Level 25 Artjournal; Issue #8 by Level 25 Artjournal

Level 25 Artjournal

Level 25 ArtJournal

...art should be shared

Emma Coyle Leonardo Cuervo Veronika Gavruchenkova Katarzyna Jablonska Christine Simpson Michal Sroka Lisa Wright 1

Issue #8; June 2014

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Level 25 ArtJournal

http://level25art.com info@level25art.com Sean David Wright, Founder and Chief Editor

Emma Coyle pg 6 Leonardo Cuervo pg 14 Veronika Gavruchenkova pg 22 Katarzyna Jablonska pg 30 Christine Simpson pg 38 Michal Sroka pg 48 Lisa Wright pg 56

Cover Artist

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All interviews conducted by Sean David Wright; (editor@level25art.com)

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“Loyson, appeared” Leonardo Cuervo

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Level 25 ArtJournal

Call for Artists The Level 25 Special Issues Colorless 2014 ($20 for 4 images)

Black-and-white photography...the original and purest form of photography. Whereas a color photograph may depict the reality of a subject, black-andwhite depicts the soul of that subject and forces the viewer to look more deeply at the image he or she is seeing. A special monochrome-only photography issue of Level 25 Artjournal will be published online in October of 2014. Titled “Colorless 2014” this special edition will be the inaugural issue of an annual Level 25 Artjournal showcasing the fabulous works of photographers worldwide. ALL submissions will be included in “Colorless 2014,” offering artists an unprecedented chance to show off their talents and be discovered in an arts e-magazine that is quickly becoming one of the most popular on the Internet.

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“Balboa Park Bell” Photograph D’Artagnan

Corpus 2014

Level 25 ArtJournal

($20 for 4 images) The human form is without doubt one of the most beautiful and versatile artistic subjects. No wonder, then, that ancient sculptures of Greece and Rome depicting the human body are still revered as masterworks of art. Level 25 Artjournal will be publishing a special issue of artwork depicting the human form. Titled “Corpus 2014” this issue of Level 25 Artjournal is open to all international artists who would like to showcase their art depicting the human form. Mediums accepted are: Collage Drawing Painting Photography Printmaking Sculpture

“Kuu, Goddess of the Moon” Oil on wood Colin Poole

ALL submissions will be included in “Corpus 2014” Details and more information can be found at: http://level25art.com/l25-special-issues.html

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Level 25 ArtJournal

Emma Coyle Cover Artist (UK) emmacoyle.com I have always produced strong imagery working from a Fine Art background. I carefully select images taken from advertisements or more recently fashion photography. I work with drawings for months at a time to manipulate the imaginary, and continue through to painting. From my experiences with living in Dublin, New York City and now being based in London, it has given me the opportunity to find out what mediums and themes that I am most passionate about. I have found that using acrylic {which is quick drying} on board, allows me to work on numerous paintings without breaking my focus. I use large size boards to embrace the strong colours and line throughout my work. The flatness of the board adds to the sharpness to the imagery, a light wash of varnish then covers the painting to further enhance the image, finally the painting is framed. Through my style of painting I mirror the present and reflect on past art movements. My paintings embody the power and strength of imagery.

realist to pop art, fashion illustration and even art deco.

In the past I have created series of paintings dealing with Japanese advertisements of the 1920’s, Silver Screen film stills and Fashion photography of the 1960’s. Over the last seven years my work has evolved with the use of contemporary images, and I wish to further progress my work by expanding the size of painting even further. My paintings have been compared to many different art genres, from

I am currently working on a new series of untitled paintings, using themes such as fashion, erotica and seduction, I see myself developing my work through the variety of images that I am using. My current work deals with present day imagery from fashion photography to advertisements. The thought of portraying the perception of society’s morals has always been an ongoing theme throughout my working progress. I have an interest in contemporary artists such as Mel Ramos, Mark Ryden, Miles Aldrige, Tim Walker, Richard Phillips, and Julian Opie. Visiting exhibitions dealing with contemporary art, fashion design and past art movements is very important to the production of my work. I find that it allows me to focus on the importance of working with different themes, and always to push the boundaries of my comfort zone.

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“Untitled #6” Acrylic on board Emma Coyle

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“Lost #3” Acrylic on board Emma Coyle

You state that you want to always push the boundaries of your comfort zone. How frightening is it when you decide to take on a project which is indeed outside of your comfort zone? Does it affect the way you work? EC: Starting a new project makes you think, throws you sometimes in the deep end. But it does not affect the way I work as my process for making art is quite regimental. I am always focused, which makes taking on new challenges a joy instead of being a daunting task. When you are outside that comfort zone working on a new project, do you find that your ability to assess the quality of your work has to change? EC: I think from working in the art world for over ten years, it has thought me to always produce to the best of my ability and have the highest standards. It’s a very important part of my work, I must produce work that represents quality which reflects my love of producing art. No matter if I am working on projects or paintings from my own series, or a commission piece, I need my work to reflect not only my ability but what I have learned over the years.

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“Seduction #3” Acrylic on board Emma Coyle

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“Marylebone Cover Girl” Acrylic on board Emma Coyle

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The female figures in my work for some part do represent my personality. The want to succeed, the ability to feel strong from success.

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You are the first artist I have met who speaks so fondly of working on boards. I am sure other artists also love using boards as their surface but none so far have taken the trouble to express that in their artist’s statement. How did this discovery for you happen? EC: I had always worked on canvas. Coming from a Fine Art background it just seemed the right material to use. Just over two years ago I was in contact with an art agent who was dealing with very contemporary art prints and suggest that I try board. I have not painted on canvas since. There is a freshness that comes with painting on board after using canvas for so many years. The paint glides on instead of being worked onto the surface. It has brought a whole new life to my paintings, not just with the application of paint but the finish has a spark to it. The women in your art convey strength, sensuality, aggressiveness but with a touch of coyness, and a type of power which men do not have. Are these all attributes which their creator, Emma Coyle, also possesses? Or are they attributes you wish to see more of in yourself? EC: The female figures in my work for some part do represent my personality. The want to succeed, the ability to feel strong from success. I think we all have faults, in someways I want the females in my paintings to be faultless, something that no one person can be. The works you submitted to Level 25 Artjournal do indeed harken back to adverts of previous eras—in my opinion I see influences from the 1920s and the 1980s. Talk to us, please about the appeal of the advertisements of earlier generations and how, artistically, today’s adverts fall short. EC: I have used advertisements from many different era’s for inspirations over the years. Knowledge of art history is very important to me, which includes illustration, graphics and advertising. As I have spoken earlier about wanting to produce females who are faultless, advertisements for me are just as influential as past advertisements. Although I love the past advertisements that have a beauty from using drawing, painting and mixed media, I can also appreciate modern day advertisement. The flawless highly digital imagery that we are so used to, for me it has its own beauty and artistic body. And finally, of the five works you submitted and which are featured in Level 25 Artjournal, which one is your favorite, and why? EC: I think I am most proud of Untitled 6#. It’s part of my new series of paintings and for me this particular image is very strong. With my Untitled series I am choosing to work with images that are unlike what I have used in the past. Again, pushing the boundaries to push forward my work.

“Untitled # 1” Acrylic on board Emma Coyle

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Leonardo Cuervo (US)

leonardocuervo.com

I am susceptible to everything that determines human consciousness and history. Though living in the digital era, I reserve great admiration for the world created by mankind from its beginnings: I am equally impressed by a bison painted in the depth of a cave, a cathedral, an opera, or a couture suit. My interest in topics of universal history, poetry and ancient music is essential to the selection of the characters that define my work. Oil painting is and will always be my greatest ambition. I usually start a new piece from an intricate drawing, gradually covering the canvas with successive layers of translucent paint and employing various oils and varnishes until accomplishing high degree of realism. One of my goals is the perdurability of my work over time. During my years as a student, I closely worked with and learned from specialists on conservation and restoration of easel paintings, and that acquired knowledge has become an intrinsic requirement in the creation of my paintings. I particularly admire Jan van Eyck and Johannes Vermeer, but I am also attracted to the work of twentieth century artists like Kent Bellows and Chuck Close. Choosing the portrait and figurative representation as my forms of expression is my attempt to approach such masters of art history. On the other hand, the subject of fashion and commercial photograph lends my work immediate modernity, making my artistic discourse a personal testimony of this era of high resolution images and Photoshop, while at the same time attempting to convey the timelessness and contemporaneity of universal themes and myths of human consciousness. Though employing a number of diverse photographic images, my subjectivity saves me from the mere photographic imitation when I distort those images to offer the illusion of a model directly extracted from a nonexistent reality and turn our immediate and well-known world into a strange and new semblance, a kind of alter ego of those landscapes, things, and persons that comprise it.

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“Cum dederit” Oil on canvas Leonardo Cuervo

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Level 25 ArtJournal “Times Square, 12:01 a.m.” Oil on canvas Leonardo Cuervo

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You mention your appreciation for the past efforts of mankind’s creative side. Do you feel too many artists today are ignoring the past in favor of what’s new and trendy? LC: I feel that there are many artists who are looking in the past, and that is very good. In the past are all the answers to our present concerns. The work you have done conserving and restoring old paintings must be a magical experience for an artist. Play along with me for a bit here and imagine that many, many years in the future a young conservator is working on restoring one of your paintings. What message do you wish to send that person? LC: My message is always painted. I think if you work well, a restorer understands what to do. When you are diffuse and do not know what to do while painting then chances are that your work will be affected. It is important to know what are the steps to start a painting. And that is important, very important, to know the old paint. The old masters tell you to do. It is thus important to revere the past. You mention Vermeer, who is my favorite artist. I believe, sadly, that a lot of young artists today just don’t understand Vermeer’s work; they don’t “get it,” as we say in America; they view it as too old-fashioned. What is it about Vermeer that captures you, especially considering that your work is very different from his? To understand Vermeer you have to love the silence and light. For Vermeer the universe is in a locked room. Vermeer is a wonderful friend when I compose a painting. He teaches you to eliminate the superfluous when you’re drawing on the canvas. It also teaches you that with only three or four colors you can create a delicate atmosphere that enters you from the painted scene.

Vermeer is a wonderful friend when I compose a painting. He teaches you to eliminate the superfluous... 17

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“La Cantilena de Santa Eulalia” Oil on canvas Leonardo Cuervo

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“Antonio and Cleopatra” Oil on canvas Leonardo Cuervo

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“Loyson, appeared” Oil on linen on wood Leonardo Cuervo

Level 25 ArtJournal “La Cantilena de Santa Eulalia” is very dream-like to me. I love the expression in the woman’s eyes…as if she is daydreaming pleasantly while existing in this ethereal environment you created for her. You also reference my favorite time of year, autumn, with all those dead leaves surrounding her. Tell us about the inspiration and then creation of “La Cantilena de Santa Eulalia,” please. LC: “La Cantilena de Santa Eulalia” is a painting inspired by the first document written in Old French of the same name. This is probably the first literary text in French. It was written in the ninth century. It narrates the martyrdom of Santa Eulalia at the hands of a pagan king. The king asks her to forget Christianity and subjects her to thirteen tortures; finally, he cuts off her head and a dove flies from her neck and ascends to heaven. I did not try to make an accurate illustration of the French text. I had taken several photos a few months ago; suddenly, without knowing how, I found myself in that book of French medieval literature, and then I got the idea. I painted it in a month. I just had to tweak or change elements of the composition. “Loyson Appeared” is a work of such technical skill; and of the works you submitted to Level 25 Artjournal it is probably the one which most harks back to the works of the Classical Masters. Like all of your other works the placement of all the elements is crucial. How much effort goes into determining that placement while you are working on the preliminary drawings for your paintings? LC: Sometimes it takes a long time (months). I’m working on several paintings at once. I also read a lot, not only literature, but about the lives of these old masters that I love. It is always an inspiration when I sit down to paint. Anyway, many years from now (if my painting resists the passage of time and awakens the interest of critics in the future) I will be considered a painter of my time, not more than that. I think that’s it. Painting is not an end: it is a Path.

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Veronika Gavruchenkova (Russia) I think art is both technique and showing the world through the eyes of an artist. To convey my feelings I try to be always inspired , keep myself in touch with the world (all creativity is directly connected with the personal development of a creative, so I think that I need to develop all the time, read new books, listen to a new music, try to look at the world from a new point of view). And I believe that art is supposed to bring people calm , to find a resonance with their heart, to show lifeâ&#x20AC;&#x2122;s beauty in every day and simple things. When I make a drawing I try to feel each stroke, to see how the curves lines convey the mood--from the soothingly-inspired to naughty and enraged, art makes me more attentive to the surrounding world. I know that I can make an image more attractive, somewhere brighter, but to draw all honestly, to convey yourself sincerely is the most pleasure. When I see something beautiful it captures my mind with its colors and lines, and no matter what it is a blossoming landscape or an old wall paint.

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“Warm Autumn” Veronika Gavruchenkova

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Level 25 ArtJournal “The Winter’s End” Veronika Gavruchenkova

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“Sunny Hills” Veronika Gavruchenkova

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Level 25 ArtJournal You strike me as an artist who can appreciate the many different types of beauty in the world. When you were a child, was this noticeable by others and were you encouraged by those around you to pursue an artistic career? VG: When I was little girl my parents noticed that I like to draw, but they didn’t wished me to continue drawing when I get older, but now they wish. You state that you try to bring people a sense of calmness via your art, which is a very admirable endeavor. However, now I am curious: what is your opinion of those artists who works are meant to deliberately anger or upset their viewers? VG: Everybody ought to do his own thing. I think some people like that feelings, so every picture finds its viewer. Because you try to really be attuned to the process of creating your drawings, feeling each stroke, each line, each curve, what kind of environment have you created for yourself in your studio? Is it peaceful? Solitary? Do you not allow any interruptions as you work? VG: I usually work lonely at night when everybody sleeps so there is noone to interrupt me. Certainly one of your most calming works is “Sunny Hills.” Simple and clean and done with a style that is a refreshing break from confusing abstracts. As a drawing like “Sunny Hills” takes shape do you ever wish you can turn it into reality and then completely immerse yourself in it? VG: Yes, I wished to walk in that place. As consolation I know when I fall asleep I’ll immerse in different bright images. What’s nice about “Summer Storm” is that you’ve taken a storm and somehow tamed it without destroying its essence. It is still quite obviously a storm but the kind of storm I would like to be standing outside in. How much inspiration do you get from weather and changing seasons? VG: Weather always inspired me. Since I was a child I liked to feel different smells of each season and watch changes of the surrounding world, but sea was my special dream , I wished to see it with all my heart when I was kid and felt very happy when it happened. It is like something that became a part of me as I first saw it.

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“Old City Memories” Veronika Gavruchenkova

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“Summer Storm” Veronika Gavruchenkova

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Katarzyna Jablonska (UK) Katarzyna Jablonska is one of the “old school” artists, who embrace the authenticity in art gained from education - years of humble, mimetic approach. Her artist’s perception, sensitivity and receptivity are now exemplified in technically and formally rewarding study and the acquired technical skills are the bridge to dynamic approach resembling her life experience and a foundation for a natural, conscious, genuine creative process (as opposed to what’s uncontrolled and accidental). Drawing has always been dominant in her practice. Line, light, shadow and composition play as much a fundamental part of her work as the content and story behind it. Looking for that critical moment to convey her vision is a challenge and an assertive experimentation with the composition. It is an intellectual and intuitive process drawing on her attention to details, her skills and experience. Jablonska’s own personal view of beauty and appreciation for human body draw from the concept of portraying genuine passion and emotions through a figure. She is currently working with dancers, musicians and other artists creating images narrated through identity, expression and imagination. With a camera and then on paper she penetrates the core of an artist’s spiritual life, lifted vibration, exhilarating energy.

http://kjablonska.com/

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Level 25 ArtJournal

“In Brighton with Kirsty” Katarzyna Jablonska

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Level 25 ArtJournal Define for us, please, what you consider to be the “ideal” education for an artist. KJ; To me, a figurative artist embracing the “old school”, ideal is when you work with a tutor who can find your strengths and help you develop them into your signature. I was lucky to spend 2 years on private 1:1 tuition with an established Polish painter Piotr Krol. You then spend years working with a humble mimetic approach registering every piece of information about what is good or bad in your works. You spend a minimum of 3 hours on weekdays and 6 hours at weekends drawing and/or painting figures and still life. Only then your perception, sensitivity and receptivity can be exemplified in technically and formally rewarding study or sketch. The acquired technical skills become later the bridge to dynamic approach resembling your life experience and they are your foundation for a natural, conscious, genuine creative process (as opposed to what’s uncontrolled and accidental). The “assertive experimentation” with composition you mention in your statement has me intrigued. It sounds like there is a lot of trial and error done on the paper or canvas in composing a piece before you are satisfied. Talk to us about that, please… What is that process like? Is it often time-consuming? Is it often frustrating? Is there a sense of relief when you finally have that “a-ha” moment? KJ: I tend to keep the composition vertical, open and asymmetric, these qualities make it dynamic. The “trial and error” is necessary for me to find the balance in my works. By balance I mean how strong I focus on different parts of the subject. This way I select the leading element and those that play the supporting roles; I often change my mind whilst drawing. It is time consuming but not frustrating, rather rewarding when I feel it’s “enough”. I think I’m patient.

The “trial and error” is necessary for me to find the balance in my works 32

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“Matthew” Katarzyna Jablonska

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“Asleep” Katarzyna Jablonska

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“A Sweet Innocent X” Katarzyna Jablonska

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“Selfie” Katarzyna Jablonska

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Working with other artists such as dancers and musicians must be rewarding because they can relate to you and understand the need to express things contained within, outwardly. However, dancers and musicians “speak” a different artistic language from a visual artist such as yourself. Have there ever been moments of frustration in trying to capture that “critical moment” you speak of—the moment you would like to see but which your subject is just not providing? KJ: Moments of frustration happen when I can’t capture that “critical moment” on my camera; I work from photographs. I’ve always admired dancers, performers and musicians for their courage to stand in front of the crowds and express themselves; I’ve always preferred the backbenches. The fact that they are so different makes it special to me; the best relationships are the ones where partners have not much in common. To be able to “read” them and show the way I see them makes my drawings speak a dialect blended from their and mine artistic languages. The best example is my most recent video project made in collaboration with a Polish cinematographer Mariusz Scislowicz and Estas Tonne - an enigmatic international artist known for his exceptional guitar style. It this project I have chosen Tonne’s tune “Rumbadiosa” that “feels like drawing” to me and we have recorded 7 hours video of me drawing the portrait of Estas. We then speed it up to 6.46min to fit with the tune. Here you can see the end effect: https://www.youtube.com/ watch?v=thLRs0kwj_g Your drawing “Asleep” is like watching a dream materialize on paper. What I like is how parts of it are expertly finished and other parts are still raw, looking as if you just started drawing them. How do you decide what parts of a work you will leave kind of raw and what parts you will add finished details to? KJ: I always ask myself a question: “Is this important?”. In this drawing we all know that the girl has 2 hands, I don’t need to draw your attention to them, it’s enough to suggest it. What I wanted to stand out was her face and all that illuminates from there - and this is up to the public what they read from it. I am always intrigued by self-portraits because it is interesting to see how an artist chooses to portray herself when in fact she has the power to portray herself as anything at all. In “Selfie” I see wariness, suspicion…I see a moment captured in time when you (the subject) had been feeling relaxed but then suddenly something made you alert to danger. So what does “Selfie” show us of yourself? KJ: This “Selfie” is a part of my very first portfolio from 2006-08 fine art tuition - a preparation for the entry exams to the Academy of Fine Arts in my home town in Poland. Because of the exams requirements I had to practice on life model and the only one available every day for several hours was myself. Each of these works is different - showing me in a different moment in time and through a different filter of life experience. Just like you have 2 sides to each portrait of a dancer or a musician - the way they look in that “critical moment” and the way I see them, it worked the same with self-portraits.

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Christine Simpson (Ireland) My work is a response to the ongoing and unresolved environmental concerns of the 21st century: the changing weather patterns, disappearing ice, rising sea levels, deforestation, pollution etc. Eco systems have their own natural rhythm. They produce and renew on their own. Unfortunately the natural life cycle has become stressed by profligate human activity, resulting in global imbalance and a lack of connection to the Earth. I am attempting to define the world we live in by contrasting aspects of a disintegrating planet with a reverence for the beauty of all living things. This current work consists of multiple images that employ both traditional and innovative techniques. I am a huge fan of Photoshop, but still believe in the integrity of the image. I work in studio and on location employing skills (predominantly from my days of working with film) that have been fine tuned over the years. I then explore at length the photographic potential, using Photoshop, of creating surreal melded images from several different shots onto one seamlessly constructed print. I live in Southern Ireland and work primarily as an Educator. I am a practicing artist and occasional Curator.

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“Beyond the Garden Gates” Digital Photograph Christine Simpson

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I feel like banging my head against when some of our politicians incr the existence of climate change and viduals that have plenty are in cons of getting more...

t a brick wall redibly deny d those indistant pursuit

Level 25 ArtJournal I have always loved the idea of using art to advance social causes. Your art brings home the point that a lot of the natural beauty of our planet is being lost due to human behavior. While you are creating a new piece do you ever feel as if you are banging your head against the immovable brick wall of human apathy? CS: From time to time I do, but not in a general sense. We live in difficult times and many people are affected by global recession. Their priority is survival on a personal level: food, shelter, employment etc. I understand that the ongoing abuse of our planet and the ‘bigger picture’ is not high on their list of concerns. I do, however wish that it could be communicated that the very pertinent issues surrounding climate change don’t just impact on nature but affect our daily lives. What was once a threat is now a catastrophe and somehow individuals need to be released from the imprisonment of hopelessness. I feel like banging my head against a brick wall when some of our politicians incredibly deny the existence of climate change and those individuals that have plenty are in constant pursuit of getting more, without giving a second thought to the far reaching implications of their actions. In my opinion, Photoshop can be a dangerous tool in that it can cause a photographer to easily—far too easily—lose the essence of the original photograph. Describe the balancing act between Christine Simpson the photographer and Christine Simpson the digital artist, please. CS: Many digital artists and photographers lose sight of what they are trying to convey, through an obsessive preoccupation with technique, resulting in a lack of engagement from the viewer. While I was working with Magnum Photographer Paul Fusco, he told me how tired he was of budding social documentary photographers at exhibitions, showing very little regard for the content of his work. Their only concern was the kind of film he used. What I am trying to say is that the essence lies in the content of the photograph and if this is coupled with good technique, both traditional and digital, then the image will ‘speak’. Over dependence on technique to rectify lack of vision and quality, particularly in Photoshop, in my opinion renders an image superficial.

“Out of Kilter” Digital Photograph Christine Simpson

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“Earth” Digital Photograph Christine Simpson

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Level 25 ArtJournal You used to work with film and many photographers continue to do so. Do you feel that something was lost in the world of photography when it all went digital; a certain craftsmanship, perhaps, that was necessary back when both operating the cameras and then developing the images were more manual processes? CS: Patience has been lost. It’s all about the quick fix. Photography is all about light. I believe you learn to see light by practice, by being in different environments, at different times of the day. Observation of how light affects colour, texture, shape, form has been crucial to my work, both on location and in studio. Now with digital cameras, very few students of photography take the time to learn their craft, as it’s so easy to “fix it in Photoshop”. I have always worked predominantly in colour and have to admit I never liked colour printing. I always found it very tedious, therefore I am delighted with digital print, especially as there are so many wonderful papers and I do find the quality superior. I do however have total respect for black and white darkroom processes and for a brief period worked as a master printer, producing very large hand printed images on fibre-based paper. I feel privileged to have this knowledge and hope the B/W darkroom never disappears. In my opinion, this printing process is far superior to its digital counterpart.

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“Plight of the Bumble Bee” Digital Photograph Christine Simpson

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“Everything’s (dis)connected” Digital Photograph Christine Simpson

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Water, especially the se voice, as it converses on

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Your works feature a lot of objects in them, especially works like “Plight of the Bumble Bee” and “Everything’s (dis)connected.” When you conceive of a piece do you instantly know what objects will be featured in it or is the addition—and I suppose subtraction—of objects more a process of evolution as the piece develops? CS: A single object that I have discovered can quite often trigger inspiration for a whole piece. My work has a sculptural element to it. I start with an object and build around it. I believe the space around the object to be as important as the space that the object occupies. It becomes a process of balance and harmony. I photograph my creation and then introduce other elements in Photoshop. Objects are added and subtracted. I love this part of the process and quite often have to stop myself from adding too much. One thing easily noticed about the works you submitted to Level 25 Artjournal is the presence of water in all of them. In fact, in three of the works water divides the image, creating two separate worlds, one above, one below, each with their own message to the viewer. Naturally, water is paramount to our existence and survival; however, I’d like our readers to hear from you about your connection with water—what it means to you beyond the biological requirements, and how it will continue to play a role in your art. CS: Unfortunately climate change is producing profound changes to our eco system and water is the primary medium that influences these changes. I use water in my images as a way of communicating the devastating effects of rising sea levels, pollution, melting ice caps etc. It is a primordial element. It is forever changing and its manifestations are infinite. It influences the colour and temperament of my work and its translucency allows me to draw deeper into nature by creating some images that are split into two separate worlds. I try to create work that not only gives a sense of the external but also gives voice to the internal. Water, especially the sea, provides a dominant voice, as it converses on so many different levels. I am in awe of the sea for it sheer beauty, its dynamic force, transitional states, it’s dark hidden depths but also as it represents that which is not visible on the surface and is unknown.

ea, provides a dominant so many different levels.

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Michal Sroka (Poland)

My work is a metaphor for the deconstruction of modern forms and the idea of speaking to an airtight encryption, often fragmented and operates a form of dissonance, self-contradictory intention, anti-humanism and explosive content. Often it is the intention of intertwining with each of the opposition and the deconstruction of the tradition from the inside in order to highlight the differences, diversity and our alienation. Deconstruction began in the late 70s as a response both to modernism and postmodernism, was heavily inspired by the philosophy of Derrida and formal language constructivists - hence its most visible manifestation, the architecture of deconstruction. My work situates somewhere on the border of architecture and art. It seems to me that, as in the case of Lebbeus Woods, or Archigram this type of vision create non-conformist attitude all the time struggling with the creation of architecture and space.

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http://srokamichal.blogspot.com/â&#x20AC;&#x2039;

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“Architectural Composition III” Drawing on paper Michal Sroka

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Level 25 ArtJournal

What is it specifically about deconstruction which fascinates you and make you want to center your artistic style around it? MS: Deconstructivism attempts to move away from the supposedly constricting ‘rules’ of modernism such as “form follows function,” “purity of form,” and “truth” to materials. The concept of the metaphysics of presence is an important consideration within the area of deconstruction. The deconstructive interpretation holds that the entire history of Westernphilosophy and its language and traditions has emphasized the desire for immediate access to meaning, and thus built a metaphysics or ontotheology around the privileging of presence over absence. The presupposition is that architecture is a language capable of communicating meaning and of receiving treatments by methods of linguistic philosophy. The dialectic of presence and absence, or solid and void occurs in much of Philip Eisenman’s projects, both built and unbuilt. In reading your statement, your opening sentence speaks of fragmentation and explosive content—language which denotes violent change. Do you view your role in the art world as one which must force the world— through radical means, if necessary—to change their perceptions of their surroundings and their beliefs in what makes art? MS: Only a radical attitude can change and shape a new world. Being heavily influenced by architecture, my actions make use of the specific language. I create a substitute for the new space, fugitive and a utopian vision of a new world. My project emphasizes a different sensibility, one in which the dream of pure form has been disturbed. My works examines boundaries and points of intersection between several attitudes where each formation exploiting the hidden potential of modernism. Art can change the boundaries and perceptions of the world. It makes us more attentive, the issue of space that surrounds us becomes an important aspect of our daily existence. Perception is a tool to learn about the world. To understand it well, we need to work on it.

Art can change the boundaries and perceptions of the world. It makes us more attentive... “Crowd” Drawing on paper Michal Sroka

L25

Level 25 ArtJournal

â&#x20AC;&#x153;Architectural Composition Iâ&#x20AC;? Drawing on paper Michal Sroka

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Level 25 ArtJournal

“Reactor” Drawing on paper Michal Sroka

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Level 25 ArtJournal

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â&#x20AC;&#x153;Architectural Composition 0â&#x20AC;? Drawing on paper Michal Sroka

Level 25 ArtJournal

“Reactor” seems to hint at dangers to come. While you were creating “Reactor,” what were the messages you wanted the piece to tell us, the viewers? MS: The reality in which we live is full of tensions. Architecture can stimulate these tensions, or neutralize them. Reactor refers to the broad context of the presence and existence of man in the architectural space. In my work I try to emphasizes these tensions. Reactor is a metaphor. The device, which is carried out at a controlled rate of nuclear reactions; These reactions are chain - reaction products (mainly neutrons) can initiate the next few. My compositions are the result of such chain reactions. There is a ghostly quality to “Architectural Composition 0” which I love. I especially enjoy the silhouetted images of the 2 figures near the top. The work is like seeing a dream…but through someone else’s eyes. I can also see that you want us to view the visible architecture in this work as something different than what its creators intended. Talk to us about this piece, please, and how it fits into your artistic philosophy. MS: Architecture has a dual nature. I do not really end up on what is visible. It is also a space of social relations. The dichotomy between the visible and the invisible. Architecture can be a real threat. Weapon in the hands of tyrants.

L25

Level 25 ArtJournal

Lisa Wright (England) I love to read and it often inspires me to create art. I have read some fantastical stories from an animal’s perspective which often add a touch of magic to the tales in the form of those that can speak to or transform into animals. The idea of becoming any creature you can think of to experience the way they live is something that I often consider just for the fun of it. My latest project focuses on the fox. How are their lives effected by the presence of people? How drastically can the course of an animal’s life be changed once we become involved in it? The fox is a wild creature and yet as with so many other animals we attempt to domesticate it. I have worked at getting into an animal’s mind thinking about how they see people and the things associated with us. They don’t label objects in the same way we do so if they thought in words how would they view things? A person for example is not just a person to a fox we are two legged, bald and tailless. A house is a den and a car a rumbling monster. The images I am currently making show a tale of how a wild animal is brought up in a home to be sold off as a pet. He is taken away from the house he was raised in by a mother and daughter who soon realise that raising a wild creature in your house is no easy task. Although he destroys many things whilst growing into an adult he gradually calms down a little, becoming attached to his new family. However one day whilst they are not watching him he escapes. He becomes a nuisance in the neighborhood he moves to as he has no fear of people and is poisoned by an irritated homeowner. A rescue organisation is called to pick him up. He recovers but it is quickly apparent he can’t be re-released because he is too tame. He is moved on once more to a wildlife centre. He becomes lonely stuck in an enclosure on his own with far less human company than he is used to. He remains in the centre for some time until he catches some familiar scents in the breeze. He jumps to his feet with a swishing tail to greet his lost family: the mother and daughter who had raised him.

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Level 25 ArtJournal

â&#x20AC;&#x153;Making Mischief â&#x20AC;? Lino print, acrylic, prismacolor and graphite pencil Lisa Wright

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Level 25 ArtJournal

â&#x20AC;&#x153;Attention Hogâ&#x20AC;? Lino print, acrylic, prismacolor and graphite pencil Lisa Wright

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Level 25 ArtJournal

What happens while you are reading a story and it suddenly inspires you to create art? Do you stop, jot down notes, start making preliminary sketches? Or do you simply continue reading and hope the idea will develop more? LW: I used to read a lot but since I’ve had less free time I don’t pick up books nearly as often as I’d like to. Nonetheless the things that I’ve read still inspire me to create artwork. In this project it has particularly been books written at times from an animals perspective such as Wolf Brother by Michelle Paver. When written from the wolf ’s perspective she describes humans as being tailless. That in itself is intriguing: do other animals recognise how we are different from them? If they could describe us would it be by how we look different? It’s just by reading books such as that one that make me think about these things that develop my ideas. As I am reading a book it really gets my imagination running wild and I want to sit down and draw what it’s descriptions make me envisage. However it isn’t whilst reading that I develop new ideas it’s really the experience after I’ve read so many stories. There are many things that I’ve read that I can pick through to help me come up with new ideas. Having read quite a few books I can now more fluently form my own tales having picked up vocabulary, sentence structures and just a feeling for how to write something. If I hadn’t been such a bookworm I never would have put together the fox narrative that enabled me to make these images. Without the story itself they never would have come about. It is a wonderful idea you have: imagining yourself to be another creature just for the fun of it. What has been your favorite creature to imagine being? LW: There are two animals that captivate me when I try to imagine the experience of living the way that they do, the cheetah and the peregrine falcon. Between the two as much as I love big cats it’s the falcon that excites me the most. Who wouldn’t want to be able to fly? Although that’s funny for me to say as I’m not fond of heights. That doesn’t stop me from enjoying the view from an aeroplane window as it’s taking off though. Just being capable of such speed from the steep dives as they plummet down from the sky must be exhilarating. Does the falcon feel that though? Do they enjoy flying? It’s their natural form of movement and the dive is part of their hunting method as they shoot down towards unsuspecting prey. I should imagine their main focus is on their food rather than how the wind feels rushing over the tops of their wings and through their feathers. It’s something they were born to be able to do so do they get a rush from moving so quickly? I can only daydream about how it must feel.

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I would love to raise awareness of how we effect the creatures we share our world with...

Level 25 ArtJournal

L25

Level 25 ArtJournal

“Rescued” Lino print, acrylic, prismacolor and graphite pencil Lisa Wright

L25

Level 25 ArtJournal Your love of animals is apparent. Do you see that love as being part of your mission as an artist? In other words, do create your animal-centric art not only because it pleases you but because you wish to create awareness of the other creatures we share our planet with? LW: I would love to raise awareness of how we effect the creatures we share our world with and try to make others at least briefly consider how our actions have a ripple effect. Truly attempting to see the world through an animals eyes is something that I’ve only begun doing recently. I had touched on it before but not for any length of time. It gives you a very different outlook on day to day objects as nothing looks the same to an animal as it does to us. Seeing things from a different perspective is something we all need to learn to do not just to try get a better understanding of the creatures we live with but also each other. That sounds as corny as anything but it’s surprising how many problems we could figure out if we just thought about somebody else’s viewpoint before acting. That is I have to admit easier said than done. The individual images in your illustrative narrative of the fox are fairly self-explanatory; however, I would like to ask this: Given the time it obviously took to create each image, what was it like for you to decide to commit to such a complex and lengthy project? Did it scare you? Were you driven to complete your fox narrative before working on anything else? Did this project ever keep you up at night wondering precisely how you were going to depict this fox’s story? LW: This project has taken a good few months to finish I started work on it in early February and have only fairly recently completed my images in May. The story I’ve based the pieces around was also written in this time frame. I have been thinking of nothing but this project every day and continuously creating new material for it. I was slightly intimidated by the notion of illustrating my tale at first but as I moved forward this feeling quickly dissipated as I truly enjoyed every moment of making it come into fruition. In fact I’m not done with it yet. I plan to make a illustrated book or a graphic novel telling the rest of the story as these images only show main events in the storyline. I have been working on absolutely nothing else for the entirety of this project thus far it has certainly captured my full attention. I may take a break before I consider whether I want to illustrate the rest of the story I’ve written or flesh out the written element of it in order to create a book. Domestication of wild animals can in fact be a big problem. Too many people believing that a cute animal like a fox or, say, certain reptiles will make great pets. In your opinion, why is it that human still feel this need to try to control animals? And is this something you talk about when people ask to discuss your art? LW: We greatly admire wild creatures something like say a tiger is stunning to look at but is also a very powerful and dangerous animal. We want to feel that despite the risk we can still form a bond with these kinds of animals that overcomes their wildness. Some like to think an emotional tie can be created that prevents the animal no matter how strong or how wild from hurting them. They love the animal and trust it so surely it would never harm them. Partly because of this bond we create we also fool ourselves into thinking we are doing what is best for the animal and providing a better life for it than it would have out in the wild or elsewhere. We really can only try to control the animals we live with but we can never get rid of the wildness in them completely even in animals we have specifically bred to be our companions. Humans are always trying to do the impossible just because we want to prove that we can. Control is something of a negative term to describe the animal and human relationship although I don’t entirely disagree with it. There is some give and take in it. It’s not all about us controlling them. The animals such as dogs or cats are cared for by us and in return become our companions.