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S Contact

www.everythingisart.cc info@everythingisart.cc press@everythingisart.cc www.twitter.com/everythingartcc 1.800.824.8642

Jennifer Vitalia Editor in Chief Creative Director

Carl Stoffers Managing Executive Copy Editor Kelly Arcidiacono Associate Editor

Jesse Starrick Advertising Director

All images in this publication may not be used without the Artist's consent. Š 2011 Everything Is Art LLC. All rights to art, writing, photos, designs, and copyrights are property of the Artist.

Everything Is Art LLC

Advertise with Everything Is Art! Email: Press@EverythingIsArt.cc

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Resist no more. Vegas Pro 11.

The forward-thinking design and cutting-edge features of Vegas™ Pro by Sony have long challenged the status quo of most editing applications. Today, change is the new normal, and the award-winning capabilities of Vegas Pro are becoming the new standard. Vegas Pro 11 is a unique and dynamic NLE, with built-in stereoscopic 3D editing, a 5.1 digital audio workstation, and the ability to ingest, edit, and deliver content in nearly every format imaginable. You’ll produce video and audio more efficiently than with any other application. Now with GPU-accelerated performance and support for industry-standard plug-ins, Vegas Pro 11 is completely irresistible.

Visit sonycreativesoftware.com/vegaspro11 to learn more about Vegas Pro 11.

Copyright ©2012. Sony Creative Software Inc. All rights reserved. “SONY” and “make.believe” are trademarks of Sony Corporation. Sony VAIO® L Series sold separately.

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David Naman shoots to create something special and unique for each subject and situation. His desire and passion to explore, learn and better himself is apparent in his work. He thinks of himself as a photographic interpreter of beauty, with an eye for the details that turn a simple photo into a story.

David has no time to stop self-educating; experimenting, studying, and practicing are his primary enjoyments in life. The results speak for themselves with images that capture each unique body, highlighting the curves and individuality of each subject and exploring the dynamic interplay between the two. Nudes and nature scenes feature strongly in photos - natural lighting, unusual shaping and all kinds of weather inspire him.

www.hypnoticphoto.ca

Don’t expect David’s work to fade away any time soon. His thirst for new adventures in photography drives him throughout daily life. New challenges, new subjects, and new scenery are too inspiring for him to turn away from. Put down the camera? Settle for less than extraordinary? Not going to happen. Keep your eyes open for his new work and expect to be challenged and thrilled with what you find!

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John Ruby www.johnrubyart.com

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At what age did you find a love for the design of bikes?

I was in my mid-20s when I discovered how much I loved motorcycles.

Would you say a bike is the ultimate sculpture?

Yes, especially choppers. The true meaning of a chopper as a motorcycle is the ultimate sculpture – taking an original motorcycle and, as I like to do, chopping it up, making some changes, and rebuilding it from scratch, taking my own liberties in creating an all new bike.

Your bikes can make the hearts of motorcycle riders, as well as non-riders, race. What do you think causes that rush?

It’s definitely the sound of the bike - the louder, the better – and probably the intimidation factor, too. And of course, speed is appealing.

This is your passion in life. Was there ever a time where you felt you were in over your head, but knew that building the bikes was what you had to do no matter what? What would you say to anyone pursuing his or her dreams?

Yes, this is my absolute passion, and most definitely there were times when I was in over my head when I first started. However, I stuck to my dream of building bikes and that’s what I would tell people to do – stick with it. If you’re passionate enough about it, you’ll get there.

You have lived your dream, and yet give back to many charities, which defines one’s character. Why do you think this is so important in life?

It’s important to give back. I believe that you can’t keep it if you don’t give it away. Being able to reach out to those less fortunate is really a gift. I don’t see it as an obligation, but as a chance to do something special for someone whose life is a lot tougher.

Most people think of bike riders as tough, mean, and rough, which is usually the opposite of reality. Most riders are extremely friendly and creative, and they live on the side of life that can only be felt by the freedom of an open road and the love of design for bikes. Do you think that stereotype will ever change? How do you feel about it?

I’m not sure if that stereotype will ever change, but I do agree that most bikers go against that typical label and do so much for others. http://www.orangecountychoppers.com http://www.facebook.com/orangecountychoppers Twitter: @OCChoppers Everything is Art

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Carol Brown Carol Brown was born in Birmingham, England and studied fine art and photography. After moving to New York City, she began working in film where, due to her desire to learn the technical side of creating characters and story telling, she gained a large amount of experience in costume design, hair and makeup, and production design.

“I put my experience into my photography and film work and find that I prefer to conduct my photo shoots as I do my film shoots – as an exposition in print. My photography displays both strength and vulnerability. Bold, edgy, and confident are how I would describe the women featured in my work. I hope to capture the beauty and uniqueness that all women possess enigmatically, and create beautiful art.” www.carolbrownphotography.com

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Debbi Saccomanno Chan

(Sosum) ncchan@tds.net

The Art of Sumi -E

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Debbi Saccomanno Chan’s journey as an artist has been one that books and dreams are made of. She struggled through her formative years, where pain was a constant, but so was art. She continued to wrestle with the pain in her life, easing it with art, until coming to the realization that that she had control of her own destiny, and everything was about art. Ten years ago, she experienced a life changing event when she was invited to spend a few weeks in a remote area of Idaho.

“When my three weeks were over, I could not leave. I had found myself and my art in love with the beauty of Idaho.”

Debbi was innately drawn to Idaho’s wilderness landscape just as she was to creating art.

“I did not become an artist. I was born an artist and have spent my life perfecting it. I became a Buddhist nun and found peace instead of pain.”

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Photography

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Sumi- Paintings

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Joi Joi loves to photograph identity, which she sees as a combination of a person and mask, of human and disguise. Her brain keeps working, long after what she’s seen, heard, or felt has gone away. The result is a photograph that helps cross the bridge between Joi’s imagination and real life. They range from pastel thoughts, lace-lined ideas, and chiffon-covered faces, and are never limited to what is in front of her.

“My style is a combination of neon kitsch, secondhand kook, and mechanically separated whimsy.

That being said, I keep my feet firmly planted on the ground to get the job done.”

www.joiong.com

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Mae Jeon

www.maejeon.com

Flowers have been Mae’s primary subject in creating art using digital medium.

She has been intrigued by the structure of flowers, feels that the frailty of flowers is similar to her own emotions. Mae depicts her senses through floral images by incorporating them with an abstract background, which represents a simulated mood for an emotional or spiritual topic.

“Combining floral subjects with digital technology has enabled me to create a unique pictorial space, which portrays my otherwise indescribable emotional and spiritual statements. My desire is that I can reach as high as this versatile digital technology allows, enabling me to create art in my way. I hope that my work can aid to define me as an artist of the future.”

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Erina Hattori – http://www.wisteriaartclub.com Erina is a nature lover, cat lover and artist from Fukuoka, Japan. After studying psychology in Tokyo, she began drawing and practicing calligraphy and tea ceremony. Realizing she enjoyed art and design infinitely more than psychology, she eventually brought her resume to an interior design office without an appointment and her artistic career was born.

Erina works with many mediums, such as soft/oil pastels, acrylic painting, oil painting, encaustic, collage, etc. and her artistic philosophy is to not overcomplicate things. She hopes viewers simply like her creations and get an emotional response from looking at them.

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ELIORA BOUSQUET

www.e-bousquet.com

Born in Angoulême in 1970, Eliora Bousquet is a French professional painter living in Paris. Eliora began painting at age seven, having always had a passion for colors and trying to use them as words to communicate,. That passion was driven by the works of romantic poets like Baudelaire, de Banville, de Lamartine, Hugo, Keats and William Blake, among others. The symbolic association of words and colors in their clever use of metaphors and other surrealistic images fascinated her. At first, inspiration drawn from such expressions drove Eliora to write poetry. Then, it began to feed her imagination, convincing her that painting, which allows the use of the widest possible choice of colors and shades, is not only an art form, but a language in itself, an art form that grants complete freedom of expression.

“My paintings seek to convey both an energetic, instinctive, spontaneous, almost automatic style, with emphasis on movement and gestures and sensitivity, emotion, awe, and reflection. Shadows are virtually absent, as I like to think of light as omnipresent, emanating from all things at all times, a supreme force in the universe.

Symbolism is widely used in the names of my paintings, as well as in the shapes and colors chosen. All of my paintings are conceived around a theme, and comprise specific collections. Thus, much like for trilogies, one can only fully understand one painting once they have explored the entire collection, as each painting refers to and inspires others. Each painting tells a story, and the beholder must find the key to its enigma and its particular message, which can generally be extracted from the name of the painting. As André Gide said, ‘let beauty be in the eye of the beholder, rather than that which is beheld.’

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Richard Jacobs – http://richard-jacobs.artistwebsites.com Richard Jacobs is a contemporary figurative artist now residing in West Palm Beach, Florida.

He studied with Graham Nickson, Tony Ryder, Jamie Adams and Steven Assael. Richard’s images are drawn from his experiences and surroundings, both past and present, and are also a result of a deep admiration for the history of figurative art.

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Jennifer M Navarro (PhotoReel Imagery) Jennifer Navarro’s passion for photography came about when she was in high school and suffered from her first epileptic seizure. She was looking for a way to express herself creatively while inspiring others with epilepsy.

Jennifer puts all her pride and joy into every picture she snaps.

Her talent has progressed from using a “point and shoot” camera to a Canon Rebel T1i. Photography will always have a special place in her heart.

http://photoreelimagery.com

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SPYROS KOLYVAS http://spyroskolyvas-art.blogspot.com/

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Watercolor has found its admirers in America and Europe since the 19th century. It was obviously the main tool for impressionists and meta-impressionists. Cezanne succeeded in providing watercolor with excellent lighting effects, while Siniac was experimenting on the white parts of the paper. As for abstract art, painters made it valuable by insisting on its material properties. In Greece, a well known painter for his watercolor work is Paris Prekas, who tried through continuous experimentation to enter in various plastic and aesthetic reflections of the idea he wanted to depict.

Spyros Kolyvas also chooses watercolor to express himself, and creates small and large scale watercolors which take on monumental character. He draws directly on the paper without making sketches. His technique presupposes a special way of working, where transparency of color layers, the kind of paper which is underneath, and the complete intact surface of the paper play a special part.

His main theme is the landscape, which he paints showing great sensitivity in depicting sea and horizons. For this reason, he mostly uses blue, purple, green, brown, and the plain color of the paper itself. Kolyvas’ work is representational, but he approaches his topics involving an abstract view. In deep romantic mood he paints the sea in its variety as the horizon - this imaginary line in which the sky seems to meet the sea’s surface - takes us in his eternal travel.

In his work we can clearly see that he manages to depict both sea and sky with a few touches of color. Simple, almost abstract in his way, he wants his viewer to conceive only the necessary elements that form the image of the horizon. He is mainly concerned with giving the sense of the sea and the sky and, for that reason, he avoids the detailed description.

The painter says: “As I am affected by the natural landscape and the interaction of light and atmosphere, I consider that the most mixed feelings can come out by simple forms, random details in subsections of the landscape itself. Through my work, I try to capture what is simple and beautiful, exploring the interaction of the sea, the air, the sky, the mountains, and the plains with the changing light and the changes that the forces of nature cause on them.

Concerning the theme, my work depicts the eternal nature of the environment, in a space between the specific form and the abstraction, a place where the relations connected to space are like a gate to an abstracted world beyond nature.

Light dominates all of my work and, with its strength, constantly changes the landscape giving a sense of calmness and serenity but not for long as behind this lurks the threat. This threat is the force of nature which alters familiar images into something new, even if it doesn’t last.

The fluidity of watercolor, the nature of the material on its own, states this continual change of nature and, as a result, the ephemeral of the life cycle.”

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In his impeccable technique, Kolyvas makes his viewer perceive the horizon as far as he can while, at the same time, reminding him that he cannot see the facts beyond the imaginary line - in a symbolic way that can be explained as man’s weakness in front of nature’s vastness. It is nature that concerns the painter. Man rarely appears in a scene of his work. On the opposite side, his sea is either calm or rough, stands in front of us unexplained and powerful, full of secrets that we would like to solve.

Horizons, then, is both literal and metaphorical: Horizons that hide what happen in the distance; New Horizons with an optimistic view for the future; Horizons with poetry, like the verses of Kavadias’ poems; Horizons that, as long as they are there, urge us to see through and beyond their lines.

Ira Papapostolou Art Historian Member of Aica Hellas Translated by Nota Chryssina

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Exclusive Interview

Gotye http://gotye.com

Painting By: Gotye - “Like Drawing Blood”

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EIA: Your hit record “Somebody That I Used To Know” has millions of views on YouTube and is heard on radio stations worldwide. How does it feel?

G: It feels unreal. And I mean that in the ecstatic Aussie slang-y way, and also in the sense of “not real”.

EIA “Gotye” is your stage name. What does that stand for?

G: It doesn’t really stand for anything, acronym-styley. But for a few years Google’s top serach results would return many an entry for “Game Of The Year Edition” versions of various shoot-em-up computer games. Now I am nahhhmmbaaa waahhn! Whooohahaaahaaa!

But seriously. It’s my Belgian birthname, Wouter, translated into French (“Gaultier”), and then mangled into my own (confusing?) spelling. My mum used to call me Gaultier every so often when I was a kid.

G: I’ve listened to plenty. For starters, there are 10 official remixes from artists as diverse as Bibio, Faux Pas, Tiësto and AdRock that are worth checking out (probably not in one sitting!). M-Phazes’ mix is a fave of mine.

Then there are what seems like hundreds of unofficial remixes of the song floating around online. Some are actually very good, many are not.

EIA: You worked with the talented artist Emma Hack (also featured in this issue) in producing the concept for your music video.

What was that experience like?

G: It was fun and creatively rewarding, even if physically challenging. Emma slapped me around a bit (kidding!). No, the physical challenge of standing supremely still for many hours at a time while being bodypainted and photographed was a tough one, but Emma’s humour and easygoing approach made it enjoyable.

EIA: Some people are under the impression that you are an overnight success, but you’ve been singing for decades. How does it feel to finally get the recognition that you deserve?

G: I feel like I’ve only just started to become a half-decent singer in the last few years. Drums are my first instrument. Producing records and experimenting in the studio is something I’ve been doing for over 15 years.

In terms of recognition and success, plenty of other people work just as hard and are more talented than I am, so I feel grateful that my persistence combined with a lot of luck have led to many great opportunities over the years.

EIA: A number of prominent and well known DJs have remixed the hit record “Somebody That I Used to Know.” Have you listened to any of them? Do any stick out as favorites in your mind?

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EIA: Art and music go hand-in-hand and are rooted in passion. What was it like to see your video come to life both musically and artistically?

G: I got a strong sense of what we were aiming for from Natasha Pincus’ treatment, and to see all the elements come together and result in a powerful video was thrilling to be a part of. The film clip really keeps pace with the song beautifully and enhances certain aspects of the arrangement in a way that not many clips manage EIA: In other interviews you’ve done previously, you’ve made mention of “texture” in your music. That is very interesting, because “texture” is a fundamental with respect to art. Can you elaborate on this for our readers?

G: Sometimes it’s the pure texture of a short sample of sound that starts off a song for me. Or the collision of textures that wouldn’t appear to have been meant for each other.

The texture of recordings has a huge bearing on the emotional response requested from the listener. While I acknowledge I’m subject to a certain level of technolust for its own sake (gadgets!), a big part of the draw for me is the potential for novel or idiosyncratic textures to be coaxed out of, or controlled with, this technology. It’s like accessing the fabric of other worlds.

EIA: What advice would you offer to anyone pursuing their dreams, whether it is art, music, or other creative endeavors?

G: [Insert Nike’s slogan here]

Pg. 46: Photo by James Bryans. character design by Duncan Irving. artwork by Brendan Cook. Teeshirt- “McHeartney” by Faux Pas Pg 47: Top Photo by: Brenner Liana, Bottom Photo by Warwick Baker. Artwork by Wally

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The artist behind the painting of Gotye’s Somebody I used to know, and many other body paintings that your eyes will take a double look at.

EIA: How long have you been an artist?

EH: All my life! This is my fifth year exhibiting in commercial galleries.

EIA: Did you attend college for art, or undertake any formal art studies?

EH: No, I wasn’t aware of my gift and actually studied make-up artistry when finishing school.

Body painting was suggested by my make-up teacher at the time, Bill Peacock, he noticed I was creating illusion with face painting and told me to start carrying it onto the human form. I entered a fantasy make-up competition and won!

EIA: You use the term wallpaper where you use the human form and a wall to create a beautiful piece. How do you come up with your concepts? Do you plan them out or paint freely?

EH: In the early 2000’s a friend suggested I look at the work of Verushka. She had blended herself into rustic walls and natural backgrounds. I loved the illusion, but didn’t know how to relate it to my work until I saw the wallpaper designs of the late Florence Broadhurst. It was an instantaneous connection, so I grabbed some off cuts and started painting my models into them – it worked as very strong work from the beginning in 2005.

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I am not a planner - usually I start a collection with one idea, paint that, and then continue the remainder based on the one before. That way, the work slowly evolves throughout the collection - I can pick the moments where things really worked and I continued that throughout a collection.

The wallpapers were difficult, as I would never know how it would look and the size it would be until I had it hung and my model was there in position. I would move the background around to suit where I wanted it to sit on the form. Now I paint my own backgrounds prior, and I can judge where I want the design to sit on the body and work my design and where things fall based on that.

I don’t sketch generally, I work straight to canvas - I don’t like putting restrictions on the flow of where I want something to go. With my most recent collection, I did photograph the painting as I went - flipping the image in Photoshop to make sure composition of the ‘mirror’ effect made sense - this was much more involved than usual.

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EIA: You are the artist behind Gotye’s “Somebody I Used to Know” video, which has over 200 million views on YouTube alone. How did you come up with the concept for this video?

EH: Natasha Pincus, the director/ producer, contacted me as she wanted to blend Wally (Gotye) into a wall and I had been creating this work for many years. The design is actually one of Wally’s father’s works from the 80’s, a sketch as such. I worked closely with Wally on reconfiguring it slightly to work best for the ‘blend.’ He is an artist in all aspects of the word, so he understood the process.

EIA: Would you say music and art have a relationship together that many seem to over look?

EH: Very much so, both create emotion and are important in our lives. I have recently created a portrait of Wally in which a short film was made based on this question, it is very beautiful! http://vimeo.com/41844525 It’s funny as well, I married a talented composer and sound engineer apparently sound and vision go well together!

EIA: Your art in the video captures the audience, how does that make you feel as an artist?

EH: It’s unusual to think it was the art, to be honest. For me, it is very hard to judge, but I’m flattered nonetheless. I think maybe it was the song that draws the viewer to the clip, and then they are fascinated by the camouflage aspects and how the story moves you, accompanied by the visual aspect.

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EIA: What is “Art” to you?

EH: Art is in everything I see, it’s what makes me happy, feel, and reminds me the world is beautiful, even in its ugly moments.

EIA: Do you ever have an “Artist Block?” And, if so, how do you tap back into your creativity?

EH: Of course, all the time, although I don’t create full time. I create up to 3 collections a year in short bursts, and I have to fully commit to the work and not do anything to distract me. It’s hard when life is busy around me, that’s when the blocks come. The more I can make my art full time, the fewer blocks I have.

I try to plan to create after I have travelled or holidayed, that is when my mind is free to focus and create with ideas bursting. My next collection will be created in September on my return from Spain. I am very excited, as I know the ideas will be plentiful and I will be rested enough to focus completely.

EIA: What is your definition of success as an artist?

EH: Success is being content with what you have created. It is hard as an artist because you always want to change something and essentially I only have 8-15 hrs to create what I want, as the body has restrictions energy wise. I guess you are also successful if people hang your work and you are able to survive from creating your art! www.emmahackartist.com http://vimeo.com/41844525

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Hope is an artist, born and raised in southern Louisiana. Her Cajun heritage of 'Joie de Vivre' (Joy of Life) is reflected in her paintings. An early interest in art led to years studying painting techniques as well as art history. She found her place working as a contemporary artist striving to achieve the middle ground between abstraction and realism, although often going directly to creating abstracts. Her use of color and texture strives to evoke a feel.

Over the years, she's worked in oils and acrylics and have come to use acrylics exclusively. She has participated in many group exhibitions as well as solo shows.

Most recently showing, for the early part of 2012, at the Southern Nevada Museum of Fine Art in Las Vegas. As part of her inclusion into the International Contemporary Masters Vol. 5, she will be @ Art Scope in Miami December 2012.

"I often can be found in my studio working on many pieces simultaneously. My medium of choice - acrylics - is due to the fast drying time; it keeps up with my pace. There is simply so much beauty here in Bayou country, the landscape, the people, the overall attitude. All of this serves as a constant inspiration to me, that I'm driven to work fast to capture my ideas." www.Hopehebert.com

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Paul Landerl “Ain’t it fun?” No better words can describe my desire to create art! Art is the rock n’ roll of my soul and its desire to express a lifestyle. From the very beginning of my work more than 20 years ago, I decided to develop a new approach to photography and the possibility of expressing myself. I was driven by the desire to put more life and feelings into my works and create a new perspective of photographic art.

In 2006, Experimenting with analogue photography and printing techniques, I created my own technique of illuminating pigmented colors on canvas or similar material, thus discovering a way to show the world colors and expression through my eyes. Berlin, London, Paris, and Vienna are only some of many locations in which my work has been shown.

www.landerl.com

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Who We Are

The Name and Logo

Hetra—is a clothing line —aims to bring a contemporary, clean, aesthetic to the masses: it is high end in appearance yet affordable in price; it presents an elite look without being exclusionary; it is youthful in its demographic yet aims for a tasteful timelessness. It is essentially a brand that wishes to make it easy for young people to look and feel elegant.

The font chosen for the name Hetra is a specially designed font that is considered trademark.

The actual name Hetra, whether paired with the logo or standalone, will only be represented with this specially made font. There is more flexibility, however, in font usage for other materials relating to the brand: the fonts chosen should all be sans serif, lacking any decoration or needless flourishes.

The fonts chosen should all possess a clean, modern aesthetic with thin to moderate line thickness and even kerning and leading.

Where it differs from competing brands with a similar goal, is that it also brings a certain cultural fusion to play: the name Hetra is a Southern Saudi word for cloth, yet is being used for a western clothing line. The aesthetic is clean and contemporary, yet it’s logo is based off an ancient Egyptian symbol. It is this meeting of two different cultures— Middle Eastern and Western—that makes Hetra such a modern brand. It acknowledges that in this day and age very thin commercial lines separate nations; that once vast cultural divides are pulled closer by digital communication. By embracing this meeting of two cultures it embraces how there are no longer limits to the exchange of ideas across the globe, from the way we speak, to the way we eat, and certainly, to the way we dress.

The logo image was inspired by the image of a scarab. This is because the scarab image derives from ancient Egyptian culture, where it represented both eternity and good luck. The artist took inspiration from this symbol because of this meaning, wanted to associate a positive symbol and its meanings with the brand. Because it was inspired

by Egyptian culture, yet is used for a very modern design, it can be seen that the logo embodies the combination of cultures; careful execution of logo usage is paramount as the entire idea of the brand is embodied in both its design and meaning.

The colors used for the logo and name will always be black and white, whether black on white or white on black. Always-solid colors, no gradients or patterns.

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Rod Jones When discussing his art, Rod Jones, creator of Receptive Abstract Patternism, states, “Each element is fragile, yet contemporarily strong. You remove one square or one element, and they simply fall apart. In one moment, they can be soothing and meditative and, in the next, deconstructed, energetic and modern.�

http://www.RodJonesArtist.com

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Brandon Boyd

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Photo Credits: Derek Bahn

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Brandon Boyd does not like to be “Googled,” and prefers to be called at his mother’s house While at a sorbet party. Good thing for EIA, we like sorbet, and who can resist a party with artists and creative people at it, anyway?

Setting: Imagine, if you will, a Non-Google, Sorbet Party with con-

versations, rather than questions, being fired. The walls are painted with flowing artwork - no creative blocks here. In the next room you can actually pick up a paintbrush and paint the ocean. As it comes to life, you surf with Brandon as your mind wanders off to the unknown, and you engage in an intellectual conversation about art and life.

Attire: relaxed and judgment free.

Maybe a rock star, or maybe just an extremely creative person, who’s outlet has been through a little box that most of us hear our music from. Known as the lead singer of Incubus, Brandon Boyd is one of us, an artist, as we create whatever our mind wanders off to. Visually, Brandon’s artwork is as expressive as his lungs are with music. It opens the mind and looks into the soul for questions, inspiration, and a connection to life that all artists live for. left: by Derek Bahn at Space Gallery Mural, 2010 right: ‘Ectoplasm’ show in LA, 2008

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Jennifer: This sorbet is damn good.

Brandon: Isn’t it? I made it actually! With fruit from trees that grow in Narnia, bottled dolphin farts and the tears of failed bloggers. Mmmmm, magical.

Jennifer: I never knew dolphin farts and tears of failed bloggers would taste so good. What is your favorite medium to work with?

Brandon: I enjoy using words today. Maybe because I’ve been writing songs recently. But I enjoy ink pens and bottled ink with water colors here and there. It’s nice to have a plethora of choices in my tool box so I can switch gears on a whim!

Jennifer: Words are definitely a medium that should be used more. Some of my best paintings have been painted while listening to “Pardon Me” and “I wish you were here.” They never fail me; the songs always allow my mind to escape... Do you listen to your own music while you create? And if not, who gets your creativity flowing? How do you escape or, rather, come back?

Brandon: I have not really tried painting to our music, no. But I think that is rad that it works well for you. I think I would be stolen out of that necessary single mindedness that art likes to endeavor.

When I hear music that we or I have made, it’s hard (if not downright impossible) to be at all objective. But I do love drawing to classical East Indian music as well as merely leaving my window open and listening to the sounds of wherever I am.

There is a melange of sounds just waiting to coalesce into one white noise-kind of fun for your experience. That is inspiring! Try it in a crowded restaurant. Close your eyes and don’t concentrate on any one voice, silverware clinking, or chair squeak. Listen to it all like a symphony.

It creates a kind of hum that I find very inspiring. There is magic in that everyday occurrence!

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Jennifer: How do you know you are ready to sit down and create something? Do you get the artistic itch?

Brandon: How do you know when you are ready to seduce someone? Or be seduced. But let us not equate having an itch with sex.

Jennifer: hmmm...yeah, I agree... (stops and thinks... takes a spoonful of sorbet).

left top: kite for LACMA 2009, left below: sketch, 2011, right: ectoplasm sketch, 2008 Everything is Art

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Jennifer: You have traveled worldwide, is there one place that you tap into the inspiration best?

Brandon: There’s no place like home. But I have also found many inspiring strolls through the East Village in New York City, a really cold and deserted street that led to a mini mall in Fargo, ND, walking the foot bridge and admiring the albino alligators in Myrtle Beach, SC, and the 15 minute walk that takes you around the entire island of Tavarua in Fiji. I like walking.

Jennifer: You had a fear of releasing your solo album. Did you have any fear in releasing your artwork to the world?

Brandon: I do, yes. That is ONE of the many reasons I continue to pursue music, art and all things expressive. I like to walk towards things that frighten me, physically, emotionally and intellectually. There is a lot of information in our fears, the kind of information that has the potential to teach us BIG things. In comfort there is... well, comfort. And that is attractive for a time. But comfort breeds complacency! And therein we don’t learn much at all. See where I’m going with this? (Smiles and winks...)

Jennifer: I see and than I blink.

Jennifer: How would you explain the spiritual and mental mind rumbles that an artist like yourself goes through while creating a piece? How does it feel in the end? Is it even explainable? As artists we are always searching for answers.

Jennifer: I agree completely. however, being a female standing on the edge of a volcano and pissing into the crater seems a little hard, but I think I can find a way to put this on my bucket list. What is you favorite piece of artwork that you have produced?

Brandon: To date? Jeez. I don’t know actually. I don’t think I have one. Let’s just say I haven’t done it yet.

Jennifer: You are a vegan (Kudos to that!), surfer, songwriter, singer, and creative artist who opens minds that are closed to the importance of protecting the oceans. Is that what makes artwork “good” in your opinion, to open minds?

Brandon: I am not a Vegan, actually. But I have a life long allergy to dairy so milk has been almost entirely absent thus far. I eat almost entirely Vegan, but every once in a while I see a lil cute furry thing and have to put it in my belly. Sorry lil’ dudes. But I digress! I think the potential to open minds is a delightful byproduct of ART, but not it’s purpose. Not in my opinion, that is. I find that the act and process of being creative is the most triumphantly poignant aspect of ART! To BE creative is to commune with Others, with All, with Source. Almost God-like, if you need that kind of language to describe...

Jennifer: Who is your favorite artist and why?

Brandon:I don’t have one. Sorry. I’m not cooperating, am I?

Brandon: I like this question!

Jennifer: I do to!

Brandon: I think those are the pangs of being in process. It’s beautiful, scary, whimsical and weird. Like standing on the edge of a volcano and pissing into the crater; it’s dangerous, smells bad and probably isn’t the smartest thing Everything is Art

you’ve ever done, but man, what a story it’ll be!

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Jennifer: (Laughs) It’s not an interrogation, all answers are acceptable.

Brandon: I have recently been very attracted to, and inspired by, Transcendentalist literature - Emerson and Thoreau in particular.

I read some of their works in school but it didn’t hit like it has been recently. It reads like long form poetry! Gorgeous.

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I think those are the pangs of being in process. It’s beautiful, scary, whimsical and weird. Like standing on the edge of a volcano and pissing into the crater; it’s dangerous, smells bad and probably isn’t the smartest thing you’ve ever done, but man, what a story it’ll be!

Ectoplasm painting, 2008 Everything is Art

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Jennifer: You created two books of your artwork. Are you planning on producing more?

Brandon: Yes! I am in the editing phase of Book #3! I’ll keep you posted, I promise.

Jennifer: We take promises very serious, so we will hold you to that.

Jennifer: What are your future goals as an artist?

Brandon: I want to be free. I want to stand still like the hummingbird. I want to travel without moving. These are present goals. I don’t know about this whole “future” thing, it sounds daunting.

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Favorite Book: Bandon: One?! Are you insane?

Jennifer: Maybe a little? All creativity comes from a spark of insanity, I think.

Brandon: Ummm, ‘Old Man and the Sea’ by Ernest Hemmingway.

Favorite Song: Brandon: You’re killing me with this whole One thing. ‘Suzanne’ by Leonard Cohen Jennifer: oops sorry!

Favorite Place: Brandon: Here-Now Jennifer: Perfect answer! (Smiles and winks) Favorite Food: Brandon: Figs, Black Licorice, and Kale. Not together.

top left: Justin Wysong bottom left: Brantley Gutierrez top right: Derek Bahn, Hurley mural bottom Everything is Art right: Justin Wysong

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Christie Schneider www.girloncanvas.com

Sabine Blodorn www.sabineblodorn/localartist

Silvana LaCreta Ravena www.silvanaravena.com

Fumino Hora www.fuminoart.com

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William T. Rohe wtrohe-art.eu

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