graphite works of the 60’s & 70’s.

The long-standing classical view has been that drawing is merely foundational to the more “important” forms of painting and sculpture. Drawing has come a long way “catching up” in stature, but even now it still seems to struggle somewhat with an “imBecause I was now living in age” problem though, thankfully, suburban Boston, I chose the less so than at any other time in School of the Museum of Fine Arts history. as the best all around fit. Although I had always been an artist, I Could you tell us a bit more about wanted the “creds” an MFA could your series of photographs titled bestow. More than that, I “Satellites”? wanted an educational experience With each series I begin, I like to that would further expand how I create a set of related purely thought about my work. photographic images. While I was doing studio drawings from my The Museum School supplied the collection of paper wasp nests, my context, freedom and supportive sister wrote and told me she’d be environment I needed to explore sending me some nests she had new areas for growth: my time found. there was pivotal.

A little box arrived and inside were What was the best piece of advice 6 or 7 small pieces of wasp nests you were ever given? wrapped in tissue, each no wider It was that, since drawing happens than around 4” or 5”. I had to be my strength, it was fine to expected the usual football-sized practice it as a primary nest and here were these pieces expression. Traditional hand which were mostly beginnings of drawing technique has been nests that didn’t pan out.

Above: Globe

Turning them individually in my hand and noticing their geometric shapes, I immediately thought they looked like the baby space ships that flew down from the giant “mother ship” in the film Close Encounters buzzing spectators on the highway.

The sensation of this was clear and vivid - both the film memory and how that imagery connected with the variously shaped nest pieces in my hand. I had an instant vision of those pieces photographed to appear very large against expanses of sky. From there, it was a matter of working out how to technically execute the vision exactly as I saw it in my mind’s eye. For about five years I did photo restorations in Photoshop and have long known how to photograph and alter reference images for whatever I need.

I photographed the skies and nest pieces separately and composited them in Photoshop. The Satellites were a fair amount of work, but the prints are 20” x 30” and so have a good presence. I enjoyed matching the nest bits images with their respective skies, and the outcome was exactly as I had envisioned.

You currently have a studio in New Bedford, Massachusetts, What are the perks of living in Bristol County?

For the past 20 years, I happen to have lived and worked in a very rich cultural environment, and I have certainly taken advantage of that - going to gallery and museum exhibitions, musical events and being involved with the creative community in New Bedford.

I’ve been exceptionally lucky to have had an extra spacious studio with great huge windows the past nine years inside one of the beautiful 100-year-old brick former textile mills. Through Open Studios and other opportunities, I’ve been able to discuss my ongoing work with a very wide cross-section of people - from the regional gentry to fleet fishermen, art students and professors from UMass Dartmouth to locals, other artists and visitors from Cape Cod, Rhode Island and elsewhere.

One of my favourite things is the conversations and feedback I’ve received from all these people. I’ve also benefited from having a few very good friends from among New Bedford’s creative community.

Since there were no spaces at all to rent near where I live, I drive 40 minutes south to and from my studio each day so that I can tap into this diverse community.

Boston is 22 minutes the other way.

Your body of work The Hawser Series has been turned into a wonderful book. What was that process like and are you working on any new ones?

The Hawser Series toured for almost two years. I wanted to represent the exhibition longer term in book form, so I decided to self-publish. Sale of one of the Hawser original drawings helped fund the project.

needed. Blurb did an excellent job printing all the detail and tones.

We reviewed two proofs to correct a colour cast problem and adjust the layout.

It’s a challenge getting black and white drawings to print the correct neutral tone, matching the charcoal with which they were drawn. I sent in a sample for them to match and they were able to match it. I paid a little extra to leave the Blurb logo off the book altogether.

The only complaint I have is that the completed book is seriously expensive - which greatly limits how many people will ever see or own it. That’s a conundrum, but it was important to make it nonetheless. I love material books, and it’s the way I wanted to commemorate that body of work.

Research resulted in my finding Blurb, a digital on-demand publisher specialising in visual books. I’d seen other artists’ books done by Blurb and felt their reproduction standards would I want to do a similar book for work for my project. I have a friend the Paper Nests, this year or next, who is a superb graphic designer. but am not yet organised. I would like to have an entomologist write She did the design and layout, even something for it, but I haven’t though Blurb offers templates. I found one yet! don’t have the patience or wherewithal to do that stuff myself! www.huguettemay.com Because of the exhibitions, I already had all the text and high-resolution image files she

Opposite: Triplex Next Page: Tree House

INTERVIEW

/SCOTT LEIPSKI Ceramics come in an array of forms. The transformation from raw material to soft clay and eventually stoneware or porcelain has been practised for centuries. We have learnt about the lives of civilisations based on the earthenware left behind. Its importance in culture from both an artistic and utilitarian perspective cannot be ignored. Artist Scott Leipski expresses himself through ceramics. Playful yet analytical they resonate differently with each viewer.

Could you tell us a bit more about your body of work titled ‘ExVoto’?

The word ExVoto is a Latin word typically meant to describe a votive or offering to a saint or divinity. I turned it around and decided instead to offer my childhood to the viewer in the form of 150 wall hung votives. While I don’t consider myself a saint by any stretch of the word, I do feel that my childhood was a rare and special time for me.

A sharing between us that the objects might invoke.

Early in the conception of this piece I was thinking about how memories fade and soften as we grow older.

I look back to my childhood and, like many middle-aged people, reminisce about the past. Often, thankfully, I find that I have let go of the bad memories and have hung on to the good. These good My hope is that the viewer will find memories seem to get sweeter and some sort of mutual reminiscence. softer as time goes on.

Above: ExVoto Detail

ExVoto is comprised entirely of hands extending from wall hung tiles with the palm up. Each hand is offering a touchstone, a memory. The glazes I used are bright and glossy like hard candy.

5. It shows a sea monster on the water. As a child, I was fascinated by monsters and fantasy creatures.

In the 60’s and 70’s, there was a lot of talk about what we now call cryptids. There were documentaries on TV recounting the tales of The glaze on the objects is running people who have seen or thought and dripping down the hands like they had seen, a monster. One of candy melting in the warmth of the my favourites was the Loch Ness palm. Just as my memories run to- Monster. gether in my mind. Each memory is getting softer, getting sweeter and We lived on a lake in the woods in slowly melting away. northern Wisconsin. The Northern Pike and Muskie’s (large fish) used I believe each person filters art to the surface to sun themselves on through their own experiences. A the surface of the lake. marvellous thing happens when I watch and listen to people viewing The waters of our lake were cold the work. Their stories surface, and and very dark from the tannins. we begin to talk about the The dark greenish-brown fish touchstones of their youth. would look like wet logs floating on the surface until they would Many times I’ve heard someone suddenly move and sink below the squeal with delight because they surface. I was convinced that the found a piece that sparked a Loch Ness Monster lived in my precious memory. ExVoto has lake. This tile celebrates that become one of my most rewarding memory. pieces for me as an artist because of the connection to the viewers.

Later on, as an adult, I went to Loch Ness and Urquhart Castle in I can imagine this might be a Scotland. I spent a few days there hard one to answer but do you secretly hoping that I would come have a favourite amongst the 150 across the monster. The waters of items? the Loch are just as dark as they are Tile 137 is probably one of my top at my childhood home.

I never did find Nessie, but it sure was fun looking.

Your series ‘Ten Thoughts on Tuesday’ deals with setting personal goals as an artist, how important is it to set objectives for yourself when you are a creative or self-employed to stay motivated?

Before I committed myself to being an artist, I was a retail sales manager for nearly 30 years. In retail, you are always looking forward to what’s next.

days before. It taught me a lot about myself and how I could break work up into smaller pieces to achieve larger results.

Now I have a wipe board in the studio that has my list of completed and in-process sculptures or ideas for sculptures for upcoming shows.

It keeps my mind on track. I add and edit accordingly. There is a direct correlation for me between setting goals and being motivated.

The organising of the tasks and setting personal deadlines has It is the only way you can survive. helped me to much more than I So it seemed natural for me to thought it could. And the apply that same thinking to my art. satisfaction of those accomplishEarly on I realised that I needed ments helps to drive me forward. some structure. Something had to be there to drive me forward.

What was the journey that led you to choose your select your chosen I started setting regular goals once medium of expression?

I had secured my first solo show.

Three-dimensional art has always Fear is a marvellous motivator, and had the most profound effect on I certainly was afraid that I would mine. I remember seeing the not have enough work for the exsculpture as a child at the Milwauhibit. That’s why I set the goal for kee Public Art Museum and being Ten Thoughts on Tuesday. I told completely transported by it. myself that every Tuesday for ten weeks I would conceive a new piece There is a presence that sculpture in the series. Very quickly I began has that to me is unlike other work. to look forward to it.

To me, those artists were speaking to me in a way that 2D art never Ideas would start forming in the could.

Above: Radiance

I could walk around and explore the objects and the artist hand in the work. Also, the way it was displayed demanded that you take notice. The sculpture is given lots of room to a gallery or museum.

and I would be off to the art supply store. The urge to create is a compulsion for me. It has never been a matter of can I create but more a matter of what can I create next?

You need to be able to walk around and explore it. It occupies the interior space of the room where the viewer is. It is an observer and the observed. So it was no surprise to me when I chose ceramic.

I didn’t seek out a formal art education after high school because I felt that I would never succeed. Also, I don’t think my parents would have supported a non-traditional career choice. I now I realise that I did not have the work ethic to succeed at art then either. It took years for life experience to teach me that.

It ticked all the boxes for me. I enjoy the tactile quality as well as the challenges it presents at all stages of work. Sculpting the object in the wet clay is only the beginning of the process. You need to invest in each stage to be successful. Make the wrong decision, and you start over!

What do you love the most about your job?

Freedom.

For so many years I worked for someone else’s goals and betterment. To them, I was only as good as yesterday’s sales numbers.

Have you always wanted to be an I have managed everything from artist? small boutiques with just a handful I did, though I didn’t act on it until of employees all the way up to mass later in my life. I look back on my merchandisers with 300+ employlife, and I see that I was always ees. Now I focus on myself and my creating. I used many different aspirations. mediums over the years.

When I worked in retail, I was so Mostly because I was so easily used to waking up every day and distracted by other artist work. The immediately worrying about what inevitable thought that “I can do problem I was going to walk into that!” would run through my head when I arrived at work.

Above: The Last Iceberg

Now I get up, make coffee, feed the dogs, watch the news and think about what I might get up to in the studio today.

I do is that I must order all of my supplies. It can be tricky in the winter as well with the extremely cold weather.

What a relief! It took a while for me to let go and lose that feeling of being under the microscope. With the new found freedom has come a certain sense of empowerment. I can do whatever I want. The days of the sales goals and people management are out the window. It is very liberating!

But I’ve learned to stock up on clay before the really cold months come. Though I must admit, I do feel bad for the FedEx man when he arrives with 600-1000 lbs. Clay in the back of the delivery truck.

Where are you based right now and why?

I am in the Upper Peninsula of Michigan living in Gladstone on the shores of Lake Michigan. I chose the U.P. because I could afford a decent sized home with a large studio space.

The property is relatively inexpensive, and the setting is very beautiful and quiet. It has allowed me to focus without the constant external stimulus that I find hard to overcome. I am a bit of an introvert and cities, though exciting, are way too distracting for me to work. I like to visit them, but I am equally happy to leave.

The only drawback of living where

Could you summarise the recurrent theme for narratives in your work in three words?

Childhood Folklore Nostalgia www.scottleipski.com

Above: March Hare

INTERVIEW

/MORGAN BUCK Being a visual, performing and recording artist is no easy task but Portland, Oregon based Morgan Buck takes it all in his stride. Wether it is burning up the state in his Kaufmanesque band ‘Child PM’, shooting Macro-Panoramas using his iPhone or putting the finishing touches to his three dimensional crumple paintings Morgan gives it his best shot. In this interview he talks about the artificial reality of our times, his band and the best places to eat in his home town.

Can we safely say that we are now living in an age where the sense of reality is artificial courtesy of the internet and rampant social media?

I think that is safe to say. The sad thing is that it will probably get more artificial before it gets better.

nostalgically look back to times like now when things were so real that the United States elected a reality TV star as president.

Technology that becomes popular usually only goes away once it becomes obsolete: gets replaced by something even more efficient at doing its job. Ten years from now it will probably be virtual reality or something like that. We will

Corporations are people in the US, so as long as they’re mascot is created in the US and over 35 years old I think a majority of the supreme court would be ok with it.

As long as the info marketing was good, never underestimate the

Who knows? Twenty years from know it might be some fictional character in the Whitehouse.

Above: Anatomy Lessons

Above: Child PM - Merry Go Round

voting power of stupidity.

My macro-panoramas touch on this idea of the artificial reality created by the Internet. The macro panoramas are these photographs of images on Google taken with the panorama mode on an iPhone and a 10x jeweller’s loupe in front of the lens while photographing the laptop screen. The distortion from this process blurs and glitches the images into looking like altered spaces, or completely synthetic landscapes where only subtle fragments of the original are still visible.

of different visual situations I was attracted to. For example lots of rooms and spaces on fire, paintings within paintings, shadows of cowboys smoking cigars, elephant puppeteers, etc. Many didn’t have any specific meaning, but a sensation of significance was there, similar to Surrealism, but not dated.

Near the end of that period, my brother got a rare and aggressive form of cancer. During his treatment, we started watching Star Trek TNG a lot on Netflix. They can cure cancer on star trek. We also liked Data the android This is the essence of truth on the character, because his intelligence Internet: the user cannot and consciousness were transcenunderstand what it is that they’re dent, but also he had no emotions looking at because anyone can post to complicate his life. anything and say it’s anything.

Obviously, that was a traumatic We make our associations between time in my life. I started to become cyberspace and reality, and if we’re obsessed with aliens and not careful they become blurred paranormal stuff at that time. I together, and a person can see needed a miracle, but I’ve never whatever they want to see. believed in God. The motifs in my work started to include images of How did the concept of your aliens and UFOs. ’Crumple Paintings’ come about?

Before I came to grad school, my The chemo changed my brother painting was very figurative had from a healthy looking 29-year old strange narratives in some into a bald, bloated creature half cases, but were mostly composites old man half grey.

Within the first month of being in grad school, my brother died.

Strange enough I didn’t feel out of control, and I didn’t cry very much at all, but I no longer felt like a normal human.

managed to get away from relatively fast. I no longer think about alternative timelines or narratives, but the wire mesh and the crumpling have remained in the process of those.

This was when I decided that rather than painting images of aliens I should paint like an alien. I started to imagine what a deferent dimensions art history timeline would look like. I thought of Jackson Pollock’s drip paintings as being an example of the most primordial painting style, because it was simpler than painting with a brush.

The alien painting has now in my mind been replaced with rarified painting, but the rarified painting came out of the alien painting. I just don’t need a sci-fi association with my work.

His approach was just dripping paint and smacking it directly against the surface of an upstretched canvas on the floor.

With Pollock’s work being the very first painting technique in my alternate dimension’s timeline, the next evolution would be to crumple the canvas on the floor to control the flow of the paint.

Could you talk us through their creative process?

I first make the wire mesh support with the stainless steel ¼ inch stuff that is available at hardware stores.

I use thin muslin, which is thinner than canvas and crumples more dramatically.

I sew it on the mesh with thick upholstery thread. I prime the canvas much of the time with clear gesso with colour mixed into it.

The coloured gesso bleeds through the muslin, which gets a head start on colouring the back. I start with I wanted a lot of control over the the canvas fairly flat, and I start crumples, so I evolved the stretcher painting the front. Every time I get bars out for a formable wire mesh bored with what I’m working on, structure. The drippy pouring I’ll crumple the painting and give medium and mono printing myself a new situation to react too. techniques I used early on I

Above: Child PM

It’s sort of like going through ideas with a note pad and crumpling the ideas that suck and throwing them over your shoulder.

also and hand stitched a bunch of small action figure sized stuffed animals of Sonic and related characters.

Eventually, I get to a place with the crumpling where the relationship between the image and the crumples feels very resolved. That’s when I usually start thinking about finishing touches.

I made one sonic the hedgehog drawing and made a cardboard frame for it and tried to sell it to my next-door neighbour for ten dollars. She wouldn’t buy it. That was my first attempt at being an artist. That period must have been 2nd or 3rd grade.

To finish, I will take my airbrush and paint the backsides that I know will be visible when the piece on the wall. I want it to work with the front side despite the fact that the back has exposed wire mesh.

I’ll be tweaking things here and there editing out what I don’t want and beefing up the intensity of the things that I do want, like in Photoshop or something.

Could you remember your earliest memory of the steps towards being an artist?

I did a lot of art as a child as many children do, but I got a little more involved.

I was obsessed with Sonic the Hedgehog and drew illustrated books about different plotlines I would imagine. I learned to sew

What are your goals for this year?

My goals for this year are to get my work out of Portland. I’m looking for representation, and I would like to start showing the Macro-panoramas a lot.

I can produce many, many, of those. I could do ten solo shows a year with those and never show the same piece twice. I just need some venues that are willing to give me a shot. Of course, I’m always down for group shows too.

Next fall I’m going to be doing the Pilotenkueche residency in Leipzig Germany October through December. There’s going to be some group shows associated with that. The first one will be within the first few weeks and then the second one

will be a big one at the end. I’m going to make lots of macro panoramas for that, but I want to make a huge crumple painting grand piano sculpture.

Space is going to be big, so why not. I’m going to have it sit keys crashed into the ground like its fallen from the sky like in a Wiley Coyote cartoon. It’s not going to be super literal either. Going to be very abstracted and coloured crazy.

Child PM is going to do a music video this summer, and I’m going to make a Crumple Piano for that also. Were going to have an 8-second scene where the characters are dreaming about being Guns and Roses. The scene will be like the November Rain video. Crispen McCarls Jr. is going to be playing the crumple piano in the desert with Axel’s red headband on, and Carl Crisp is going to be Slash on top of the piano with the guitar, cigarette but and the top hat.

He’s even going to have his shirt off under his jacket to reveal a chest covered entirely with rub on Lisa Frank tattoos. We’re going to film that scene with a drone to get those aerial shots like in the November Rain video. God, it’s going to

be badass. The song is called AA Meeting Time, and so most of the music video is going to be about Crispen McCarls Jr.’s drinking habits and his interactions with his support group and the clown god robot, etc.

Your band Child PM is recording its second album titled, Step Dads in Harmony. When is it due to being released?

We’re going to try and get it out before the end of summer. We don’t have a specific date.

What are the best places to grab breakfast in Portland, Oregon?

Genies. Country fried steak with mushroom gravy. Bomb. Food is one thing that Portland does have going for it. You can believe that hype. www.morganbuck.net

Opposite: Ballon!

Above: Garage Carrot. Opposite: The Pill

INTERVIEW

/KATE PETLEY Tactility is one of the key features of art, whether it is a sculpture chipped away from Italian marble, brush strokes that have dried, leaving behind their imprints or different objects glued together. This tangible trait gives it life, something to remember its transition from an idea to reality.

Artist Kate Petley highlights the sweet spot where the handmade intersects digital technology, inserting her experiences in the process.

We sat down with Kate to talk about the creative process behind her monoprints, the message behind her work and her idea of a perfect Sunday.

We love your monoprints, could you tell us a bit more about them?

The monoprints are published by Manneken Press and master printer Jonathan Higgins.

My hand-drawn graphite gradients are transferred to the plates using photo gravure. Evidence of my hand is visible in the final print; the pencil marks are captured in the process.

I travel to Bloomington, Illinois, and develop the monoprints once the plates are ready. The work is intensely focused as we create the

colour and combinations that result in the finished prints.

I’m thinking about the influence of screens and how they generate layers of light and colour.

Some artists feel they need to have a specific medium they need to focus on. As someone whose work ranges from mixed media to sculpture, what advice would you give fellow artists struggling to find their medium of expression?

Experiment. It takes time. The process itself contains so much information. It is helpful to rigorously

question the finished work to understand where it will lead.

What are you listening to these days?

If music is playing, it doesn’t have words. I usually need silence to hear myself figuring out what the next move should be.

as a way of deepening my view of painting and images. I established rules for the sculptures that can be seen on my website – no purchased materials, only whatever was available in the studio. The pieces are both strong and fragile.

The viewer may relate to that contrast.

You’ve mentioned that your work takes places at the intersection of our public and private surroundings, could you tell us a bit more about that?

My work refers to the psychological spaces found in the everyday world. We experience these spaces both externally and internally. In that sense, the work is located simultaneously in private and public realms.

Has the current socio-political climate in the United States affected your work?

In today’s hyper-connected world do you think the public and private lines are getting blurred?

Absolutely. This fusion of public and private interaction is defined by each. It’s a changing boundary, tricky and possibly deceptive.

What piece are you currently working on at the moment?

New paintings. I’m also preparing for a special residency in Ireland that I’m excited about. The program emphasises photography for artists who are not designated, photographers.

What are you trying to convey to the viewer through your sculpture?

I started off as a sculptor and find it useful to return to raw materials

The influence I can address is a sense of urgency, coupled with a desire to make the best work I possibly can. Because I’m an abstract artist, my personal response to the current political environment shows up indirectly. I try not to indulge thoughts of futility.

Facilitated by How To Flatten a Mountain, it culminates in an exhibition for PhotoIreland in Dublin. www.katepetley.com

INTERVIEW

/NICOLE KRISTIANA We have only scratched the surface with regards to identifying the species that inhabit our planet. In their myriad of forms and colours, they each hold a wealth of knowledge that’s just waiting to be tapped while playing an important role in the planet’s ecology. Artist Nicole Kristiana certainly seems to capture the beauty of these animals in her work.

Ranging from bison to foxes, butterflies and even the living fossil that is the nautilus. She shares her studio with her adorable pets, Barnaby and Miss Kitty and was an absolute joy to interview. Read on below.

Do you think we could all benefit from making an occasional inventory of things that make us happy to give us perspective?

Yes, if you’re taking inventory of things that make you happy, it means things your reminding yourself of what you’re grateful for.

It gives you peace.

igate through the muck of influence from advertising, media and society. Newsmedia, at least in America, bases its results in generating fear, which causes an immediate reaction from people, but it takes one away from happiness by causing artificial stress.

A happiness inventory makes you happier, which opens you up for attracting positivity, and it perpetuates a positive cycle.

Advertising keeps telling you that you cannot be happy without something or some service. It appeals to your ego and tells it that it deserves more, so it causes you to be dissatisfied.

Knowing what truly makes you happy also helps your mind to nav-

Society is endlessness telling you that you need to be everything but who you are and where you are in your life. One of the best ways to combat all these negative influences is to know what makes you happy. Once you take stock of your happiness, it’s easier to recognise and reject these outside influences.

interactive education. From there, I often moved around the Philadelphia area, then, to Chicago for school, and eventually, we bought our home in Bellefonte, DE, an artsy community, self-governed, in North Wilmington, DE. Bellefonte is close to Arden, DE, which was founded by the same architect who founded the Are you originally from Bellefon- Community of Rose Valley, PA. te, Delaware?

No. I was born in New York City.

None of this was planned, I just We moved to the suburbs when I naturally gravitate to these areas was about 4, so I don’t remember and feel my art reflects my natural living in the city. We were middle attraction to the Arts and Crafts class, living in Monroe, NY, but, aesthetic and philosophies. since my parents were both foreign-born, Estonian and Irish, What’s it like living there? Is it a they were very education-oriented. tightly knit community?

Bellefonte, DE, is a very small I was able to attend the private community. Delaware, as a whole, Tuxedo Park School, which had is very small. Everyone knows and still has a positive influence in everyone. Here, we know our my life regarding the philosophy, political representatives by sight, if art, fine education and lifestyle. not, in person.

Around the age of 11, we moved to the suburbs of Philadelphia.

Within a few questions, most people can find someone who We lived right next to the Arts and someone they meet knows or is Crafts Community of Rose Valley, related to. Our little town has about PA, which, serendipitously, has ties 1,200 residents. There is the artsy through architecture and faction of musicians and artists, the lifestyle to Tuxedo Park. Both of retirees, those associated with the these communities value the arts, fire company and some people nature, self-government and belonging to religious groups.

Overall, we work together. One of the bigger annual events is the Bellefonte Arts Festival. The fire house holds an event that day. The artists line the streets with their tents, musicians are scheduled to play all day long, people host their yard sales on that day, and folks in the community volunteer their time to work various events.

graders. I remember a classmate telling other children I cheated and that my mother had to be a volunteer at the event and had coached me as to the theme.

I felt jilted, but, also, even prouder, as, even though my mother loved the prestige and potential future of having me attend a great school, she never had a thing to do with What attracted you to making art me or it. in the first place?

At first, it was simply who I was. In I knew then that my art was mine, nursery school, we had a I could rely on it, even despite what project making wrapping paper out the little girl had said. I went on of dipping halves of citrus fruits in to win more contests, awards and a paint and placing them on paper. scholarships in art at school.

I envisioned these prints as stepping stones in a pond, and In high school, art was a way for adamantly requested I be able to me to process dark emotions. It properly finish my piece on the helped me to feel through some easel because the water needed to painful experiences. My mother be a solid blue. was very mentally ill, and my father was an alcoholic.

I had a whole nature scene in my mind even at that young age.

School and society had told me I Later, art was simply something I was crazy. They tried to put me on was good at and gave me an psych medicines and were identity. In school, when I was in endlessly making me out to be 5th grade, my design for the annual a terrible reactive teenager, just book sale invitation cover was fraught with misguided hormones chosen out of all the other and angst. In those days, parents classes to be the winner. I was so were never wrong or bad; it was very proud. I’d worked hard and always the teenager’s fault. had won out, even against the 8th

I was so trapped at the time, so powerless. I was reacting naturally to an unnatural situation, and no one would believe me. They were trying to punish me for something that wasn’t my doing. Creating art gave me an outlet for all that confusion and injustice and kept me sane.

Without it, I don’t know how I would have ended up. From there, whenever I didn’t have art in my life, too busy focusing on boys, or being a singer for a Goth band, I would begin to feel empty, and the feeling was progressive. The longer I didn’t do art, the more unhappy I would become, until I learned to make art a daily practice. It, like being in nature, is fundamental to my well-being. Art has always been there for me. When I need it most, art provides me with the money I need. It supports me emotionally and helps me give back to the world.

paper, the colours, the composition, the feel of the brush, the amount of water, etc., etc. It allows me to shed all the influences of the outside world and focus on just one thing.

I also meditate when I walk in nature. It helps me to clear my mind so that I can see freshly. Most of the inspiration for the patterns in my pieces comes from nature.

To really see patterns in nature, you have to see… but see, and one cannot do that properly when thoughts of bills, social distractions, politics, and all other day-to-day concerns are clouding you. I find that connecting to nature allows for meditation, and then it reveals itself to me, so I can work with and reflect it in my artwork.

Is there a personal goal you would like to achieve apart from your art?

How important is meditation to Well, I do have my bucket list of you as an artist? things I’d like to experience before In one word, extremely. When I am I die, some grander than others. working on a piece, I am often in I’d like to see pink dolphins in the a deep state of meditation. I am so Amazon. I’d like to take a hot air focused; I am unaware of anything balloon ride over fall foliage in the and everything around me. I hear mountains. nothing. All I know is the paint, the

I’d like to have a write-up in the New York Times Art & Design Section some day. I’d like to write and illustrate a children’s book. I’d like to buy back the family farm my grandmother worked so hard for, and my mother sold for pennies.

that for one summer, and for the other two summers, I was part of the AP Arts Program at Skidmore College.

I had been accepted to the High School for the Creative and Performing Arts high school but wasn’t allowed to attend. My parents were too concerned about my academics. After high school, I wanted to go to Art School, but, again, wasn’t allowed to attend.

But, other than some of those, I just strive to be the best person I can be. I can always be kinder. I can always be more healthy. I can always do better. I want to set a solidly good example of being a decent human being for my son. My My parents and society endlessly goal is to create a well balanced life, warned of how I could always “go which, is not as easy as it sounds. to art school later, but it was smarter and safer to go to a regular college for my future.” I first attended You studied art for over 12 years Drew University. I failed out but at five different universities, did well in the art classes.

Could you tell us a bit more about that?

Next, I went to Bryn Mawr Sure. I just studied and studied.

College and majored in art there.

I have been so lucky in my life to After that, for a while, I worked in learn from dozens of amazing art- advertising as so many ists/teachers. In middle school, I creative people get stuck doing, took summer and evening classes and stopped doing art for about six at our local community arts centre. years. I became very depressed. I became quite a fatty.

In high school, there was a scholarship program to take I quit opening a coffee shop that Saturday classes at Moore College went bust during that time. I was of Art. I took both classes every craving artists and musicians, Saturday for all four years. They of- without fully realising it was me fered Summer Classes as well. I did who needed to do the art.

Eventually, I began taking classes again at a local art centre and moved to a new area outside Philadelphia.

is beautiful, and, she’s quite aware of it. They are as many friends as can be expected.

They both love to share the couch Are there certain objects or spewith me. They also have a love for cies you are drawn back to paint the particular deli sandwich I get. on a regular basis?

The sit, lined up together, Yes. Butterflies. I incorporate a expecting each a morsel in-turn. butterfly in every piece I make. It I don’t belive I’ve had my whole serves as a symbol to me to always Wawa turkey hoagie in 4 years, be open to evolving, and it reminds and I’m very happy to share! My me that all good things in my life childhood experiences left me with are preceded by me seeing butter- some PTSD, so my animals do a flies. great deal to alleviate the symptoms.

Whenever I see lots of butterflies, whether, in life or images, it’s an They are always with me. Miss indicator that I’m on the right path Kitty rarely leaves my side when and going in the right direction.

I’m sick or injured. Barnaby comes They reassure me that I’m going with me wherever I can take him. the right way. In my artworks, I use He comes to the galleries with me. them as a signature. I also use them He goes back and forth to my son’s to balance out the composition. school. He’s by my side now. My Their placement in my artworks is brother says he’s my familiar. very conscious. www.nicolekristianastudio.com Tell us about your lovely pets, Barnaby and Miss Kitty?

Ahh, my beautiful creatures. They bring me joy everyday. Barnaby is a four-year-old Golden Doodle.

He’s almost 90 lbs and resembles a very large teddy bear. Miss Kitty is a lovely long-haired tuxedo cat. She

INTERVIEW

/DAVID ANGELES The first thing that grabs your attention when you see artist David Angeles’s work is the clear and concise lines along with their undeniable vibrancy. Once stuck in a corporate career like countless others David was drawn by his creative side to give his life more meaning and perspective.

His subject matter tends to gravitate towards nature, something that is close to his heart. His recent works depict paint literally dripping off the subjects, to emphasise the fact that David literally immerses himself in his work.

Was the transition from acrylic to watercolours an organic one in your case?

Ironically, watercolor was not in the forefront of my mind when it came to where I wanted to take my art career. I always perceived greater value in oil/acrylic paintings and most of what I had seen done with watercolor didn’t fit with the crisp, clean, pigment rich images I saw in my mind.

I stumbled upon watercolors by chance, when I had a client who wanted a painting but couldn’t afford a larger oil or acrylic piece

on canvas. I offered to attempt the work on a smaller scale and I thought the water medium would be the perfect solution, if I could manage it.

To my surprise, I found an instant connection the moment I laid the first stroke of brush to paper. The way the cotton rag absorbed the liquid; buckled a bit and dispursed the pigment in such an organic way really appealed to me.

Not so much for the outcome as much as the challenge of the medium.

Opposite: Ignite Growth

I enjoyed the struggle of keeping the paint within my lines and the process of using layers of color and tones to get the effect I was after.

I had such a great time learning to manage this new process, that I scrapped an entire exhibit I had just begun in oil and acrylics and created the entire show with watercolor on paper.

That was also my first series with an entirely surreal body of work that were whimsical narratives of my life. Little did I know that show was the beginning of what would end up being my signature aesthetic? The end result was a huge success, as it was my first body of work to sell out.

From there on, the paintings and process have continued to evolve in every way possible and I can’t imagine where I would be if I had not given the medium a chance.

What are you working on at the moment?

Over the last few months I have been creating brand new work for my upcoming exhibition titled “A Series of Layers” that will debut at Craighead Green Gallery in Dallas, TX on April 1, 2017.

It is a continuation of my watercolor series, however with this exhibition, I feel like the work has grown from previous shows as I have developed a stronger sense of self and what the work means to me, which really shines through.

The emotions in this body of work are a wider range than prior collections and technically speaking, I feel I am at my best to date.

What would you say is special about working with watercolours?

It can often be a difficult medium to tame.

I think the fact that it is a bit challenging to master is what really drew me in to it. I also enjoy hearing commentary from individuals and collectors about how they can’t believe that my work is created in watercolor and that it is unlike those they’ve seen before.

For most, I feel like the initial perception of watercolor is very limited, so it’s great to watch the expression on their faces when they ask me for the medium in which I work, only to observe it change the moment they actually view my art.

It’s generally the look of surprise followed by intrigue. I strive to be one of the artists who change the perception of this incredible medium by putting out work that exceeds everyone’s expectations.

Were you always a full time painter?

I have always been an artist at heart, but not always by trade.

Growing up, I drew and dabbled with paints here and there, but I did not take painting seriously until I was in my late 20’s.

I was working for corporate America at the time and became quite unhappy with the direction my career was going. I was constantly day dreaming, sketching, and bursting with ideas while I was supposed to be focusing on work related items. I began to realize that the call for me to create was far stronger than I could resist, combined with my displeasure in my professional career, it seemed like the natural move for me to make.

That is when I really began to focus my creativity into painting and bringing life to the images I saw in my imagination.

As someone who works for themselves it is important to be disciplined, sometimes much more than a regular 9-5 job, how do you manage that?

As I mentioned earlier, painting is probably the most enjoyable activity that I can think of. To me, it’s like an automatic process; in the same way breathing or blinking occurs.

Discipline for me to find time to create isn’t hard to do. However, stopping and putting more focus on other things that still require attention like bills, maintaining relationships, and sometime even eating, come a with a little more challenge.

With age, I have discovered a happy medium and learned that the use of calenders and alarm clocks are detrimental for a balanced life.

What excites you about painting?

I think the answer would be a lot shorter if the question were “What doesn’t excite me about painting?”

Every part of what I do is enjoyable to me in one way or another.

Probably the most exciting is the feeling of complete control.

I have control over the medium, subject matter, narrative, and partly, what emotion I can invoke in those that view it.

Life is filled with so many aspects that are uncontrollable. My art gives me an outlet where that’s not the case. I also enjoy being unpredictable to my viewers.

back to reality, which I would probably have hard time doing on my own, otherwise. Being rescues, they have each grown extremely close bonds to my partner and I, so we see them more as furry children than dogs. www.artbydangeles.com

Always trying to surprise them and outdo my previous works to keep the excitement and curiosity.

And on that note, just feeling the reaction from people when they do connect to my work.

I love to hear their interpretations of how it’s inspired and what it means to them.

Tell us about your adorable King Charles Spaniel?

I actually have 2 Cavaliers and a pug as well! The Spaniels are Abby and Gracie and the pug’s name is Taylor.

They are my life. I spend every day with them in my studio and they bring me so much joy.

Being by my side while I paint, they add a therapeutic feeling to my workspace and help pull me

Opposite: The Universal Connection or the Weight of the Universe

INTERVIEW

/NATASHA MERCADO Most of us have had a pet at some point in our lives. There’s no denying the impact they can have on us. New York-based artist Natasha Mercado specialises in pet portraits, a surprisingly burgeoning market.

In this interview she talks about her journey to New York City and her current career.

Could you tell us a bit about yourself and what you do?

My name is Natasha Mercado, I was born in Florida and grew up in Bethesda, Maryland. I started travelling at a young age and visited South America many times during various summers. Growing up, I occupied a lot of my time drawing, painting, and making crafts and this passion eventually led me to pursue a career in the arts.

In 2014, I graduated from St. Mary’s College of Maryland and earned a B.A. degree in Fine Arts.

After college, I lived abroad for a

little over a year where I became an apprentice to well-known artists, and after that, moved to New York City in 2015.

My portraits express the beauty of humanity and the bond between pet and owner. I use bright hues and texture to create depth and bring attention to the centre of the piece, the pet. My work depicts a timeless expression of each pet’s unique personality, celebrates them and their importance in our lives.

Above: Cato

When did you move to New York City and why?

After living abroad for over a year, I decided it was time to come back home to start focusing on the development of my art. I always admired NYC and knew it was the perfect place for my work since it was the centre of the arts. On October 31st of 2015, which so happened to be Halloween, I took a flight to NYC to start a new journey.

I spent a lot of time getting to know my clients and their pets and started to deliver these portraits as gifts a few months after joining the company.

What has the response been to your work?

The owners of the pups I took care of loved their portraits so much that they started to spread the word about them without me realising it.

One day, one of my clients called my boss to express her excitement I wasn’t 100% sure what or how I about my work and her surprise to was going to start a new art project find out I was an artist. but I was certain I had to give it a shot.

Next thing I knew, the company began to advertise my work as part You’ve been commissioning pet of the business. Since then, I’ve portraits lately, how did that been commissioned not only by the come about? company’s clients in the city but After two weeks upon arriving also by new clients reaching out in NYC, I began working as a Pet through my personal website.

Care Specialist for Throw Me A Bone, a pet-care company in I was lucky to start making Manhattan. My Siberian husky that portraits that reached pet lovers in was my companion for 14 years other states. I no longer work with passed away a month prior, and Throw me a Bone, but I will forever I thought it was the perfect place be thankful to them and their to help me recover from the loss. clients for giving me the I was heart broken and knew the opportunity to start something that companionship of other pups, and I love. loving individuals would consolidate and enable me to experience that special pet-owner bond again.

What do you think it is about pets that make them so indispensable?

I find that pets are a reflection of ourselves even though they have their personalities. They are extraordinary little beings. My first and only pet, Sherry, was not only my best friend but my family. She represented my mom’s strong will and character, my brother’s playfulness and stubbornness, and (as my mom would say) my kindness and gentleness.

need more space to delve in creatively.

What do you love about your job?

I love having the ability to depict love, joy, truth and happiness through my work and create timeless pieces for my clients. The excitement and happiness that fills up their faces as soon as they see their gifts are utterly priceless.

My work represents the special My friends and colleagues all had interaction between the individual similar responses. They treasure and their pet; this becomes a fond their pets because they feel they are physical memory even long after the only ones that truly love them their companion has parted. unconditionally without hesitation.

Pets not only provide companion- Are you originally from New ship, but they also provide healing, York? security, and mend broken hearts. I am actually from Hollywood, When someone admires and loves Florida. I spent most of my life in Maryland, Washington D.C. and you wholeheartedly, it becomes lived in New York for a year with easy to reciprocate that feeling. my family. I was very young and Do you have a studio in New York don’t recall cruising around the city. I visited NYC a couple of times where you work from? during high school- specifically to I currently work from my apartment in the upper west side in watch Broadway shows. It’s funny how things happen. You ask the Manhattan. I am excited to world about the things you want expand onto other projects and and the things you want to do, and start seeking a studio that will be solely used as my art development all of a sudden small things start to happen without you realising it. centre. I have a couple of ideas I You just have to be wide-eyed to want to start working on and will

see them and grasp the opportunity. Moving to NY was not easy. Life in the city is challenging but also very exciting.

saw that they slowly developed when I transitioned to oils and acrylics. My technique got better, and my brush strokes more firm.

What are your personal and professional goals for the year?

Professionally, I would like to connect with other artists and also get involved with programs such as the ASPCA to generate awareness on the wonderful benefits of having a pet, honouring, respecting and providing good care for them.

The shape of their eyes, as well as the texture of their fur, was done with lots of love and compassion.

There isn’t a specific portrait I enjoyed making more than the latter although I did enjoy creating the light and fluffy brush strokes and grey hues on Brady’s portrait.

You can immediately distinguish her lively, loving, and curious personality.

I’ve been commissioned to paint a family portrait, so this would give me the opportunity to get familiar www.portraitsbynatasha.com with other artistic styles and techniques that I could delve into.

I also want to explore the importance of nature which surrounds us on a daily basis. I want to shift perspectives, bring attention to our similarities and work on large canvases. I would love to showcase my work in the city and start exhibiting in upcoming shows. Stay tuned!

Are there any portraits that you enjoyed painting more than others?

I started making pastel drawings when I began giving these portraits to clients as gifts, and I

Above: Bailey

Above: Dallas

Above: Marty

INTERVIEW

/JULIA DEPINTO Social Media has for better or for worse changed our lives in ways we are only just beginning to comprehend. Whether it’s the constant checking or ubiquitous sharing there’s no end in sight. Artist Julia DePinto uses self-portraiture along with traditional and experimental approaches to printmaking and photography to her advantage. Using the technology we take for granted to bring about social and political dialogue.

Self-Portraiture is a prominent theme across your work, what are your thoughts on self-portraiture or the ‘selfie’ obsessed culture we currently have?

Well, I think the common assumption is that the ubiquity of taking photos of one’s self-reflects and promotes growing narcissism in contemporary culture.

and the early 2000s, are the “most narcissistic, individualistic and self-absorbed generation in recorded history.

This is not a surprising statement considering selfies, like traditional self- portraits, have the potential to be disingenuine. Like a painter who selectively edits a portrait, camera settings and filters assist the image- maker with the composiMemorialising an image takes tion, excluding, elaborating and precedence over experiencing a transforming details. Part of our physical or psychological moment. A 2016 article in Live Sci- society (American) is quick to ence argues that millennials, peo- demonise selfie–takers and the ple born between the early 1980s industries who encourage them

The opposing side argues that selfies are an acceptable form of communication and can empower individuals/society.

image-makers understand that they are inadvertently objectifying themselves for a sea of friends and/ or strangers on the Internet? I find that there is an element of I recently read an article from the loneliness associated with Oxford University Press that stated: humanity amongst both the digital “Selfies represent a new way not selfie and the traditional self only of representing ourselves to portrait. others but of communicating with one another through images.

Photographs and portraits are just records of our mortality, regardless Rather than dismissing the trend as of whether or not they are created a side effect of digital culture or a with the intent of being shown in sad form of exhibitionism, shown in digital spaces. maybe we’re better off seeing selfies for what they are at their best — a Could you tell us a bit more about kind of visual diary, a way to mark your body of work titled ‘Red our short existence and hold it up Prints’? to others as proof that we were I created the series “Red Prints” in here. my first year of graduate school. At the time, I was investigating the I think the larger question is one interactions between form and of personal identity or the way in media while also exploring the which humanity has always limits of physical and psychological materialised in social and cultural spaces. I began working expressions. I’ve had many intuitively with non-objective discussions on the decontextualiza- shapes and patterns to create tion of selfies- some of which can organisms that would solidify a be argued objectively. balance between positive and negative spaces.

The questions I always come back to are, 1. What do the image The compositions became layered makers truly wish to gain from with hints of human forms, metaking and publicly displaying their andering lines and haunting dark photos? (and) 2. Do the shapes that imprisoned

blotches of colour. A psychological exploration of interior maps and passageways existed within the body of work, allowing for an aesthetic of the visceral and unorthodox.

As the compositions evolved, veiled spaces and tattered shapes were re-exposed, transformed and isolated. The prints began to reference urban settings, graffiti, cartography and maps to cryptic territories. I view them now (4 years later) as an inexplicable excavation of a distant entity, or a topographical exploration of inner fears.

Note: Before graduate school, I had always worked communally in print shops without always having access to a personal studio space.

The graduate studios at the University of Connecticut were located in the forests of Eastern Connecticut, on the college’s depot campus. The depot campus previously housed handicapped children and mentally- ill adults.

The uncanny, hospital-like energy still remains.

frequented art museums, galleries and institutions with my mother, who had particular interests in art of the ancient worlds. What I wasn’t aware of as a child is that much of the art my mother exposed me to was stolen.

What comes first? The image or the idea?

The idea always comes first. The totality of my work (despite various content and medium) explores collective human experiences through varied print- media and an interdisciplinary studio practice.

My practice includes a strong use of layering, stenciling and repetition, heavily inspired by the practice of street artists and graphic designers.

The use of materials, matrixes and the placement of forms is critical to the content. I selectively place stencils and digital images in each print to communicate the language of concealing and revealing, and also to exclude chance.

The translucency of the inks allows me to see the compositions develop and to respond to them intuitively.

What led you to start creating art? Though my process initially begins I’ve been making art for as long as I as ludic, I subsequently suppress can remember. As a child, I instinctive urges

and disallow chance. Pivotal marks self- referential world. So maybe it’s are regulated, allowing the compo- propaganda or maybe it’s a sitions to evolve and form through distraction from one’s self? the layers.

What I appreciate about being We are constantly inundated with inundated with images, assuming images these days courtesy of the they are real, is that modern internet and social media, how do technology allows us to track you think this has changed us as a things and to watch them change race? as they happen.

Being inundated with images creates a desire for higher This partly improves expectations. We get everything we communication by allowing us to want and we get it immediately, but quickly compile research, create it comes with a cost and the cost is ideas, and better understand what where the confusion lies. Photogis happening on a global level. The raphy as, a medium has always had exposure to images is the potential to make us mostly a good thing because it uncomfortable because we believe brings forward hidden aspect of the photos to be factual. government, subsets of culture and society, etc. that have long been The photographer captures life as ignored or hidden from the public. it is actually happening, which can either bring us together as a race or On the opposing side, being divide us based on a specialization inundated with images does have of interest. Now that the ordinary the potential to desensitize us as a person has access to smart race. We are exposed to images on technology, digital tools and a daily basis that are horrific and I social media platforms, there is a fear that these images have become lot of confusion as to what is real so normalized that we as a society and what is fake. are starting to become numb to them.

I think it’s really all a distraction regardless of where it’s coming www.juliadepinto.com from. Photography, and art in general, is a reflection of the

INTERVIEW

/ ERICA-LYNN HUBERTY Textile works have played a pivotal role in our civilisations for hundreds of years. Documenting wars, inventions, religions and heartbreak. These were steadily replaced with paper which has now given way to digital technology. However, there is something magical about a tangible piece of art. Something that has taken time and effort. Artist Erica-Lynn Huberty uses fibre art as the base for her work. Combining it with materials such as lace, scraps of trim and her own sketches to tell her story.

What led you to select the medium that you use to express yourself?

I learned how to needlepoint at age six, as several women in my family did needlework and it was an expected skill to learn—and I loved it.

I often, even as a graduate student in painting at Bennington College, turned to needlework for relaxation or because I needed to make or mend my clothes. I started college as a fashion design student at Parsons School of Design initially, so there was always that

impetus and inspiration.

However, I never thought to incorporate these skills into my work because for decades decorative arts and craft skills were frowned upon in conjunction with visual art. So it was more of a secret passion than a utilised form.

Then, after a near-fatal car accident in 2005, I lost the use of my dominant hand for three years and embroidery became the first skill I remastered. This traumatic handicap led me to create paintings in a new way—by drawing

Above: Coppelia

and painting with a needle and thread. And, luckily, this was during the beginning of a new movement of visual art in which decorative arts themes were welcomed within the establishment.

threads and paint under them, which helps create the illusion that everything was done all at once.

It’s assumed that I’ve drawn or painted, and then embroidered or patch-worked afterwards—but that is often not the case. Sometimes There are so many overlapping existing drawings are collaged into layers in your work, where do you paintings, and sometimes those are even start? studies I’ve done and sometimes I do a lot of thinking, a lot of they are parts that have been cut looking through materials, holding from other works because they them in my hands and pondering didn’t end up working in those. I them, then arranging, do like that it’s difficult to figure out rearranging, pinning, thinking how my pieces are made. about things again, more rearranging.

Where do you source your raw materials from?

There is a definite element of The materials are my favourite part mapping and planning, but also of my work. They inform the an element of spontaneity, that is narrative, the colour, the a kind of collision of themes and textures. Friends give me scraps materials. Having recently begun to of fabric they find, or yarn or floss weave on a loom, I now put those that they’ve spun themselves; I find pieces of “fabric” aside, hang them materials at tag sales, thrift shops, up in my studio and look at them, farmer’s markets, fibre and wool and decide if that may be the start fairs; in scraps of clothing. I have a of a larger piece. trove of textiles I’ve collected over 20 years. I’ve recently begun Once I decide what needs to weaving my grounds on a loom, happen in a given piece, I usually using remnants of any yarn or start by sewing and glueing, thread I have around my studio knowing that ink or paint will be and also any material my friends added later. Sometimes I use the tip who spin wool and silk have of a sewing needle to hold up sewn around.

I’m keenly aware of our fragile planet and our wastefulness, and how people living in other eras did not engage in that kind of inexcusable waste. So reusing and repurposing anything—scraps of paper, old drawings, bits of trim, bits of clothing is a major part of my work.

How important are naturalist drawings from an artistic and educational point of view in your opinion?

Here is what I love about naturalist drawings, particularly from the 18th and 19th centuries: they are often inaccurate. They tell a story which goes: “I am a scientist who traveled by ship for months to this remote island and saw these animals we never knew existed, but because I’m not an artist, I’m going to tell you, the artist, what they looked like and you’ll draw them for everyone to see.” The outcome of that tale is both a poignant and hilarious endeavour.

But these drawings are also records of important life on this planet that may have existed but, due to human carelessness and interference, no longer exist today, which is tragic and terrifying. Later in the

19th century, naturalists like Beatrix Potter (yes, the Peter Rabbit Beatrix—and by the way many naturalist artists were women) accurately and expertly categorised thousands of flora, fauna, and fungus. Without these drawings, we’d be centuries behind in the knowledge of our own existence and the fate of our planet.

How have they influenced your art?

I’m inspired by and borrow from naturalist imagery because of their quirky, uncommon visual quality, and because the fragility of our current environment and animal world is of great importance to me.

I use images of flora and fauna as symbols, as characters, as metaphors. They help create an aesthetic framework within which I can explore other themes.

Above: Dormant Flora

Above: Exhibit X

What are your favourite places to draw inspiration from?

Visits to England, most recently to Charleston House in Sussex where Vanessa Bell reigned over the Bloomsbury artists and writers, are a source of inspiration. I recharge my imagination and my body by walking on the beach or in meadows and forests, swimming in the sea, and working in my garden.

My visual work is affected, subliminally, by reading and writing fiction—particularly 19th-century Gothic fiction and modern fiction which echoes that tradition (I am also a novelist, when not making art). And I draw on hundreds of pictorial books which line the shelves of my studio, as well as exhibitions at museums like The Morgan Library and the Smithsonian Cooper-Hewitt Museum in New York, and the National Gallery in London.

What is it about the 17th-19th century that fascinates you?

The lack of screen and electrical technology, to start, is something I’m deeply drawn to. During and after Hurricane Sandy—which knocked out power for a week where I live—another artist friend was staying with me, and both of

us slept better than we had in years, were less anxious, happier and more focused.

When the power came back on, we were both quite rattled. The dependency on simple craft techniques for everyday existence was not easy pre-20th century, but the idea that industry and technology make life easier for us is also false: William Morris understood this in the 1860s.

I am aware that when humans are faced with challenges that are inherent in nature and the weatherather than self-created obstaclessome of the best work and growth is achieved, be it a great novel, a new philosophy, an important discovery in the natural world, a startling body of art, an exquisite textile. And of course, I love the supposed romance of by-gone eras, most of them also fraught with war and a terrifying lack of antibiotics (which is not at all romantic)! www.ericalynnhuberty.com

Above: Paris Bookstall

ARTIST FEATURE

/MACK MATHOD Life is full of up’s and down’s, sometimes more down’s than we would like to admit. It is in times like these when we appreciate the humour. It has the ability to make the most dreary of days bearable. Artist Mack Mathod believes it is important to inject some of this humour in the over serious contemporary art format. His current work is printed on hand-made paper and presented in antique frames while his performance work is a throwback of his sixties Dadaist roots. He is actively, and continually, reassessing the absurd, the meaningless, and ridiculousness, once a staple diet in sixties creativity and reintroduce that mindset to twenty-first-century art. www.mackmathod.com

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