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JANUARY 2014 | projectfamous.com
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JANUARY 2014
Winners of RAW Madison’s RAWards 2013
FEATURE RAWards 2013 on page 31
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PAGE 64
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PAGE855 PAGE
PROJECT FAMOUS MAGAZINE
January 2014 Issue 012
PAGE 54 59
LETTER FROM THE EDITOR
FEATURE
8. Self-Made Man by Joey Broyles
31. RAW: Madison Celebrating 2013 Artists of the Year
TALK BACK | FEEDBACK
10. Discussing Rembrandt by Tammy and Paul
MUSIC
by Kelly Lajter & the 2013 RAW Winners
FASHION
51. A Jam Session With The Sharrows by Karen Wheelock
11. Frugal Fashion: You Better Accessorize! by Guerrilla Thrifter Adeline Peck
BEAUTY
BEHIND THE SCENES
55. Nailed It! by Candi Robbins
21. Freud: Chaos and Order by Jason Ocker
LAST NIGHT
THE ARTS 59. Paul Smith: Building Rooms in a Burning House
25. Future Pop Revolution by Paulius Musteikis Photography
TAKE THE FIRST STEP
60. The Frequency Calendar
27. Why Make Art? by Paul Smith
by Christy Grace
PROJECT FAMOUS MAGAZINE JOEY BROYLES Editor in Chief KELLY LAJTER Mananging Editor Arts Editor CHRISTY GRACE Beauty Editor CANDI ROBBINS Fashion Editor ADELINE PECK Music Editor KAREN WHEELOCK Copy Editors DANIEL ATWATER FREDERICK HURST Contributing Writers JASON OCKER THE 2013 RAW WINNERS Contributing Photographers ADAM DOUGLAS PHOTOGRAPHY ADELINE PECK ALICIA KRUPSKAYA ANNE FLOREAU | LA PHOTOGRAPHIE FLOREAU BRADLEE BERTRAM | BMB GRAPHICS CANDI ROBBINS CHRISTY GRACE DIANA HOGARD JASON OCKER PAULIUS MUSTEIKIS PHOTOGRAPHY RISE UP LIGHTS PHOTOGRAPHY RAW PHOTOBOOTH IMAGES COURTESY OF CGPHOTOGRAPHY FREUD IMAGES COURTESY OF LIVING STORM PRODUCTIONS ADDITIONAL GRAPHICS BY PAUL SMITH Project Famous, LLC. | PO Box 6292, Madison, WI 53716 Letters to the editor, advertising opportunities and all other questions can be emailed to info@projectfamous.com PROJECTFAMOUS.COM ©2014 All Rights Reserved. JANUARY 2014 Issue 012
CELEBRATING 12 ISSUES Supporting local Independent Artists in Madison, Wisconsin!
OVER 3,000 DOWNLOADS and 200+ READERS! Project Famous Magazine and our volunteer staff would like to thank you for reading and subscribing to our digital magazine. We are determined to keep bringing you great stories on our local independent artists! Happy New Year and thank you for supporting your local arts!
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GRAPHIC BY PAUL SMITH
Letter from the Editor From the desk of Joey Broyles
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“As evolved as we like to think we are, it’s still a game of survival of the fittest.”
ndy Warhol has been one of my biggest inspirations for the last six years. I became enamored with his public persona and how, in general, people thought he was strange. I don’t think I’ve ever been interested in “normal.” Warhol inspired me because of his art and he inspired me because he didn’t worry about what others thought of him. I’ve taken his quote and have stamped it on my brain: “Don’t pay any attention to what they write about you. Just measure it in inches.” As a businessman, a performer, and an artist, I don’t have time to worry about what others think and I think every artist should stamp Warhol’s quote on their brain. Don’t be afraid to be the guinea pig. Art and life can be trial and error, so experiment. We get to a certain age and we stop thinking for ourselves. Put yourself out there and do what you think you need to do. I find that two things inhibit us from doing what we want to do: fear and society. These two things dictate every part of the modern day person. “Oh don’t wear that, someone will think you are a tramp.” “Oh don’t say that because it’s not a popular opinion.” I know that as the human race we pride ourselves as being able to think for ourselves but a lot of what we do is what you do. As difficult as it may be to remove yourself from that form of thinking, you need to do just that. If you are writing a song and are worried about what others will think, you aren’t writing for the right reasons and you are being disrespectful to your art. 9
Oswaldo Martinez, a friend and filmmaker, once said to me, “You Americans are too polite. Just tell them to f--- off.” Now this sounds disrespectful because we are taught that this phrase is disrespectful. For a moment let’s really analyze what Oswaldo is saying. Is he telling you to just tell everyone to f--- off? Or is he saying something more? I think he’s trying to say that we put up with a lot of crap that we should not have to. I think what he’s trying to say is you should know what you want and if it’s not what someone else wants, too bad. Some of you will inevitably laugh or be turned off by this subject, but in all reality if you are offended or laughing, it’s because it rings a bit of truth within you. It’s pretty easy to live each day doing what is expected of you, but to do something more with your life requires a little bit of bravery on your part. So with respect take a bit of Oswaldo’s “f--- off” mentality with you and do what you want. Stamp that quote of rebellion or inspiration on your brain and live your life. We put this magazine together every month for a multitude of reasons, but one big reason is to inspire. To make you see or read something that sends you over the edge into a creative frenzy. Remember art poses questions and if people talk, that’s exactly what they should be doing. Art doesn’t have to be provocative but if you are going to go there, go there. Like I said if you worry about what others think or what they might say, you aren’t ready for the real world. No matter what people say, it’s a battlefield out there and as evolved as we like to think we are, it’s still a game of survival of the fittest. A self-made artist doesn’t have time to think about society and fear because they are too busy taking it all in. Live your life and live for your art.
Talk Back | Feedback Dear Editor, I’ve been enjoying reading the latest issue, but I was struck by Paul Smith’s detailed description of a life-changing encounter with Rembrandt’s “Night Watch” at the Louvre in Paris. I was just wondering how he did this, as this painting, a Dutch national treasure, has never been displayed at the Louvre. Perhaps he is just confused about an event that happened a long time ago?
Sorry to trifle about such a small detail! Just found it odd.
Signed, A faithful reader and art history lover Tammy Adler Dear faithful reader and art history lover, Tammy, I have to message you and thank you for the earlier message about my experience at the Louvre. It has provided me a vibrant and scary little mystery to unravel. As I read your message, a little thought balloon appeared over my head, with a cluster of exclamation points and question marks in it. As time went by, the thought balloon began to expand. The only word in the thought balloon was “What?”. I stopped what I was doing and started digging. After about an hour of Google searching, I came to the arresting conclusion that the person who sent you that you are absolutely correct. Rembrandt’s “Nightwatch” had NEVER been at the Louvre in Paris. Which left me sitting there with an even larger and more troubling thought balloon hovering over my little head… if it wasn’t “Nightwatch,” what painting was it that I misidentified?
I can remember that moment with a clarity that is frightening – right down to the pattern of the parquet floor in the room where the massive painting was installed, the darkness of the composition, the fact that it hung alone in that side room… Which is no mean trick… after all, we’re talking about an event that occurred nearly 40 years ago.
What was that painting!?
It had occurred to me that I was using very heavily at that time in my life. But I’m certain this wasn’t the result of really, really good acid. It was such a seminal moment for me. I can see it as clearly right now as I’m typing this as I did then. THIS is going to be fun. I’ll let you know what develops.
And thanks again! I love a good mystery!
Signed, PAS WRITE TO PROJECT FAMOUS MAGAZINE
From our December issue: “Apples to Oranges” by Paul Smith. Paul responds to his reader.
Mailing address: Project Famous, PO Box 6292, Madison, WI 53716 Email: info@projectfamous.com When writing to Project Famous please include the article and the issue. Include “letter to the editor” in the subject line and indicate if you’d prefer to remain anonymous. We receive several emails every day; please be patient with us. Project Famous Magazine does not gaurantee the publishing of letters to the editor.
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FASHION
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FROM:
GUERRILLA THRIFTER
FRUGAL FASHION
You Better Accessorize! BY ADELINE PECK
Hello 2014! May this be the year of happiness, health and one hell of a wardrobe. Start the year fresh with those vintage-finds and thrift shop purchases that make the wallet happy. What’s that you say? You have a full closet? Your funds are dwindling after the holiday? Well then, You Better Accessorize! The best outfits are always topped off with the best accessories. Three looks this month are showcased by The Triple A: Anika, Anzia and Adeline. Doesn’t everyone feel cuter when they are accompanied by their best friends? These three looks showcase accessories affordable for even the tightest budget.
Photography ADELINE PECK
Models Anzia Shea, Anika Lautenbach and Adeline Peck. PROJECTFAMOUS.COM | JANUARY 2014 12
A Good Head on Your Shoulders With hair for daytime, Anzia Shea really knows how to pull off a good hair accessory. This soft cotton jersey white and grey print turban wrap was purchased at the Hatch Art House for $25. If you really love something, you will make it work in your wardrobe. And Anzia, we love this head wrap! Anzia’s quiet elegance and grace is made playful with the whimsical print. It’s always important to not compete with loud accessories. Paired with this head wrap is a simple matte crepe bomber jacket with gold-tone button hardware. This look is comfortable, cute and is ready for whatever 2014 brings!
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Meg Ryan Realness Anika Lautenbach, no stranger to Frugal Fashion, is showcasing one of the most classic accessories, the Hat. This black wool derby hat was purchased at St. Vinny’s for $3.99 and is worth every penny. It’s still winter for some time; you might as well have a great, stylish hat to keep your head warm. The black hat is simple enough to pair with the bolder pink quartz dangling earrings. Earrings were purchased from Cosmic Delight on Atwood Avenue on sale 3 for $15. This is a deal people! Anika, we always love your look and you rock it with such confidence! Keep up the cuteness in 2014.
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Black and White, I Can’t Quit You I am self-proclaimed lover of all things black and white. This is ever present in my fashion choices. I decided to rock a black and white linen striped head band with my black and white Isaac Mizrahi Ringer Tee. Still needing a little more zing, I doubled up on earrings with my favorite turquoise and straight silver-tone earrings. Earrings are from my favorite jeweler, Burnie’s Rock Shop. The linen head band comes from Earthbound Trading, Co. for just $5. Ringer Tee comes from the classic Goodwill for just $3.99. Lovers of Fashion and Thrift, grab your best friends, some spare cash and You Better Accessorize! Make 2014 the best year yet!
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BEHIND THE SCENES
Freud: Chaos and Order I by Jason Ocker
sat down with Jeff Blankenship, a director with Living Storm Productions (LSP), at Nau-Ti-Gal on the north side. We spoke of a wonderful short film that had recently been polished to a point suitable for a general audience – Freud. Without going into too much detail, it sounded like a psychological thriller that explored the concepts of chaos and order. It’s about 21
two men that cross paths in a most unfortunate way and need to decide for themselves how to live the rest of their lives. As Blankenship excitedly talked about how the story was riveting and the cast was spectacular, so I too became quite enthralled with the prospect of eventually seeing the final product. When I spoke with him last, a near-complete version had been shipped off to the Wildwood Film Festival in
Appleton, hopefully winning many accolades in the spring. Blankenship and I talked about the creative process behind the film, beginning to end. The original story was put forth by Craig Olson, a screenwriter for LSP that has submitted works such as LSP’s productions of Killboy and Krash and Stones. The screenplay for Freud went through a few revisions, but everybody involved finally came
PHOTOGRAPHY BY LIVING STORM PRODUCTIONS
to an agreement. Shooting took place in Lodi and occupied the lion’s share of two days. In this time, cast and crew were on point all the way. Steven Dean, a local filmmaker, captured some great shots with his fancy camera work and the actors, Jordan Peterson and Brian Belz, pulled out all the stops. I hear Belz’ performance was one of the best they’d ever seen. The only downside to such tight filmmaking was that there may be little to work with
insofar as a gag reel is concerned. Blankenship did mention one chuckle-worthy take: Belz was supposed to be holding a gun, but the camera angle in use did not show his hand, so for convenience he just make the classic elementary school “hand” gun by pointing two fingers forward and curling in the rest. The scene rolled along and for a shining second, they witnessed Belz flailing his very intimidating finger-cannon at the camera in a
fit of rage. I met Olson to discuss the process that took place for Freud in December. Olson, having recently finished his last final for the semester, found he could breathe a little again. This structural engineering graduate student found a knack for writing movies in the latter part of 2011. He saw an ad on Craigslist (perhaps it was fate) about an open acting position. When he inquired to its availability,
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he discovered, unfortunately, that it was filled. However, he was told that they still needed scripts, so he set to work on writing something compelling. His first submission was passed over, but his second, Killboy and Krash, captivated the LSP team, so it went into production. Throughout this period, Olson had never met anybody in person – not Blankenship nor Alex Contreras, LSP’s CEO and co-director/producer on Freud. All correspondence was via email. But once Stones came around in March of 2012, he finally got the chance to meet his teammates face-to-face and Olson presented the script for Freud. The original draft, at around 20 pages, was far too long to be made into a manageable short film of around fifteen minutes, so he ramped up for a second draft – which ended up being even longer at about 27 pages... This is still Olson’s favorite version, but he understood that its size was unwieldy for what purpose it was supposed to serve. Olson, Blankenship, Contreras and production manager Maire Jacobs did a collaborative rewrite, whittling it down to a functional eleven pages. Although by this time the theme of the movie had changed slightly, Olson was still gung-ho about the project – nothing had been changed in a way that it would conflict with his vision. The only disagreement, being a very brief one, was how to present the ending. Olson had a clear and concise idea in mind, whereas Blankenship wanted something more ambiguous. Blankenship ended up shooting three separate endings and after review, decided that Olson’s original ending was the best. As a side note, this rewrite procedure was special only to
Freud. Olson’s previous works have been altered very little from their originals. In fact, some content was added to some of them because they may have been too short otherwise. Another fun fact: The second draft was setup so that it could have been part of a series, maybe a prequel or sequel. In the end though, Freud stayed as the stand-alone project it was originally intended. Once all video and audio was captured, it was post-production time. Both sound and color need to be real and clear, and scenes need to fit together seamlessly and beautifully. Post-production took maybe twice as long as the actual filming and recording. Now that that’s over with, it’s time to promote. Film fests, Facebook, YouTube, and all other avenues are considered. Maximum exposure is the name of the game after the product is complete. But when will the DVD be released? I’m sure that’s the question on everybody’s mind. It may be put on a DVD by itself or bundled with other short films. There are few other projects in the works right now but nobody wants to wait to get Freud on the market, so it will probably be posted to YouTube or some other streaming/downloading venue shortly after the music score is fully integrated. What specific date it will be open to a wide audience is suspect, but Living Storm Productions is looking at having this out by early spring. So keep an eye out for Freud, one of Living Storm Production’s most enticing films to date. It promises intense acting and a compelling story, a feast for the eyes, ears and minds.
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FUTURE POP REVOLUTON: A MASQUERADE PARTY OF THE FUTURE @ THE INFERNO NIGHTCLUB DECEMBER 15, 2013 - FEATURING GABE BURDULIS, ANNABEL LEE, JOEY BROYLES, SEXY ESTER, GLITTER TO GORE, LOCAL SOUNDS, THE MAMAS, RISE UP LIGHTS PHOTOGRAPHY, & ROKKER VODKA
PHOTOGRAPHY BY PAULIUS MUSTEIKIS PHOTOGRAPHY
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TAKE THE FIRST STEP
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I
will never forget the conversation I had with what appeared to be an intelligent, well dressed, elderly gentleman who had decided to come to a group showing of life drawings I had been part of at the Charles Allis Art Museum in Milwaukee in 1987. He seemed to really like my drawings, and the whole show had impressed him. Our conversation pivoted around his admiration for certain works, and he seemed really, really blown away by some of the figure studies. He was studying one of the drawings on the wall and then he glanced at me and with a smirk, asked me “These are fantastic, but I’m wondering, what it is you do for real?” His question stopped me in my tracks. My expression must have exposed my inner dilemma, as I must have been looking at him like he had just asked me to explain furniture. I thought that the answer to that was fairly obvious – I’m an artist and I make art for a living. But he was dead serious. He went on to explain that he knew that real artists do something else, something valid with their lives, and made art on the side. Because everyone knows one cannot make a living making art... Hence his question. It is an inescapable reality here in the US that we live in a commerce culture – absolutely
no doubt about that at all. The natural inference in such a culture is that the things we value will be accompanied by a higher price tag. Inside of more years than I care to admit, I have seen countless examples of how art products are ridiculously under-valued in this commerce culture we live in, and it absolutely blows my mind. Most existing companies, corporations especially, seem to think that artists can and should be paid pennies on the dollar for what we produce so that they can be exploited for vastly more money on the open market. Logically, that makes absolutely no sense whatsoever. But there it is. If the artwork is necessary for the product to be marketed successfully, doesn’t it make sense that the value of the artwork itself should escalate? It doesn’t, it hasn’t, and it’s kind of our own fault. So, how about some clarity? “What is it that we do for real?” we are often asked. Think of anything that you own. Anything that you ride in, walk on, play with, work with, wear, sit on, lay down on, cook your dinner in, eat your dinner on, anything. Everything that we use in this commerce culture, everything, would not make it to market if it did not first go through the hands of an artist. From the think tank of advertising campaigns all the way to the production artist who designs the packaging, our niche in this commerce culture is so important, so essential, so critical
to marketing success that it seems laughable to think that the stereotypical idea of the “starving artist” should even exist anymore. In reality, that stereotype is alive and well, still doing a tremendous amount of malicious damage to our credibility as contributing members of this commerce culture. I know that this seems to focus on the commercial artist, and not the fine artist. And when I say “fine artist,” I’m including all the disciplines of art: writing, painting, sculpting, drawing, music, dance, acting, et al. But those creaky old stereotypes affect both the commercial artist and the fine artist. In the fine arts, there still seems to be an idea that one must starve, must wade through indescribable emotional traumas and abject penury to be able to demonstrate the beauty that we allow to be demonstrated in our art. I have been battling these ideals for decades; I’m still losing the fight. If you’ve looked for an art job here in Madison, you’ve seen the evidence that this foolishness is still rampant. An example would be the print/marketing company that advertises for a “graphic design guru” that can easily swing through Adobe software, knows Microsoft Office backwards and forwards, is exemplary at web authoring coding and can even model 3D objects and build the digital landscape in which these objects will appear. In short, the candidate
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ADVERTISEMENT needs to have compiled a vast amount of technical knowledge, involving years of study and hard work to even be considered for this position. For $12.00 an hour. Twelve fucking dollars an hour. This is where our lack of responsibility to this insult comes into play. I know that we need to pay the rent, keep the lights on in our studios and enough food for two or three meals a week, so we wind up lining up like sheep for these “opportunities.” Even worse are the “internships” offered by some companies... The idea here is that the artist can gain a tremendous amount of experience designing and creating for exposure and filler for their portfolio. For. No. Pay. That whole ideal is a flaming pile of bullshit. As a graphic designer and production artist with decades of experience, I can assert with a solid confidence that every project I’ve ever dealt with (at least a thousand of them) are all different, and all of them have their own individual learning curve. It never stops… Attempting to entice me by telling me that contributing my artistic efforts to gain valuable experience is a genuine business principle doesn’t wash. All it does is leech off of talented people that have accepted this as normal business practice. And it has to stop. We are the ones to stop it. How do we do that? It’s simple, but not easy. We need to draw a line in the professional sand. Whether we are seasoned professionals or recent graduates, we need to demonstrate to the business communities that we no longer will buy that aggressive, insulting and exploitive ideology. That we as artists have a critical place in their world; if they want the talent we possess, they have to pay for it. It won’t happen by next week. It’ll take some time. But we can change these unhealthy methods of exploitations by the business world. …So that we can stop filling thermometers for a living… If you enjoyed Paul’s perspective, be sure to read all about his artistic endeavors on Page 58 of this issue. 29
Advertise with Project Famous Magazine Reaching hundreds of readers from Madison, WI. If you have creative customers we have affordable and creative solutions. Email: booking@projectfamous.com
Not so long ago and close to home, monsters, wizards, dreams and dragons were packaged into a thousand cardboard boxes. A small group of friends in Lake Geneva dared to loose upon the world the “most dangerous” game 1974 had to offer. Role playing games channeled the creative energy of millions, even if they’re afraid to admit it. Requiem introduces Winslow Phelps to our stage and welcomes back Geremy Webne-Behrman, Dunes and Clarice Lafayette. Requiem for a Dungeon Master will run at Broom Street Theater January 10th thru February 1st every Thursday, Friday & Saturday at 8:00PM. More details will be available on the theater’s website bstonline.org . Tickets are $11.00. For more information or to make reservations contact Broom Street Theater at (608) 244-8338. PROJECTFAMOUS.COM | JANUARY 2014 30
Meet the Winners from RAWards Leaping Forward Into 2014 PHOTOGRAPHY BY ADAM DOUGLAS PHOTOGRAPHY, ALICIA KRUPSKAYA, ANNE FLOREAU|LA PHOTOGRAPHIE FLOREAU, BRADLEE BERTRAM|BMB GRAPHICS, CARLOS GUZMAN|CGPHOTOGRAPHY, DIANA HOGARD, JASON OCKER, PAULIUS MUSTEIKIS PHOTOGRAPHY, & RISE UP LIGHTS PHOTOGRAPHY
RAW: natural born artists is an independent arts organization, for artists, by artists. We’re an international community made up of creative individuals across the globe. Our mission is to provide independent artists within the first 10 years of their career with the tools, resources and exposure needed to inspire and cultivate creativity. We welcome all genres of art including independent film, fashion, music, visual art, performing art, hairstylists, makeup artists and more. We encourage the creative success of the many visionaries and storytellers of our generation. RAWards is the biggest indie arts show! The show is held annually by RAW: natural born artists. At the end of every RAW season (October), RAW hosts a 2.5 month competition and judging process that selects nine winners out of over 10,000
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artists that participate across the United States & beyond. Over the course of the competition, RAW artists engage in online voting, city-based semi-final showcases and final judgments by the official RAWards judge’s line-up, which consists of a mix of creative celebrities and well-known industry professionals in each artistic field. The winners receive career-building prizes packages such as placement in boutiques or galleries, products, services, consultations with judges, and the exposure of a lifetime.
These artists are RAW: Madison 2013 Artists of the Year. Project Famous Magazine asked each winner the same five questions about their 2013 Victory. The following pages take a look at their visual history at RAW: Madison 2013 and their individual reflections on their year and success.
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VISUAL ARTIST OF THE YEAR
MIRANDA MORRISEY
PF: As a RAWard Winner, what is the biggest take- of selling.” No things are ever for certain in this away for you with this title? What does being a controversial world, so I might as well be certain RAWk Star mean to you? of one thing: that all of my pieces are an honest representation of myself. MM: I think that the biggest thing I will take away from being a winner this year is that it doesn’t always PF: If you could do your whole year again with matter who you know. I am sort of in a transition RAW, would you change anything? phase at the moment and where I live right now is definitely not the place one would hope to find MM: If I could do my whole year over with RAW, any success as an independent studio artist. RAW I don’t think that I would change anything really... opened up the boundaries for me and for the first My first showcase may not have been perfect but time since school, I felt like I belonged somewhere it got me to where I was at the end. (And even if I had it to do all over again, I would still botch the and that what I was doing mattered again. interview – cameras are just not my thing.) One PF: What are your plans for the next year with this thing I do regret thought is not being able to produce title under your belt? more work... but I don’t know that I could have helped that unless I quit my full time job – which MM: For the next year, I hope to be able to use the may have been a whole new regret in the financial title to rope-in some gallery shows in bigger cities. department. I have my sights set on Chicago; Minneapolis would be nice. Although I may have not had much PF: How do you feel about RAW now that the year experience showing, I have had enough to know that is concluded? Is RAW something that you would my work does much, much better in larger cities. recommend that others participate? Do you feel RAW accomplishes what it sets out to do each year? PF: Have you learned anything along the RAW Road this year? MM: I would definitely recommend RAW to other beginning artists. It puts you in a social situation MM: I have learned a lot from RAW over the past where you have to talk to other people about summer. I have come up with new ways to display your work, which is essential if you hope to show work and more effective ways to go about ordering elsewhere or sell. I think RAW does an awesome job prints and taking commissions. Also, I realized of giving artists of all genres a platform – everyone that there is no point in making specific pieces at these shows works really hard at their talent and that I don’t really care for just to try and please an I can speak from a personal view that it is very audience. I am going to focus on what is important easy to get discouraged and want to give up when to me and the concepts that I want to convey and the you feel like you will never be seen or noticed or finished canvas that I want my name to be on at the appreciated. If you are willing to persevere, RAW is end of it all. I have no desire to produce work for there to help and encourage you. the sole reason that “it might have a better chance 33
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PHOTOGRAPHER OF THE YEAR
SARAH SMILEY
PF: As a RAWard Winner, what is the biggest take- SS: Networking, networking, networking! It’s the away for you with this title? What does being a magic word. Life as an artist can be isolating. But in RAWk Star mean to you? truth, there’s a wonderfully supportive net of artists and fellow creative minds out there. Use it! Use it to further creative criticism, encouragement, and SS: It is such an honor to be recognized for my hopefully, growth. work. A lot of artists can go through their entire careers without this kind of recognition; I’m very PF: If you could do your whole year again with aware of how lucky I am to have this opportunity. RAW, would you change anything? To me, being a RAWk Star is the ultimate symbol SS: I can’t say I would. It’s worked out well so far! of community recognition and acclamation – it’s being in a position of wonderful encouragement. PF: How do you feel about RAW now that the year is concluded? Is RAW something that you would PF: What are your plans for the next year with this recommend that others participate? Do you feel title under your belt? RAW accomplishes what it sets out to do each year? SS: As a full-time student with several part-time jobs, it’s very easy to be caught up in the everyday drivel and lose time (and drive) for my own art. I hope, with this accomplishment under my belt, I can work even harder to make the time to devote to my creative work. I have several plans for some new photo series I can’t wait to get started on! PF: Have you learned anything along the RAW Road this year? 35
SS: I do think RAW accomplishes its goals. From my perspective, it’s all about furthering and nurturing young and budding artists. There’s such a wide range of art and creativity represented within RAW; each artist can then, in turn, feed off of each other and the creative energy that it fosters.
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PERFORMING ARTIST OF THE YEAR
JESS AND JESS AERIAL DANCE
PF: As a RAWard Winner, what is the biggest takeaway for you with this title? What does being a PF: If you could do your whole year again with RAWk Star mean to you? RAW, would you change anything? JJ: We are so honored to represent Madison as “Performing Artist of the Year.� Being a RAWk Star was about finding a place to express ourselves as artists and the RAW community has been an amazingly supportive group. PF: What are your plans for the next year with this title under your belt?
JJ: We were so happy to meet the other amazing artists. The collaboration between the art forms was inspiring. The events themselves happen so quickly, but the connections we made carried over into the rest of the year.
PF: How do you feel about RAW now that the year is concluded? Is RAW something that you would recommend that others participate? Do you feel JJ: We have big plans for the coming year to RAW accomplishes what it sets out to do each year? continue growing as artists and hopefully perform even more. We love to be on stage and to share our JJ: It was so amazing to be selected as performing passion with the audience. We hope this year brings artist of the year. The entire year has been one of more exciting opportunities. To follow our aerial growth and exploration for Jess and Jess Aerial adventures please check our website or Facebook. Dance. RAW gave us the opportunity to share what we love and hopefully inspire others to follow their PF: Have you learned anything along the RAW own passion. In some ways it was difficult to explain Road this year? our art in-person since most of our RAW event-time is on stage and not interacting with the guests. As JJ: Each event is a time of artistic invention and performers it is often trickier to connect our art to growth. The preparations for each show were something tangible, which seems to work best for particularly useful. Each event sets a specific tone visual artists who spend the evening interacting and these parameters gently shape our creative with guests and discussing their artistic vision. vision. Working with low ceilings and on a small RAW connected us with the other artists and these stage pushed us to develop pieces on lyra, a collaborative efforts have been truly inspiring. relatively new apparatus for us until RAW. 37
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FILMMAKER OF THE YEAR
ALICIA
KRUPSKAYA PF: As a RAWard Winner, what is the biggest takeaway for you with this title? What does being a AK: I wasn’t able to attend the few salons that my RAWk Star mean to you? work was shown in – I was living in New York at the time. If I could do it again, I would have made AK: It’s an absolute honor to be a part of something arrangements to go. But otherwise, everything went like RAW. I loved the whole journey, the showcases, wonderfully. I would have loved to collaborate with and the salons – to have gotten such a title is a some of the other artists within RAW – the makeup gift, to say the least. I’m so happy to have been artists, the performers, musicians. As a filmmaker, I chosen by such a group and to be recognized by the search for those types of people to make my pictures independent scene; this is exactly the type of people come alive and to see their best work right there I wanted to embrace my artwork. It’s a pleasure. was something I should have taken advantage of. PF: What are your plans for the next year with this title under your belt?
PF: How do you feel about RAW now that the year is concluded? Is RAW something that you would recommend that others participate? Do you feel AK: I plan on continuing my work, completing RAW accomplishes what it sets out to do each year? a narrative film in New York, where I’m now living and going to school. Summer calls for more AK: I feel so grateful to RAW. It’s a place every collaborative pieces. I’m still in school, so these artist should strive to be a part of, because it is independent works are much more of a possibility. about the meeting of thinkers, not a certain type of artist. I’m able to be inspired by more than I have PF: Have you learned anything along the RAW access to at a film festival. Every artist should be Road this year? open to that idea of seeing all types of art in one location, no matter what field they are going into. It AK: I’ve learned that there is a scene for independent shows that as artists, we’re all doing a similar thing. film, and even more surprisingly, experimental film. We are trying to spread an idea, create something It’s wonderful to be welcomed to a place where and achieve some sort of excellence. It calls for people are willing to see my work outside of a collaboration and more types of art to be created gallery or a theatre setting. because of the ideas of many, not just one. It’s something that, again, I believe every artist should PF: If you could do your whole year again with take the time to be a part of, for their inspiration’s RAW, would you change anything? sake. 39
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FASHION DESIGNER OF THE YEAR
NICHOLAS SCHMIDT USA
PF: As a RAWard Winner, what is the biggest take- I want my craft to go to the next level. away for you with this title? What does being a RAWk Star mean to you? PF: If you could do your whole year again with RAW, would you change anything? NSU: It is definitely an honor to have won Madison’s 2013 RAWard for “Fashion Designer of NSU: I don’t think I would change anything from the Year.” The biggest take-away for me with this this year. I think I needed to be disorganized in whole process is that it is important to pursue a life order to come to the realization that I wanted things of authentic transformation. I don’t mean that in to be different. I tend to learn a lot more from my a cheesy or pretentious way. Winning this award failures/flops than I do from my successes. is more of an affirmation of the life I have been choosing to live over the course of the past few years. PF: How do you feel about RAW now that the year My craft was born in the early stages of recovery is concluded? Is RAW something that you would (I am a recovering addict). I have continued to recommend that others participate? Do you feel pursue living a positive, authentic life... and fashion RAW accomplishes what it sets out to do each year? design has been a major contributing factor to that life. Being a RAWk Star is really humbling for me, NSU: I feel like they’re doing an excellent job with because it means that I am being honored along helping me to gain local exposure. More people with many other people around the world, whose know me and have purchased goods from me as a crafts are absolutely mind-blowing. result of the two shows I did. There are some good resources (like the PF: What are your plans for the next year with this RAWk Wall) on the RAW website that I did not title under your belt? take advantage of this year (I only found out about RAW back in August). I would highly recommend NSU: RAW has really helped me to hone in on the that perspective participants in RAW take a more things I actually want to do this next year. I’ve calculated approach than I have taken. been dabbling in multiple different mediums for a Use the art-to-business resources through while, doing almost entirely custom-made items for the RAW website if you’re serious about trying to people (every item in both of my RAW shows was make your art a business. Additionally, talk to other made specifically for those models). artists that do their art full time. It is good to gain Part of getting focused also means that I will insight from people who’ve been there. be writing out a business plan for where I want this Look up other RAW artists around the world “thing” to go and what things I want to do. Being a in your same field. Get some ideas. part of RAW has been a contributing factor for me Don’t just participate in a show and think to get more focused. that is going to make you famous. The showcases are just a piece of what RAW has to offer. Exposure PF: Have you learned anything along the RAW is one piece of the pie. RAW has other tools and Road this year? resources to help you work “on” your business, as well as working “in” your business. NSU: I’ve learned that I need to be more focused if 41
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ACCESSORIES DESIGNER OF THE YEAR
SARAH
DeANGELO JEWELRY
PF: As a RAWard Winner, what is the biggest take- at the RAW shows go to; it is inspiring. away for you with this title? What does being a PF: If you could do your whole year again with RAWk Star mean to you? RAW, would you change anything? SDJ: You take a risk anytime you put your art out there for the world to see, and even more so, when you put it out there to be judged. I am incredibly flattered to have been nominated and then to have won the “Accessories” category. To me, being a RAWk Star means that other people saw the beauty in what I created. There is no better feeling. PF: What are your plans for the next year with this title under your belt?
SDJ: I tend to RAW is a perfect I would have bigger and taken
be pretty conservative and place to push the envelope. experimented more, gone more risks in my designs.
PF: How do you feel about RAW now that the year is concluded? Is RAW something that you would recommend that others participate? Do you feel RAW accomplishes what it sets out to do each year?
SDJ: I had a great experience with RAW. I truly SDJ: I plan to brag a lot. enjoyed the showcase I participated in, and the semi-finals were a blast. I would recommend RAW PF: Have you learned anything along the RAW to other artists who want to join a larger artist Road this year? community. I think it is a great venue for exposing new/unknown/underground artists. It is not mainSDJ: I have been encouraged to take more stream, which is where my art falls, yet I still fit in. risks. I love the extremes a lot of the artists It’s really a lot of fun. 43
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HAIRSTYLIST OF THE YEAR
CANDI ROBBINS
PF: As a RAWard Winner, what is the biggest takeaway for you with this title? What does being a CR: I’ve learned who I really am as an artist and RAWk Star mean to you? that I am very competitive. CR: I am honored to have worked with designers, models, photographers and directors. It gives a spark of excitement to my clients and allows me to continue to do what I love in and out of the salon. It means being really recognized as an artist. I don’t just do cuts and colors behind the chair, which is an art; I want people to see that there is more that can be done with hair than what we do behind the chair for our everyday clients. PF: What are your plans for the next year with this title under your belt?
PF: If you could do your whole year again with RAW, would you change anything? CR: I would not change a thing about this year. I am happy and proud looking back on my year. PF: As a RAWard Winner, what is the biggest takeaway for you with this title? What does being a RAWk Star mean to you?
CR: I highly recommend RAW. It is an amazing group of people and an amazing opportunity to network in the arts community – something any CR: I plan on participating in RAW a good amount artist can benefit from. this year and taking my creations to a whole new I do believe it accomplishes what it sets out level. to do. However, I also believe it is up to you to really put yourself out there, network, meet and connect PF: Have you learned anything along the RAW with people to make the most of the opportunities Road this year? that RAW sets up for you.
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MAKEUP ARTIST OF THE YEAR
KATRINA KING
PF: As a RAWard Winner, what is the biggest take- KK: This year with showcasing, I’ve learned to away for you with this title? What does being a go with the flow. At the RAW semi-finals I had two RAWk Star mean to you? models that couldn’t make it and a hairstylist that didn’t show up. Everything ended up working out KK: It was an honor to win this title two years in in the end and I worked my way through. a row. What I take away from this experience is that I know I’m in the right industry. The thrill I PF: If you could do your whole year again with get after showcasing my art is exhilarating. Being RAW, would you change anything? recognized by my peers is the icing on the cake! KK: I wouldn’t change a thing with my RAW PF: What are your plans for the next year with this season; it led me to “Makeup Artist of the Year!” title under your belt? Make-up is art; there are no mistakes when creating art! KK: Having the ability to market myself as a twoyear title holder with “Make-up Artist of the Year” PF: As a RAWard Winner, what is the biggest takeis an exciting thought for my company! away for you with this title? What does being a RAWk Star mean to you? PF: Have you learned anything along the RAW Road this year?
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KK: I recommend RAW to every artist I meet! It’s a fantastic organization that supports artists; it doesn’t get any better than that!
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MUSICIAN OF THE YEAR
JOEY
BROYLES PF: As a RAWard Winner, what is the biggest take- PF: If you could do your whole year again with away for you with this title? What does being a RAW, would you change anything? RAWk Star mean to you? JB: I don’t think I would change anything. When I JB: The connections I’ve made at RAW have been showcased last April I knew exactly what I wanted unbelievable. Without shaking hands with all these to do; I just didn’t know if we could pull it all off. fellow artists, I don’t think my time at RAW would When the time came to hit the stage everyone was have been as enjoyable. It’s very rewarding to take prepared, we projected my vision to 500 people and home “Musician of the Year” but the connections that was magic! I have absolutely no regrets. I’ve made are just as important to me. RAWk Stars need to encourage new blood to PF: How do you feel about RAW now that the year join the team of RAW because it’s a great experience is concluded? Is RAW something that you would preparing you for the real world… Encouraging recommend that others participate? Do you feel others to follow their dreams. RAW accomplishes what it sets out to do each year? PF: What are your plans for the next year with this title under your belt? JB: Now that I’ve been given this humbling title, my job is to work just as hard and even harder on achieving my goal to become a full-time performer. It’s nice to have the title, but now you’ve gotta buckle down and really show people what you are made of. All eyes are on you so you better kick ass! PF: Have you learned anything along the RAW Road this year? JB: The amount of knowledge I now possess because of RAW is priceless. I’ve learned a lot about promotion and how things work and how they do not work. Now I know what works and I’m going to make the most of that for 2014. 49
JB: RAW is what you make of it. If you have the drive and passion to really show people what you are made of then you’re already half way there. If you haven’t already been a part of RAW, even as just an audience member, go and see the sights. I’m always reenergized by the surrounding artists. For less than twenty dollars you get to be in this art fair-like world where anything can happen... It’s the one time a month I feel like I’m not in Madison, but in New York City or somewhere fabulous like that. RAW certainly has an amazing team that works their asses off each showcase to deliver stellar results. I’ve been going to their shows since they started in Madison. It’s beyond an improvement! They’ve found their niche and they deliver excellence time and time again!
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MUSIC
I
A JAM SESSION WITH THE SHARROWS
pulled up to a remote farm in Columbus, WI and immediately knew I was at the right place. Not only was there the tell-tale trailer with the logo of The Sharrows parked outside, I could hear a jam session happening in the barn as soon as I opened my car door. I walked up the steep steps inside the barn and was welcomed by the cozy atmosphere of the barn’s loft converted into the band’s studio space. I was offered tea, water and even popcorn as we sat down for the relaxed interview. The Sharrows have been around for almost two years and is made up of Phil Sharrow on lead vocals, bass and acoustic guitar; Matt Smith is on electric and slide guitar, Jake Bicknase is on drums, vocals and occasional ukulele, Joe Hermanson is on keyboards, vocals, harmonica and guitar, and Sylvia Janicki is on cello, bass and backup vocals. 51
by Karen Wheelock
With backgrounds in everything from classical music to bluegrass to rock, the eclectic mix of influences of each band member makes for The Sharrows’ sound unique. Sharrow, originally from Eagle River, took guitar lessons in Colorado after he moved out of the house and really got into bluegrass. He started playing rock and “a little bit of everything” once he moved back to Wisconsin. Smith is from Chicago, but has been up in Madison for school for the past two years. He first got a guitar in middle school, but didn’t play much until high school. He listened to a lot of southern rock, and then realized that they were influenced by the blues, so he started listening to and playing the blues. Bicknase, originally from Mazomanie, grew up studying more “written” music, and got
into jazz, Brazilian and African music once he hit high school. His dad was a piano teacher, so he was always around music. Hermanson, raised in Columbus, laughed about how he got started with playing keys. He says, “My parents forced me to take piano lessons, which I absolutely hated and I tried to get out of it any way I could. Finally, they told me that if I practiced piano, I would get out of doing dishes after dinner!” The bribery paid off, as Hermanson is an integral part of the band’s sound today. Janicki, the token female of the group, grew up in Taiwan and moved to Madison when she was in high school. She has a background of playing classical cello and a little bit of piano, saying “I really didn’t start playing rock until I joined this band. It’s kind of been a steep learning curve for me!”
PHOTOGRAPHY BY RISE UP LIGHTS PHOTOGRAPHY
The band works more as a cohesive unit, with all members bringing their talents and ideas to the table. “I think we’re just, like, good friends that get together and want to play music,” said Bicknase. “There’s no particular order or natural leader, but everyone’s views get taken seriously.” Someone will bring in an idea for a song and they will all build on it, each putting a bit of themselves into it. Each song has different people singing on it, and instruments are often handed around. The Sharrows recently recorded some tracks with Eric “Doc” Holiday (who recorded their last album), and plan to either release a new EP or a full album come springtime. They also recorded audio and video at Blast House Studios, realizing that putting visuals to their music may attract more fans. Though they like having recordings, their hearts are really
into live performance. “I’d like to think we’re more of a ‘live band’,” said Smith. “I don’t think any of us prefer to sit in a studio all day. That’s one of the things we run into when trying to make a recording – it’s hard to fit into everyone’s schedules. When we play live, it’s like a better expression. We love it.” “Yeah, we get pretty loud and jam-y when we play live,” added Janicki. Anyone who has seen the band play would agree that they feed off each other’s and the audience’s energy. The Sharrows went on tour in June 2013 and are starting up another one early this year, visiting several states in the Midwest, south and east coasts, wrapping-up at Goose Island in Chicago on January 31st. Smith and Sharrow do most of the booking for the shows and use contacts they made at past shows to schedule upcoming shows. After playing at Freakfest this past
Halloween, they’ve gotten more exposure to the local audiences and want to continue gaining fans in other areas. “We’re just trying to book as many shows as possible,” said Sharrow. The band has gotten positive feedback in their experiences playing for non-local audiences as well, no matter the size of the crowd. “We put more value on individual people rather than groups,” said Bicknase. “If only one person is there at the show, we will still play for that one person. It’s not like we don’t have the energy for that. I think it’s more intimate when we play for less people – it’s more like having a conversation with them rather than giving a speech.” And with that, the selfproclaimed “farm-based” band jammed out with a few songs in their intimate setting of a barn loft studio. Keep up with The Sharrows on Facebook and listen to their music at Reverbnation.
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icki
Sylvia Jan
Joe Hermanson
Jake
Bick
nase
Matt Smith
arrow
Phil Sh
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BEAUTY
Nailed It! BY CANDI ROBBINS
Nail art is taking the internet by storm. The current nail craze is all about luxurious finishes, graphic color combinations, intriguing textures and fabulous nail art. The internet and store shelves are littered with ideas and tools to help you achieve an endless amount of nail creations. Here are a few tips and tricks on how to create the coolest manicure in town. Before starting, gather everything you may need. Nail polish remover, cotton pads or swabs, your colors of choice, along with any glitters and any accents you want to include. 1. Start by removing old polish. For natural nails, use a non-acetone remover. For hard to remove colors or glitters using an acetone polish will be more effective. Cotton pads or cotton balls saturated in your nail polish remover work best. If you have very stubborn polish, like layers of glitter, placing a cotton ball soaked in acetone on your nail and wrapping it with a bit of foil will help with the removal. 2. File nails to desired shape. File your nails in one direction starting at the edges and moving toward the center. 3. Get your hands on a great cuticle treatment, like OPI Avoplex Exfoliating Cuticle Treatment. Dot a tiny bit on your cuticles. 4. Soak in soapy water for a few minutes to soften cuticles. 55
5. Use an orange wood stick (available in drugstores) to push back cuticles. Be sure not to cut your cuticles, which can cause infection and damage the nail. 6. Massage hands with a hand lotion for extra moisture. I really enjoy Bioelements Vitalization Rich Intensity Body Crème. 7. Wipe nails with a paper towel and your polish remover to remove excess oils. I prefer to use a paper towel in this step to get the nail plate really squeaky clean. You do not want any oils or cotton fibers from your previous steps to inhibit a flawless polish! 8. Apply a base coat. Let dry for one minute. Orly Nail Bonder Nail Treatment creates a nice bond for your next coat of polish. If your nails need a little strengthening, I suggest OPI’s Nail Envy. 9. Apply two coats of your favorite color. Always apply polish by starting on the side of the nail. You should be able to cover the nail in three stokes, one on each side and one in the middle. 10. If adding nail art such as gems, stencils, stickers, designs, etc., apply these now. 11. Apply a top coat. I suggest Seche’ Vite, it’s definitely a “luxury” top coat. But you can even get away with a $1.00 nail polish much longer with an amazing top coat!
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1 & 2. Nail foil over a single coat of contrasting quickly. Follow-up with a matte top coat for a cool polish creates a flashy finish. I found six small finish. Here I used NYC Matte Me Crazy. bottles of nail foil at the Dollar Tree! 6. Fun shaped confetti polish can be found all over! 3. I am a big fan of glitter and sprinkle overlays. Here is Wet N’ Wild Fergie Polish In Hollywood They are also great in a flash for hiding a smudge or Walk of Fame. chip! This is Hard Candy’s Black Tuxedo. 7 & 8. Matching solid colors and glitter polishes 4 & 5. Nail art dotters are a great way to add accents make for awesome accent nails.
Nail stripers are a great investment if you want to free hand designs. ArtDeco and ArtClub both make an array of colors for all your nail art needs. These are fairly inexpensive and have long thin brushes that make it possible to create lines and details in your designs. PROJECTFAMOUS.COM | JANUARY 2014 56
Graphic nails are easy and bold. You can do a whole hand or just one nail for an accent. Toss up color combinations like nudes with deep green, navy and soft pinks, white with grey or taupe. 57
Great colors to have in any collection! “Deep Blue” like OPI’s Unforgrettably Blue
“Screaming Neon” like Finger Paints Silkscreen
“Mysterious Black” like OPI’s My Private Jet
“High Shine Silver” like Sinful’s Queen of Beauty
“Gorgeous Gold” like OPI’s Golden Eye
“Racy Ruby” like OPI’s Ally’s Big Break “Cool Neutral” like China Glaze’s Recycle
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ARTS
Paul SmitH: Building Rooms in a Burning House
O
by Christy Grace
n the night of Saturday, December 7th, 2013, Madison artist Paul Smith celebrated the opening night of his exhibition entitled “Building Rooms in a Burning House.” Though the temperature was bitter and snow threatened with an appearance, Smith made Bright Red Studios inviting by offering warm drinks, delicious catered mini cheesecakes by Auntie Jill’s Cheesecake and beautiful, ambient music by James Wood. Smith pleasantly greeted guests as they entered and invited them to drinks and snacks as they took in his work. After touring the studio, many viewers could chat with him about the pieces and he listened intently, discussing his ideas, or guessing which piece was each guest’s favorite. It was very apparent that he has great care not only in the art he creates, but for the people that view his art. When touring the gallery, it was easy to be drawn to certain pieces and to study them up close. Smith put deep thought and consideration into each subject choice, chroma selection, and nuance of light and shadow. He decided between smooth and torn edges with the purpose of giving new meaning and dimension. After seeing the culmination of his work, it is natural to wonder where his journey to this moment began.
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PHOTOGRAPHY BY CHRISTY GRACE GRAPHICS BY PAUL SMITH
Art from the Start Smith grew up with certainty that he would become an artist. “I was born in Milwaukee, Wisconsin in 1953. I grew up knowing only one established fact about my future: I would be an artist when I grew up. Seeing as though I was not adept at anything else, it seemed a natural conclusion anyway. I have taken a BFA in Fine Art from Milwaukee Institute of Art and Design, an ASC in Commercial Art and Illustration, and completed coursework at Minneapolis College of Art and Design in Digital Animation/Modeling.” Having been schooled in many aspects of art, Smith focused his work and his hobbies around what fit best in his life. “There are two arenas of art that I embrace: Fine art on the canvas/drawing board, and artwork executed on the computer. I like being involved with oil painting, drawing, sculpture, digital illustration, writing, and art history. I am also a passable guitarist and fledgling djembe player.” Smith has been an active artist for over 40 years, is a “fortunate recovering addict and alcoholic, having experienced 26 years of continuous clean-living”, and now lives in relative peace in Middleton, WI. Though Smith was Milwaukee-born, he had always heard people speak about Madison as an art town and that thought stuck in his head. “Throughout my ensuing travels it remained there, until 2008, when I decided to move back to Wisconsin from Washington state. The main reason I was moving back was financial; I hadn’t been able to find a new gig, and had started researching other states. I wound up getting a gig in Westport, Wisconsin with a start-up marketing firm, and moved to Madison. It seemed like a dream come true… after all these years I was finally able to experience Madison, and find out empirically if it was the art town I had always heard it was. I was in a relationship at that time and that pretty much absorbed most of my energies. That relationship dissolved in July of 2011, leaving me with an unobstructed path to exploring the art world in Madison. It’s been an upward journey ever since,” Smith explained.
From Inspiration to Creation Most artists have a certain pattern that they follow when thinking about starting a new piece or series. Commonly, for Smith, the idea sprouts and grows in his head for a while before taking physical shape. “I tend to be a little more cerebral in starting a new work. Since I tend to want to include a back story, if I get an idea or a compulsion to produce a piece of art, typically I research it a little. Or maybe a lot. Back in the ‘90s I produced a full 78 card tarot deck, and the research took five years before I produced anything at all.” Smith notes that a long process is not always the case. “I love doing artwork with a sense of immediacy, as in a life drawing study. The process involved in that type of art is basically an inner dare, an ‘I wonder if I can do this?’ type of motivation. It fascinates me to watch it develop, unfolding, often in a direction I hadn’t intended. Oddly enough, the most difficult part of the process for me has always been to know when to stop. I have had more than one piece develop to a point where I was happy with it, and then I added a little here, a little there, and before I know it, it’s gone in an entirely different direction than when I started. I used to think I had made a tragic mistake, or screwed it up, but I have learned to trust my artistic compulsions, and
“It is incredibly important for artists of all disciplines to communicate with each other, to demonstrate our intentions to build a better world, better lives.” accept that the piece is supposed to look that way. Kind of tough to do sometimes!” A Series Emerges After being involved with a few Madison art shows in 2012, Smith felt inspired to create a new collection of work that delved into the spectrums of emotion and human experience. “I wanted to create some artwork that demonstrated what I had learned about the human condition. PROJECTFAMOUS.COM | JANUARY 2014 60
Everyone has their own take on things, and it seemed natural that I would express my views on this visually. I didn’t have any paint at the time, so I started working with pastel, conté and ink – developing these works on paper. It was a choice between churning out a series of pleinair landscapes or still-life studies, or indulge in producing a very personalized type of artwork.” Deciding to translate his personal views and experiences onto a visual plane was not something he took lightly. “I take my responsibilities as an artist seriously, maybe more so than most. I felt that if I took the dare and expressed how I felt about things like sexuality, anger, greed, fear, love or loneliness, I could get people to start dialoguing about their own ideals. It’s one of my core beliefs that when people simply start talking about things on a genuine, honest level, the less likely we would be to harm each other and the hope is that we would then understand each other better as well.” What’s next? Where does Smith go after such an accomplished series and exhibition? “I currently 61
have just one piece in which I am actively working – a large oil painting dedicated to the Gaia principle. It’s large, a six foot by four foot oil painting, which makes it a pretty ambitious work. I intend to take my time with this and let it develop as I add to it; I’m excited to see where and how it will develop. I feel compelled to continue what I started with the “Burning House” series as well. While the Gaia piece will probably absorb all of my artistic energies for the time being, I want to continue exploring what I started, and in doing so hope to involve new processes and methods, learning new ways to do old things. That is exciting to me!” Reflections Smith has come to the conclusion that art can be defined as a complete reflection of the human condition. “All that any artist can do is reflect and demonstrate their own human condition experiences to others. Even a piece done strictly from imagination has deep roots in reality. It is imperative that the artist operate with as much input as possible. An uninformed artist is
in a tunnel, deprived of the vibrant influences one can only receive from interacting with others. I see this interaction happening in Madison on a daily, routine basis. Of course, the internet
has greatly enhanced the ability of the artist to interact with others globally, but a face-to-face interaction is unmatched in exchanging energetic ideas. I have experienced a tremendous amount of cooperation between art entities in Madison that I haven’t really seen anywhere else. That is wildly encouraging!” Drawing on his personal experiences, Smith has come to believe that it is best for artists to be connected rather than isolated. “If there ever was a time for artists to interact with each other, that time is now. This country is horribly divided by conflicting and ill-informed ideologies that threaten to tear us down. It is incredibly important for artists of all disciplines to communicate with each other, to demonstrate our intentions to build a better world, better lives.” Expert Advice Continuing with the theme of artists connecting to other artists and the world around
them, Smith shares some advice for artists. This advice can hit home for both aspiring and seasoned artists. “Interact with other artists as much as possible. Networking is a critical key to exposure, and demonstrating the energy needed to get your work out there is essential. Go to art museums and art openings as much as possible. Talk to gallery owners, collectors and media people.” Smith encourages any artist to share work rather than hide it away. “Part of the psychology of making art, whatever the discipline, is showing it to others. It will take some time and patience, but eventually you will find opportunities to show your work. It may not happen immediately, and a level sense of patience is required to see it all through. It often just takes time to demonstrate to others the value of your work; that is just the way of it.” Though he warns of a bumpy road, Smith believes that the journey of an artist is well worth it. “For those who are just starting out, or considering a career as an artist, know that you are entering a field that is, at this time anyway, vastly undervalued and exploited. We live in a commerce culture here in America, and the cost factors of a project will almost always be considered priority over the quality of what you produce. As you come up in the artistic world, you will experience a daunting amount of exploitation because of this. Do it anyway. “For years commercial entities approached me to produce something for them at a ridiculously low rate of pay. Even to the point of giving it all away for free. As one is first starting out, it might be advantageous to do some projects for exposure, but this pattern needs to be broken quickly. There is a weird duality at work here, one that you will need to balance on your own. You will be told that your work is beautiful, moving and profound, and at the same time be offered an insulting price for the work. Eventually you will need to stand your ground professionally and refuse to do anything you are not properly compensated for. Stick with it… that time will come.” Smith will continue on his artist’s path PROJECTFAMOUS.COM | JANUARY 2014 62
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THE FREQUENCY 121 W. Main Street Madison, WI 53703 Tel: (608) 819-8777 01/20 THE TOASTERS w/ Something To Do, Supervillain Fire Drill 9 PM, 18+, $10 01/22 COMMUNION MADISON & 105.5 TRIPLE M present THE WEEKS with BAILIFF + DOUBLE EWES 9 PM, 18+, $11 adv, $15 dos 01/23 WAR POETS w/ Prince Florence 9 PM, 18+, $5 01/24 MAJESTIC LIVE presents CATE LE BON w/ Kevin Morby 9 PM, 18+, $10 adv $12 dos 01/25 MAJESTIC LIVE presents JON WAYNE & THE PAIN 9 PM, 18+, $8 adv $10 dos 01/26 MAJESTIC LIVE presents BAD SUNS w/ Get At Me 8:00 pm, 18+, $10 adv $12 dos 01/27 CROOKS ON TAPE w/ Body Futures 9 PM, 18+, $10 01/28 PROBLEM OF INTEREST 8:30 PM, 18+, $5 01/29 HOSTAGE SONG (early) 7 PM, 18+, $12 01/29 AMY LYNN& THE GUNSHOW w/ Tigernite 9:30 PM, 18+, $8 01/30 HOSTAGE SONG (early) 7 PM, 18+, $12 01/30 MAJESTIC LIVE & FITZROY PRODUSTIONS present DAMIEN JURADO 9 PM, 18+, $10 adv $13 dos 01/31 HOSTAGE SONG (early) 7 PM, 18+, $15 01/31 DIVYDED w/ Breech, Lords of the Trident, Romantic Rebel 9:30 PM, 18+, $7
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