INTERVIEW BY H. CANDEE PHOTOGRAPHY BY EDWARD ACKER

HIDEYO OKAMURA

VISUAL ARTIST

Interview by Harryet Candee Photography of Artist by Edward Acker

“I feel my esthetics, being informed through living in two different cultures, is best expressed in abstraction. For me abstraction is liberating. It crosses all cultural barriers and is exhilarating in its freedom of interpretation no matter where you are from or what your life experience might be.” Hideyo’s drawings and paintings are abstract and executed with basic materials and simple marks. His photography and video work consist of images from visual experiences that he encounters in day-to-day living. Hideyo was born and raised in Japan and has lived his adult life in the United States.

Harryet Candee: When visual artists first start out, they often begin by interpreting art in a representational way. Was that true for you? Hideyo Okamura: I didn’t start my work in any representational way. My work has always been non-representational from the beginning. Without having a recognizable representation something new, never before seen or experienced can be created, much the way music, no matter what its style, is organized sound. My visual experience with my surroundings is core to my art but I’m not interested in literal representation of it.

What mediums have you found to be most challenging and enjoyable to work with? HO: I primarily paint in oil. I have always appreciated its transparency, flexibility, richness and unintended surprises that, in the right circumstances, lead to new methods and skills. I also draw using pens utilizing the same methods as painting though it is an entirely different medium.

Would you say your visual sensibilities became stronger with age and experience? Were there any particular images you were drawn to that you remember early on that you now need to paint, draw or photograph? HO: Since childhood, I have always been a very visual person. I don’t think my visual sensibilities become stronger as I age but rather my awareness of it and recognition of it is important for me to create. I do have an affinity for anything Japanese be it landscape, architecture, or just simple items you see in everyday life stemming from my childhood in Japan.

Working with a simpler plan can be more difficult than working out a complex plan on the canvas, do you think? HO: Yes and no. I generally have little or no plan when I start. When there is a plan, there is always a glitch you don’t expect to happen while you are making art, which propels you to do something that leads to something else new and positive. The way I work is similar to Jazz improvisation, though I’m not a musician, it is a call and response with what I put on canvas and what the material I’m using does on its own.

When did you first begin to realize you wanted to work as a full-time artist? Tell us about your artistic career? HO: I went to art school, The School of Museum of Fine Arts at Tufts in Boston, and realized when I was there this is what I wanted to do with my life. I was fortunate to have support from the faculty and had received some early recognition. As a “day job” so to speak I was Manager of Exhibition Design and Planning/Chief Preparator at Williams College Museum of Art for 21 years.

11x11 11, Ink on paper, 17”x14” Material World, Bernay Fine Art

This was more than a typical day job as I had the fortune of meeting a multitude of diverse artists and art professionals that I am friends with to this day.

What do you remember that was taught to you while formally studying art that you now apply to your principles and working ethics as an artist? HO: To understand and be a visual artist you do need to see a lot of artwork, good and bad. Visual art requires visual literacy. Further, I think one of the biggest lessons is the honesty of one’s work. The goal should be to make the best artwork you can and not pander to a market or a fashion.

You were born in Japan and lived there until you were an adult. Was there a serious cultural shock for you? How did you react to the change from one country to another? HO: There wasn’t any serious culture shock though I am aware of cultural differences. To this day I miss certain aspects of Japanese culture, but the same can be said of missing facets of my life in the US when I return to Japan. The best strategy for dealing with these issues is to recognize it and try understanding the difference and keep going. Basically, human beings are the same worldwide.

Where have you lived up to your move to North Adams in the Berkshires? Tell us about the changes you encountered along the way. HO: I’ve lived in Oregon, Boston, Chicago, and the Berkshires. I Visit New York City as often as I can. One of the most enriching experiences was in Chicago. I lived in a neighborhood that was predominately Mexican and Mexican American. At the time I was co-founder of a small kind of co-operative gallery. I had the opportunity to meet several Mexican artists, some who were incredible muralists and printmakers. I had the opportunity to travel to Mexico, exhibit my work and invite artists back to Chicago to exhibit their work in this small gallery. I loved living all these different places. From big cities to rural areas, the changes in culture and scenery have enriched and nurtured my artwork.

Where have you lived that gave you the best of everything? Tell us with some details! HO: Each place I lived gave me the best of everything. I have lived in North Adams, MA for several years and love it. The natural surroundings are incredibly beautiful, I have astoundingly great neighbors, I live less than a mile from MASS MoCA, and there is an ever-expanding art community. The city is also home to a number of public art pieces ranging from Martin Puryear’s Big Bling to several murals throughout the city that were commissioned a few years ago by MCLA as part of Downstreet Art.

What was the focus of your work that was in the recent group exhibit at Bernay Fine Art, in Great Barrington? HO: The exhibition was called Material World. My works are ink on paper drawings. I have been drawing using very fine point pens. Whether paint or ink I like the physical quality of materials. Basically, I like lines drawn with these fine point pens. I’m always fascinated by the lines you see in etching where be it a Rembrandt or Dürer the image consists of these fine lines only! Continued on next page...

Whisper, 2014, Oil on canvas, 53"x51" Fringe 034, digital drawing

Naturally, Oil on canvas, 80"x76"

PATH NARROWS, Oil on canvas, 36”x 34” Ride With It, Oil on canvas, 36”x 34”

END DETOUR, Oil on canvas, 36”x 34”

“PATH NARROWS”, “END DETOUR”, and “Ride With It” interests me. There are three paintings of this particular nature. How did you choose the color palette for each painting? HO: I usually start with a random selection of colors then I mix them with another to get a color that seems to fit to what I already have on the canvas. It’s my way of working where I stay away from having to have control over what I paint. I like to let things happen without having to dictate what happens on canvas.

What is the significance of Road Sign titles? HO: Some of my paintings are titled with phrase taken from road signs. When these signs are taken out of context, they take on different meanings depending on what life situations one is faced with. It has no literal connection to my painting but I like how it adds a meaning the viewer associates with their own experience and the images they are viewing. “Whisper”, (oil on canvas, 53”x 51”), and “NOT EXIT”, (oil on panel, 12”x 12”), two elements of nature and one of architecturally rendered shapes and lines. What is the thinking process that leads you to bring these elements together, yet keep them apart? HO: I work in an improvisational manner, brush strokes, taped lines, geometric shapes, drips, scraping, and thick application of paint, are components that I use to create each piece. Frequently there is a pressure to develop a similar body of work so that your art can be branded. To me that is the antipathy of becoming an artist. Each time I become interested in a new direction it enhances my understanding and leads to the next artwork.

“Naturally”, (oil on canvas, 80”x 76”), in my eyes, is a fun and chaotic painting. Tell us about this painting, please. HO: I don’t see this painting as chaotic as such, but I have always loved painting on a large scale. My studio is in the attic of my house, and though it is a large space I cannot get a large work out of the studio due to the narrow doors. Often, to create on a large scale I revert to triptychs and diptychs. I did have this blank canvas I stretched in Chicago where my wife and I lived before we moved to North Adams, and one day I just wanted to paint large, so I painted this in the barn one summer. I was working on paintings at the time and decided to use just brush, and have brush strokes only, rather than using tape to make lines and shapes.

Take us to your studio, and show us what you are working on, please. Are you excited about this work? How so, and why? HO: I am always excited about the new piece I am working on. I always want this new work to be the best I have done. I don’t really think too clinically or analyze what I am doing too much. I do experiment not only with mediums, but with supports this includes working not only on canvas, but metal and wood. It’s very exciting to me to see and feel the differences. Continued on next page...

Night Road, 031616/06, digital photograph

EL Lissitzky: Futurist Portfolios All Ears, Oil on panel, 24” x 24", The Hyde Show

Have you ever yet experienced an epiphany that truly moved you? HO: Nothing in particular that I would call an epiphany or a one moment of enlightenment. For me those moments of critical understanding reveal themselves incrementally through day to day studio practice.

Can you tell us about the project, EL Lissitzky: Futurist Portfolios, please. “The space must be a kind of showcase, a stage, on which the pictures make their appearances as actors in a drama (or comedy).” How do you relate to this statement? HO: El Lissitzky (1890-1941) was a Russian artist who greatly influenced the Bauhaus and constructivist movements and help develop suprematism with Kazimir Malevich. There was an exhibition of two print portfolios by him, Victory Over the Sun and Proun at Williams College Museum of Art in 2003 where I was asked to design the exhibit along the lines of Lissitzky’s artistic vision where his art practice included designing exhibitions. He also made art work that would be called “installation art” today where the whole piece included not only gallery walls but the ceiling and floor. What I did was to paint the entire gallery walls with images, some taken from the prints and some with my interpretation of his other work. The two portfolios were then installed over my response. Then The Phillips Collection in Washington D.C. made it into a traveling exhibition. After The Phillips Collection it traveled to The Frail Museum of Art at the University of Virginia, Spencer Museum of Art at the University of Kansas, and Timken Museum of Art in San Diego, CA. On each venue I painted the entire gallery differently according to the specifics of the size and architectural details. It was an eye opening experience for me to deal with not only large spaces but also with someone else’s art work installed in the space. This experience gave me a more open point of view when creating my work. You can see some of installation images on my website: www.hideyookamura.com Are you working alone, or do you have a partner that is equally involved in art? HO: Yes, I work alone. My wife, Sara Farrell Okamura is an artist, but we don’t work together and our work is quite different.

In what way do you think your work in photography and video are different from painting and drawing? HO: My photographs are more of recordings of what I see and find visually interesting. Same with videos I make. I have a few videos I made of trees being blown in wind which I always liked watching, so I decided to film it.

What is a typical day in your life all about? HO: Many times, people assume artists just create artwork and that is it. To be a working artist requires quite a bit of work beyond the studio. Often it requires writing grants, proposals, and submissions, website development and social media. In addition, it is critical to me to see other artists work, visit galleries, museums and studios, and

NOT EXIT, Oil on panel, 12” x 12”

have a community to discuss work critically. I try to maintain a studio practice where I can be in the studio 3 - 4 days a week and the rest of the week is left to the administration of tasks mentioned above. Besides art related tasks, I usually can be seen walking a large dog at least twice a day.

Tell us about the Annual 2019 Juried Exhibition at The Hyde? (“All Ears” oil on panel, 24”x 24”) HO: I was in The Artists of the Mohawk-Hudson Region exhibition at The Hyde Collection in Glens Falls, NY. It is an annual juried exhibition and one of the longest standing juried exhibitions in the country, with a history of over 80 years. Artists living and creating within a 100-mile radius of the Capital Region are invited each year to submit their artwork to the hosting museum. Victoria Palermo was a juror for that year.

Free time means what to you? HO: I actually I have very little free time, but since being a working artist is not quite the same as going to an office or a day job I don’t really look for a reprieve from what I do on a daily basis. I often go to New York and relish the opportunity to visit museums and galleries there, plus I just love cities and the change of scenery.

Can you define what art is? HO: I don’t think art can be defined in simple sentences. Anything can be art but not everything is art.

Can you describe how you live life? HO: I am a pretty pragmatic person. As humans we have little control over certain events both personal or on a broader scale, the universe. I think to sound a bit trite I want to live an ethical life and as the future, good or bad evolves, to address it one event at a time.

Giving to others through your art is a beautiful act of human-kindness. What do you wish viewers to understand and experience when they look upon your work? HO: I am a strong believer that looking at art is not a passive activity, but a vibrant intellectual, emotional, and communicative experience. When my work is exhibited I have no desire to dictate to the viewer what they should think or how they should relate to my work. They bring their own histories and experiences. I am always ecstatic when people have a strong response to my work, and sometimes I am shocked at their interpretation, but it is theirs and if they see it in my work, I couldn’t be happier. If my work gives someone a kind of peace, empathy and understanding I am happy.

Thank you, Hideyo!

www.hideyookamura.com

SUNDAY MORNING GLOW OIL ON PANEL, 7” X 5” SHARON GUY

LEY LINES, KING SIZE QUILT 101” X 122” NANCI SHELHAMER

OLD TRINITY CHURCH WATERCOLOR, 6” X 4” MARGUERITE BRIDE

BERKSHIRES IN WATERCOLOR

LUMINOUS LANDSCAPES

I am inspired by scenic areas that have beautiful light, especially early in the morning and later in the evening before dark. Once I find a place that inspires me, I visit often, and make small plein air studies, sketches and reference photos. Some of my outdoor paintings are finished works, and some will be used as studies for my studio paintings. My technique involves using a personal, expressive style, with vibrant colors and some abstraction. I look for big shapes and patterns in nature and I try not to cover them up with too many small details. My nature art helps me feel more balanced and less stressed. There is something very healing about going out into the woods or walking barefoot on the beach. The paintings that come out of these experiences give my collectors a sense of serenity and help them remember their favorite outdoor places. I like to use my art to bring the beaches, mountains, and forests into people’s homes and offices. Sharon Guy - www.sharonguyart.com, sharonguyart@gmail.com, 941-321-1218. RAGS FROM BRITCHES

Nancie Shelhamer, a traditional quilter for many years and multiple, “Best of Show” award winner, found something in the fabric and technique she was using, that needed new life and excitement!! The vintage fabric she now finds in various denim, WW2 Naval uniforms, African wax prints, batiks, pillow ticking, mid-century drapes..… the list is endless. She uses these fabrics like paints to embellish, create and design, her improvisational quilts, jackets, pillows and throws. It’s always fun, when she’s commissioned to “Jazz up” a customer’s well-loved denim jacket. Rags from Britches jackets are popping up all over the U.S.A, also worn by Heather Thomson on The Real House-Wives of New York, and now seen in Paris! Nancie works out of her charming, “fairy tale cottage” studio in Lenox, Massachusetts. NancieShelhamerragsfrombritches@gmail.com, Instagram @ragsfrombritches

issuu.com

Painters who live in the Berkshires are really very lucky. There is always something inspiring to paint just by looking around outside. The inspiration never stops, no matter the season. I have painted nearly 200 paintings of the Berkshires and nearby region …. the iconic spots we all know and love, bucolic hillsides and landscapes, funky downtowns with their unique buildings, marketplaces, rivers, lakes….if it doesn’t move I have probably painted it. If you are interested in seeing these paintings, please visit the “Berkshires” gallery on my website. Many originals are still available and fine art reproductions can always be ordered. And sometime in the near future, my Berkshire paintings will be on display at 51 Park Tavern in Lee….stay tuned for more details on that. Do you have special occasions in your future? Anniversary? Wedding? Graduation? Retirement? Selling a home and downsizing? A custom watercolor painting of a wedding venue, a home or other special location is a treasured gift. Any time is a great time to commission a house portrait or favorite scene you would like captured in a watercolor. Paintings (or even a personalized gift certificate, then I work directly with the recipient) make a cherished and personal gift for weddings, retirement, new home, old home, anniversaries…..any occasion is special. Commission work is always welcome. Marguerite Bride - Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only. Call 413-841-1659 or 413-442-7718; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors

Join us ... Promote your art here! ARTFULMIND@YAHOO.COM

BUCKETS OF SAP WATERCOLOR, 8” X 10” SALLY TISKA RICE

Sally Tiska Rice was born and raised in the beautiful Berkshires. She is the youngest of four children. Sally lives in a rural town with her husband, and pets, where she is inspired by her surroundings.

As a young girl she would sit with her father as he designed and drew many blueprints. This was the start of her love for art in all its forms. While painting and drawing she feels spiritually gratified and relaxed. She is a spine injury survivor that finds her creative nature healing. Sally focuses on blending and layering to achieve depth and dimension. She also experiments with light and color to create a piece that will be enjoyed. Sally employs many different techniques into her paintings, using acrylic, watercolors, oil paints, pastels, as well as mixed media. Her love to travel has given Sally opportunities to further her understanding of art in all its forms. She has been able to visit many areas in the Northeast, ranging from the majestic mountains to the scenic shores. Sally has enjoyed art abroad while in Italy, Greece, Spain and the Caribbean as well. These experiences have encouraged her knowledge and appreciation of the history of art throughout the world.

Sally uses spontaneity to compose artwork. She also creates many beautiful commission art pieces for customers internationally. Her commission pieces are usually created from one or more images that the customer has chosen to blend together to form a one of a kind piece of art. Sally also has many customers that have purchased fine art prints.

Call to set up a studio appointment at the Clock Tower Business Center, 75 South Church Street, 3rd floor, studio 302, Pittsfield, Massachusetts. Sally Tiska Rice - 413-446-8469 http://www.sallytiskarice.com, http://sallytiskarice.com/STR/The_Artist.html, https://www.facebook.com/sally.t.rice, https://mobile.twitter.com/RiceTiska, https://www.linkedin.com/in/sally-tiska-rice-cpo5230777a/, https://www.instagram.com/sallytiskarice/ https://pixels.com/profiles/sally-rice.

OGDEN GIGLI PHOTOGRAPHY MODEL: @BROOKMONZTER DEBORAH CARTER

MULTI-MEDIA ARTIST

Deborah H. Carter is a multi-media artist from Lenox, MA who creates upcycled sustainable wearable art. Her couture pieces are constructed from post-consumer waste such as food packaging, wine corks, cardboard, books, wire, plastic and other discarded items and thrifted wares. She manipulates the color, shape and texture of her materials in a way that compels us to question our assumptions of beauty and worth, and ultimately reconsider our habits and attitudes about waste and consumerism. A sewing enthusiast since the age of 8, Deborah first learned her craft by creating clothing with her mother and grandmothers. Her passion took hold as she began to design and sew apparel and accessories. After graduating with a degree in fashion design from Parsons School of Design in New York City, she worked as a women’s sportswear designer on Seventh Avenue. Deborah’s art has been exhibited in galleries and art spaces around the US and she was one of 30 designers selected to showcase her work at the FS2020 Fashion Show that takes place annually at the University of Saint Andrews, Scotland. Deborah Carter - Instagram: @deborah_h_carter debhcarter@yahoo.com, 413-441-3220 Clock Tower Artists. Studio 315. 3rd floor. 75 South Church Street Pittsfield, MA Ogden Gigli Photography Model: @brookmonzter Represented by The WIT Gallery

LIMBUS DETAIL PAINTING #1, 2018. 28” X 27.5” X 2.5”.

PEARLESCENT ACRYLIC URETHANE WITH MATTE CLEAR COAT ON ALUMINUM PANEL AND UNIQUE ALUMINUM EXTRUSION

CHRISTIAN ECKART

TEXAS 2022

For almost 40 years I’ve been producing hybrid painting/sculpture objects either mechanically or, more recently, digitally. My goal has been to articulate a hyper-object relative to the arthistorical notion of The Sublime. Through the deployment of multiple series, I’ve attempted to approach and illuminate the contours of the ineffable while re-framing Western artistic praxis in general as proceeding from a Judeo-Christian heritage predicated upon the manufacture of sacred and ritual artifacts. As much as possible I’ve attempted to prioritize the “presentational” over the “representational” to objectify and enhance the present and presence. It’s my belief that “art” is the product of an interaction between a viewer and some kind of construct, most often in a specified and/or rarefied context, that demands deeper than normal engagement and attention. My practice is conceptual insofar as it is located at a point where “painting” intersects with the concept “art” although it’s based, ultimately, upon generating objects/experiences that project properties such as beauty, pleasure, grace, reverie, rigor, and solemnity. Christian Eckart, www.christianeckart.com 713-373-1240, eckart.christian@gmail.com Instagram:@christian_eckart

“There are no rules. That is how art is born, how breakthroughs happen. Go against the rules or ignore the rules. That is what invention is about.” – Helen Frankenthaler