College Project - 2014 by Pique: Fort Wayne Art & Culture

FORT WAYNE ART MAGAZINE SPRING 2014

FEATURED ARTIST: ERIC TARR

CINEMA CENTER | ARTLINK GALLERY | DIY SCREEN PRINTING |

FOOD TRUCKS

? WHERE ON EARTH DID THIS COME FROM Realizing the amount of growth that has occurred within Fort Wayne’s art scene over the last few years, Mariah Hutcherson made it her goal to create something with her senior project at University of Saint Francis that would foster that growth. This is how Pique Magazine came into development in the fall of 2013.

sought out the help of a great friend, Kristin King. Kristin has taken this project on out of a mutual love for the arts and for Fort Wayne. She has been everything from an article writer, proofreader, and editor for the whole of the magazine, and has done so in a way that kept the integrity of Mariah’s original vision in mind.

An art magazine has the incredible ability to cultivate creativity and community and this is the goal of Pique Magazine. Through showing readers new and upcoming artists, musicians, and writers, the magazine will inform you of the types of art culture around you, as well as pointing out fun places of interest within the city and also some do-it-yourself projects.

In the future, we hope to continue this publication in a more professional sense, bringing the magazine to print in a more permanent manner and less in the way of a school project. It could not have been created without the help of artists and art lovers all over the city, many of which you will discover inside of this publication, and hopefully enjoy as much as we do.

In August of 2013, Mariah set out on this adventure – her goal was to manage, design, photograph, and market this magazine. She soon realized she couldn’t do it all alone and

Thank you for any interest you have in this magazine, and we hope it makes you excited about art in Fort Wayne!

PIQUE: FORT WAYNE ART MAGAZINE CONTRIBUTORS MARIAH HUTCHERSON [ DESIGNER/PHOTOGRAPHER ] The founder of Pique Magazine, Mariah, will be graduating from the University of Saint Francis in 2014 with a major in Communication Arts and Graphic Design, concentrating in computer graphics and photography. She is the sole designer and photographer of Pique Magazine. In her free time she hangs out with two cats, crochets scarves, and watches The Walking Dead.

KRISTIN KING [ WRITER/EDITER ] Writer and Editor at Pique Magazine, Kristin, will be graduating in 2014 with a degree in English Creative Writing from the University of Saint Francis. With a passion for literature, sheâ&#x20AC;&#x2122;s begun to establish herself as a young, emerging, and experimental writer, hoping to publish by the end of this year. Her work at Pique stems purely out of her willingness to help out friend, Mariah, and also to see more growth in the arts community within Fort Wayne. She enjoys crime dramas, medieval-themed board games, and Flying Cauldron Butterbeer.

FEATURED STORIES

PLACES OF INTEREST

WHAT'S INSIDE...

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FORT WAYNE MAP

FEATURED ARTISTS

ERIC TARR

DIY SCREEN PRINTING

E T S Y. C O M / S H O P / S CA R F VA D E R 7

DOWN TOWN CONTEMPORARY GALLERY

ARTLINK A

rtlink was incorporated in 1978. Artlink’s mission is to showcase work of the highest quality by diverse visual artists and provide educational programs for artists and the community. In 1991 Artlink became one of the 10 funded members of Arts United and moved into the newly renovated Hall Community Art Center. Artlink moved to the Auer Center for Arts and Culture in October of 2011. Artlink’s current home at the Auer Center features expanded exhibition space and two studio/classrooms.

P LA C E O F I N TER EST

Artlink holds up to 27 original exhibitions in our galleries that change every 4 – 7 weeks. The Artist Panel is responsible for the exhibition schedule that is planned two years in advance. Calls for entry can be found on our Exhibition and Home Page. – Artlinkfw.com

P LA C E O F I N TEREST

PAPER MOON treasures to believe in

188 E 2nd Street Roanoke, Indiana 46783

FORT WAYNE’S PREMIERE MOVIE THEATRE

CINEMA CENTER

ccording to their mission statement, Fort Wayne Cinema Center is a non-profit film society which specializes bringing independent, foreign, documentary, classic, and specialty films to Northeast Indiana. Cinema Center has brought films like Her, The Great Beauty, Much Ado About Nothing and The Grand Budapest Hotel to the Fort Wayne area when many other theaters failed to do so. Having just gone digital earlier this year, Cinema Center is looking to the future with help from Executive Director, Jonah Crismore. The vision of Cinema Center is to be a wildly popular destination in Fort Wayne’s revitalized arts campus downtown

P LA C E O F I N TEREST

— attracting diverse new audiences, partners and sponsors; showcasing the true artistry of film; and offering people the best moviegoing experience in the region. Cinema Center is doing all of these things and more. For example, Cinema Center has partnered with the Royal Shakespeare Company as well as the New York Film series in order to have special screenings. Also as a part of Fort Wayne’s Last Saturdays, Cinema Center hosts a midnight movie, which usually features a classic cult film. Overall at Cinema Center, there is something going on for people of all ages and interests. – Christi Hille

DO IT YOURSELF SCREEN PRINTING

DISH SOAP STAPLE GUN IRON LIGHT BULB DUCT TAPE SILK EMULSION SENSITIZER

SQUEEGEE SCISSORS PAINT GLOVES LIGHT FIXTURE DARKROOM PHOTO SAFE LIGHT WOOD FRAME

The first thing you need to do when building your screen yourself is to but together your four pieces of framing wood. Make sure each 45 degree angle lines up perfectly and that you simply use the staple gun to keep them together. After that cut out a piece of silk the same size of your frame. When stretching the silk on the frame it needs to be tight on the entire screen. To do this you must staple one side of the screen in the center, then do the same thing to the opposite side, then staple the center of the other two sides as well. While doing this pull the silk taught

The next step is to mix the photo sensitive emulsion. This needs to be done in a photo safe darkroom. For this step you need both the emulsion and the small bottle of sensitizer. Both bottles contain their own instructions on how to mix them. Then you will spread the emulsion over the screen with the squeegee. This is something you should do in the dark

the best that you can. Now staple on the left and right side of your current staples, making sure you do one side at a time. Continue doing this until there are staples all the way around your frame edge. Note: It will not hurt to do an excessive amount of staples. Finally you need to use duct tape around all four edges of each side. Duct tape seems to work best but you can also substitute with packing tape or painters tape.

room as well. Make sure you drag the squeegee along both the front and the back of the screen. Be sure to press firmly while doing this. When there is an even coat allow the screen to dry anywhere from two to five hours. It needs to be completely dry and it needs to be in the darkroom this entire time.

The design that you choose to use needs to be a high contrast image. The one used for this (pictured to the left) was first drawn and then scanned into the computer and edited in order for it to be printed onto transparency paper. The stencil that you create and print out needs to be a positive of what you plan to screen print. So make sure the words are read left

to right and what you want to be seen in the final product is seen in your design. When you print this stencil out it needs to be in black. If you wish to use more than one color, then you need a separate transparency for each color.

For your screen to have the design in it you need to place your screen flat side down with the transparency on top of it. And make sure your screen is on top of a black surface so it will absorb the light. Do this fast because this is the first time the screen has been in light and so it is still light sensitive. The light fixture should now have a 250 watt light bulb in it and should be placed about a foot away from your screen. Turn it on and leave it on for fifteen minutes. It is a good habit to get into placing a piece of glass on top of the transparency to make sure the image stays secure.

When the fifteen minute exposure is up the first thing that needs to be done is cleaning the screen with cold water. Try to do this immediately. Use a spray nozzle or shower head that produces a lot of pressure and spray down the screen. Usually it is also helpful to rub the spots where your design will be with your fingers. Make sure those areas are clear and just the white silk, not light or dark green. When you are done just let the screen air dry. If there are spots that you do not wish to be the screen then use a paint brush to fill it in and let it sit under the light again or place it outside.

Align your screen where you want your print to go. Then prop your screen up on something so it is not touching the surface you plan to print on. You could use something as simple as a paint jar. Then load a nice glob of paint onto the top of the screen. Make sure there is enough and that it is evenly distributed above the design.

Next load the screen with ink while it is propped up, a nice even coat. Finally remove the prop so your screen is laying down on the surface. Angle the squeegee at a 45 degree angle and firmly drag it over the design. You can do this two or so times making sure you press very firmly. Then pull up the screen very fast from the surface so none of the ink leaks out around the edges.

If you are printing on a fabric material it is important to iron your design after it has dried completely. Wait about thirty minutes before doing this. This sets the design into the fabric,

which prevents it from fading as quickly after many washes. A good idea is to put some sort of cloth between the iron and the design, to prevent paint from getting on the iron.

Considering you are a Do-It-Yourselfer you probably want to reuse the screen you have made. There are two ways that you can go about doing this. The first is to simply remove

the screen from the frame and stretch a new one. The second way is to purchase screen cleaner and physically clean the emulsion from your screen.

1. If you do not have a light fixture or 250 watt light bulb you can either use a lower watt light bulb or do it outside on a nice sunny day. The only problem with this is the fact that you will need to figure out the exposure time. This is something that will either need some research or you will need to make a test strip.

this when the screen is dry. It is also a last resort because the needle can ruin the screen or cut lines into it.

2. When you rinse the emulsion off of your design you may have difficulties removing it from fine lines of your design. To remedy this problem you can take a small sewing needle and gently scrap away the emulsion. Only do

3. Getting use to using emulsion can be a tricky task, although it produces a cleaner result. But, if you want to you can use drawing fluid and screen filler to achieve the same outcome. These do not require a darkroom or being anything being exposed to light. It may be something worth researching.

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FEATURED ARTIST

ERIC TARR [ FINE ART PAINTER ] How would you explain your artwork? I’m not very good at explaining my artwork, not that it is profound or anything; it has more to do with the fact that I’m not very good at explaining things. I make art because I find certain other things interesting. And I want to give those other things a chance to be important. (Especially those things that might not have been seen as important already...I was obsessed with halos for a while. I was putting them on damn near everything.) I want to give things time to be looked at and a chance to be revisited, and hopefully respected.

The things I find interesting or important usually revolve around caution, struggle, failure, fear, injury, repair; you know, the fun stuff. My art is my attempt to pose certain things I find interesting; sometimes isolated, sometimes with, or against, other things I find interesting, along with whatever I might be obsessed with at the time. (Quite possibly a life jacket) To see how things look. To see how they feel. What artists inspire you? I’m lucky to know so damn many creative people. And I also know a bunch of other people who probably wouldn’t think of themselves as creative or as inspirations. But, they are just as inspiring, by who they are, and what they do and say. I don’t think my art is inspired by ‘art history’ as much as it is inspired by all the other stuff we do, and deal with. So, the artists that inspire me most, are the ones who show, in their art, who they are, and what they deal with. And to be able to do that intelligently, beautifully, profoundly, and honestly, that’s inspiring. I am very much inspired by artists who seem to have it figured out, or are good at showing how they try to figure things out. They find their hands, their voice, and they can just make them work in the most amazing ways. And those that work constantly, tirelessly, practicing and perfecting. That’s inspiring. And motivating. What technique/mediums do you use? Well, my technique/mediums are... mixed. But, I don’t really like the term ‘mixed media’, because I don’t really like terms at all. I’m not even sure if I like the term ‘art’. 22

FEATURED ARTIST

(In fact, I’m pretty sure I don’t.) I call what I do ‘painting’, but that isn’t really what it is. It’s drawing, illustrating, creating things, and sometimes I use paint. Sometimes I use dirt. I don’t like spending money on art supplies, so I use whatever I can find. I’ll splurge on cans of spray paint, or matte medium, or brushes. (cheap ones.) Mostly I use cheap stuff, like mis-tints from the hardware store. I’ll use and reuse, and mix and remix those things until I can’t put the lid back on and they dry out. I have a very messy studio full of stubby pencils, dirty erasers, jars of paint, scraps and broken things; found stolen or borrowed materials. Items to use and reuse. Everyday stuff. What is your process of creating a piece? My process almost always begins with prepping surfaces. Cutting panels, framing them up. (I never paint on canvas or linen, ugh... I hate that stuff! I like to get a bit heavy-handed with my work, climb on it, get in there. I like to know that I can undo my work in varying levels of aggression and know that my surface is going to hold some weight.) I use reclaimed material most of the time. Wood is an easy one to reuse. I like to be able to push against it, literally and figuratively. I like to build my pieces. (Or un-build them. Sometimes I like to take things apart and put them back together incorrectly... But, that’s a whole ‘nother thing.) Wood, hammer, nails, screws. I usually lay down a surface of plaster or drywall ‘mud’. It creates a nice surface to work on, and work into, when necessary. It is sandable, rework-able, and gives a look of something that’s been around for a while, lived with. That’s a big part of my work. I want art to be lived with. To be brushed up against, touched, felt. Carried around. Artwork that stays with us. Also, and importantly, I almost always grid my surface, for drawing, composition and accuracy; and because I like that process. Breaking things down into workable parts. Taking things by steps, the grid helps get it right while still allowing some room for me to get it wrong. And I usually like to leave evidence of that grid. I like to leave evidence of my process. I like my work to have a history. For me, the starting process of creating the surface is very satisfying, calming. And then I probably don’t feel much calm during the painting process, That’s usually a bit stressful. When I start to feel satisfied and calm again, I know I need to be done. If don’t stop when I should, I’ll overwork a piece, or accidentally do something to mess it up. Then I either have to struggle to correct it, to make it work, or paint over it all, re-grid, and start again. Continued on page 31

FEATURED ARTIST BAMBI GUTHRIE

All photography by Bambi Guthrie on pages 28-31, unless otherwise stated. 25

How do you stay motivated? Heh. I wish I could say I do stay motivated. Staying motivated requires that I be motivated to begin with. That’s one of my big problems. I love the idea of making art all day. I love thinking about it, putting things together in my brain. But the act of making art is a difficult for me to start, and finish. It involves a sort of removal of myself from the world. (Unless I’m working collaboratively, which is very different and very awesome in its own way.) When working alone, I like to be alone for long stretches of time. Just me and my thoughts and hands. That’s hard to do, to remove yourself from everyone. So, it doesn’t happen often in my normal day to day. I try to at least stay aware, and to get involved in a show, or submit when there is a call for entries, or follow some inspiration outside myself to get the process started... I have to set up a deadline for myself, and even then it’s tough. Oh, and did I mention I’m super-lazy... that doesn’t help at all.

Fort W ayneâ&#x20AC;&#x2122;s his torical theatre

EMBASSY fwe m b a ssyth e a tr e.com 29

THEA MEUSSLING [ FINE ART SCULPTOR ] How would you explain your artwork? This body of work is what I made in this past fall semester at the University of Montana in Missoula. I started working in clay in high school, and I haven’t stopped since. I am intrigued by the histories of Americana and smut that surround the time of my birth. Although I draw inspiration from many eras, currently my work is most heavily influenced by the 1980s and early 90s. Born in 1988, I am captivated by the delightful tackiness and boldness of popular culture that existed both before and during the first years of my life. These images bound to their era contain a kind of power, dominance, and ego. What is the content behind your work? I am persuaded by sex, color, and content that makes you want to pee and throw up at the same time. The ludicrous and visually arrogant culture of the 80s is glamorous. It entices me. I gather these visual stimuli from specific period representation in movies. From my research I have drawn the conclusion that miniskirts, big hair, heels, tanned skin, sex, and attitude were a fundamental part of the 1980’s code of conduct.

Along with an attraction to this more mature content, I am infatuated with the imagery that was directed towards children of my generation during the early 90s. Colors that invaded the objects and advertisements of companies like Lisa Frank, kaboodles, Barbies, and children’s cereals are very present in my work. I combine this use of color with the obnoxious aspects of the 80s that I am drawn to. What artists inspire you? Robert Arneson, Ron Nagle, John Mason, and Kenny Price, the pioneers of funk art in the Bay Area in the 60s. What does creativity mean to you? Creativity is the act of trying to achieve your own type of perfection. Perfection is not achievable. Creation is just like the tale of Sisyphus. When you think you have reached your own sense of satisfaction, you slide right back down again. But just like Sisyphus is driven to push that rock, an artist is compelled to keep making over and over and over again. It’s a need that is insatiable.

FEATURED ARTIST

SOMMER STARKS [ INSTALLATION ARTIST ] How would you explain your artwork?

What inspires you?

I tend to make artwork that is non-representational as a sum, but with objects or things that are recognizable or common. Because my artwork is intended to be installed on a wall, the floor, or hang from the ceiling, in a specific way, it is considered installation art. However, I haven’t always worked in installation - I used to make single sculptures. As with many artists, my interests and ideas have evolved over time and so did the need for a different way to express them. I went from making objects, to making series of objects, to making installations. I have also seen a shift in the type of subject matter in which I am interested. Early on, I worked primarily in representational subject matter – a lot of it having to do with the human body. Then, I got into representing the body in more of an abstract way. Now, I work increasingly in non-representation. The same connections can be made to the body or life experience, but I do this in a much less literal way. I like for the sum of the work to be intriguing, but for there to be smaller intimate details for the viewer to explore. I feel like installation is the best way for me to express this.

I like to feel something when I experience art, so I am inspired by artists that create work that has an emotional and psychological impact. Some artists that I love for this are: Maria Magdalena Campos-Pons, Lee Bontecou, Chakaia Booker, Wangechi Mutu, Magdalena Abakanowicz, Tara Donovan, Kara Walker, Sarah Sze, Leonardo Drew, and many more. I am attracted to the visual impact they create, the use of texture, color, shape, and meaning they imply in their work. Along with being inspired by a lot of different artists, I find visual contradictions interesting, for example: things that are both beautiful and gross at the same time.

What materials do you use? The materials that I use vary. The way I select things to work with has to do what the material is capable of doing, how it visually looks, and what it could possibly imply in terms of meaning. I have worked with pantyhose, spray foam, wax, wire, thread, dryer lint, dust, human hair, latex, fabric, and variety of other things. I like using things that people are familiar with but use them in a way that makes their experience of it change. I think using familiar objects makes it easier for people to connect to the work and I hope it creates a link to a memory or experience of the viewer. What is the content behind your work? When I work, it is more of an intuitive process. It’s a way of working in reaction to or in support of what I see happening between materials. Letting the materials drive the work, it becomes a reversed way of building content; developing the work, then allowing the content to reveal itself as part of the process. I think of this process as a way of letting my subconscious speak. This is not to say that the endeavor is content-less because I don’t want to give anyone that idea. What I mean is that by default some degree of content is built in automatically because of the materials I select to use. The built in content could be intentional or it might not be intentional at all. A lot of the time, different layers of meaning are created during the process. Usually, I find links to personal experiences, just as I expect the viewer to bring some of themselves to their experience of my work. The implications that can be made through the combinations created are what I find interesting.

From concept to completion, how do you plan an installation? First, I either get invited to be in show or accepted in to a show. Then, I negotiate with the curator or gallery the terms of the space I am allowed to use. I need to know all of the logistical stuff like the amount of space in which I have to work, what restrictions there might be, where it can it be (floor, wall, ceiling), how much gallery time can I have to install it, and how long I have to make the work. Then, I decide what I want to work with. Sometimes, I have some things laying around that I’ve been messing with on and off, other times I start from scratch. I don’t like to start by thinking, ‘this installation is going to be about [insert topic],’ because I have found that the resulting work ends up feeling contrived. When I start that way, I find myself relying on trite symbols to convey ideas that are much more complex. Instead, I play around with some materials and start to figure out the direction I want to go. I experiment a lot in order to find out what works, what I like, what looks interesting, and then build upon that. I start to look at what I could be implying with the different combinations of things with which I am working. During the planning stages, I usually visit the space again, if possible. I might do some loose sketches for a floor, wall, or hanging arrangement. If space allows in my studio, I’ll do some mock set ups. If not, I’ll plan as much as I can with several sketch ideas and figure the rest out in the space. Once, I’m in the location of the installation, I set it up and add some additional details. Sometimes, adjustments have to be made because the plans don’t translate well into the space. I’ve found that using a camera to look at the installation differently helps with this. The entire install takes several hours and depending on the size, it might take multiple days to complete.

JASON SWISHER [ PHOTOGRAPHER / DESIGNER ]

How would you explain yourself as an artist? I’ve always been interested in photographing people and environments, observing how they exist together, affect each other, and enrich each other. Whether by portrait, or documentation, I’m constantly intrigued by humans and their impact on their surroundings. More recently I’ve become interested in my own surroundings, and how they affect/ inspire me on a visual level. Drawing inspiration from morning commutes, bike rides across town, and adventures out to the forests and fields. Not to mention the people that I share my existence with. The goal is to produce an image that can be intriguing and enjoyable, with a little bit of humor, and sometimes sarcasm. I want to create a strong sense of time and place, engaging the viewer as if they had been in the same spot as I was while photographing. What do you shoot your panoramas with? Why do you think this tool lends to the panorama? At one point in my life, I was completely burned out on photography. A fellow photo-friend of mine introduced me to the Holga, and I was instantly hooked with the stripped down approach of a point and shoot technique, and the uncontrolled effects that it provided. From there, I learned the process of overlapping the exposures, either by chance or by intent, and began to create my own approach via one of the crappiest cameras know to man, with quite possibly the crappiest lens. This made me really happy, almost like a slight to the confined rules and technicalities of photography that had been crammed into my head over time. The results provided vibrant, saturated colors and sequential dream-like landscapes, fused together by the operation of chance. It was exactly what was I missing from a creative approach. It felt fresh and new, and I stuck with it, shooting more with a shitty camera than with my fancy digital at the time. Like most photographers, I have an arsenal of cameras, both digital and film, but something about that Holga just says ‘Fuck 34

Off’ to the photography elitists and purists. As for the panoramic approach, that was simply taking advantage of the cameras capabilities, and having a printer that could print on paper rolls. What artists inspire you? I dig photographers like Henri Cartier-Bresson, Weegee, Robert Frank, Gary Winogrand, Lee Friedlander, Bruce Davidson, Gordon Parks, Ricky Powell, Jamel Shabazz, Glen E. Friedman, to name a few. Straight photography, street and documentary styles. Where do you see yourself and your artwork in the future? Expanding my interests and craft, creating imagery, still shooting film, still working independently, larger prints, less horizontals, more verticals, more faces, and an exhibition of all the images I have of my wife. What is your process of shooting? It’s real basic- stop, look, and observe. Like crossing the street, but from a visual standpoint. Patience and examination on my surroundings helps with the process of composition and placement. From a documentary approach, the ultimate challenge for me is to be unobtrusive, and exists unnoticed in a crowd. My favorite way to capture imagery is when people are comfortable in their environment. It keeping things natural and respectful to one’s space, as they could care less about what it is you’re doing. Jason Swisher will be one of 77 photographers featured in the Fort Wayne Museum of Art’s- The National: Best Contemporary Photography 2014, opening March 29th. Find his photographic observations on Instagram @swishpics, and visit swishism.com for further investigation.

AUSTIN CARTWRIGHT [ FINE ART PAINTER ] Explain your artwork

Explain the content of your artwork

As a painter, I am constantly working to improve and transform my process into a method that supports and articulates the content. Metaphor plays a huge role in the decision making. A painting has already begun before the first touch of paint to canvas. I look at the structure and support system as the beginning of each painting. The skeletal system and muscles of a painting are the stretched canvas and added fabrics. As the process continues, I build layers of paint and textures to create the tissues and skin of the painting. Much like the human body, a painting is recording where it has been and where it is going. The evidence is in the surface textures and exposed layers of paint. Typically, I add and subtract and maybe even re-add fabric from previous layers of paint in order to create a surface that reflects the ongoing transformation. As the painting “grows” it gains a voice, and I, as the painter, listen. I make concessions and changes, but when the painting can stand alone, I let it.

The content of my work is expressed through the process. I tear away layers and bandage the painting back together again. Like the human body, the painting is left with scars and marks that reveal its past. My work can take on a destructive quality that needs to be repaired or healed. This kind of working process allows me to continually expand and articulate on the human condition. We have all been “cut” and “torn”; what we do after that acknowledgment is what I am creating paintings about.

I have always been inspired by the human condition and the body that carries us through this world. I fell in love with old master drawings, at an early age. I felt like that was the appropriate way to express what it is to be human. As my art history knowledge expanded so did my appreciation for art outside of the traditional schools of thought. Traveling to major museums across the globe opened my mind to so many different genres of art, that I felt like my slate had been cleaned; and that I could erase all previous notions and start on my own voyage of expression.

What artists inspire you? All artists inspire me. Art begets art. Do you listen to anything while working? Music is usually playing somewhere in the background. I typically, tune everything out while I am painting, so i really do not think it matters what band or musician it is. What is your favorite use while painting? My favorite color to use is a deep yellow, but I use Prussian blue most often so perhaps that is my favorite.

Photo by Mariah Hutcherson

GREG MENDEZ [ SCULPTOR ] How would you explain your artwork?

What artists inspire you?

My work consists mainly of welded steel in familiar forms that can be easily recognized. I like to use sculpture as a way to capture ideas that are of interest to me in one way or another. Hopefully some of these ideas are of interest to others and they can develop their own interpretation of each piece. I tend to look at each of my sculptures as a study in some way kind of like a bridge to the next piece in line. I graduated from USF in 2006 with a BA in fine art. I studied under and worked for several established sculptors for several years after that. I‘m currently pursuing sculpture as a full time career and am heavily involved with a public sculpture program in Decatur, IN called the Decatur Sculpture Tour.

I really like looking at works of artists that are currently producing work, especially if your able to meet them in person and learn about what inspired them. To name a few specifically whose work inspires me for different reasons: Jacque Frazee, Nathan Pierce, Matt Miller, Lee Luenning, Sherry Treeby, Ben Hammond

What is your favorite material to use? My favorite material to work with is steel. I just enjoy everything about the process and the look of the finished work.

What is your process of sculpting? Every project is different so the process really varies from sculpture to sculpture. Unless it’s a commissioned piece, I just sculpt what’s of interest to me at the time. As far as the actual process lots of cutting, bending, welding, and grinding of the steel.

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FORT WAYNE QUICK MAP OF FEATURED PLACES

3 1. Fort Wayne Museum of Art 311 E Main St, 46802

3. Wunderkammer Contemporary Gallery 3402 Fairfield Avenue, 46807

5. University of Saint Francis 2701 Spring St, 46808

2. Artlink Contemporary Gallery 300 E Main St, 46802

4. Hedgehog Press 1136 Columbia Ave, 46805

6. Sunny Schick Camera 407 W Washington Blvd, 46802

2 8

7. Fort Wayne Outfitters & Bike 1004 Cass St, 46808 8. Cinema Center 437 E Berry St, 46802

Check out this map of Fort Wayne! It features just a few of the art locations that the city has to offer, all of which are mentioned in this magazine. 43

SNAZZY SCHEDULE OF FORT WAYNE MUSEUM OF ART March 22 – July 13, 2014

Roseville: Art in Natural Form

March 15 – June 22, 2014

Biological Canvas

March 15 – May 11, 2014

Painting Indiana III: The Heritage of Place

June 29, 2013 – June 27, 2014

David Hayes: Sentinels

ARTLINK CONTEMPORARY GALLERY June 6 – July 9, 2014

American Craft Exhibition

UNIVERSITY OF SAINT FRANCIS April 5 – April 27, 2014

38th Annual SOCA Student Exhibition

April 5 – April 27, 2014

School of Creative Arts Masters Program Highlights Exhibition

GALLERY OPENINGS OTHER GALLERIES Crestwoods Gallery

May – June 2014 Stephan Perfect and Dick Lehman View Event Details

Krull Gallery

March 1 – April 5, 2014 Musical Vision April 11 – May 15, 2014 IPFW Spring Graduates Department of Visual Comm. & Design May 31 – July 6, 2014 Juried Teen Photo Exhibition ACPL’s 7th Annual

Orchard Gallery

May 2014 Terry Armstrong Watercolors

Castle Gallery

Present – April 12, 2014 Ides of Art

fwoutfitters.com

1004 Cass St, Fort Wayne, IN 46808 46

PAPER MOON treasures to believe in

188 E 2nd Street Roanoke, Indiana 46783 48