Carlo Cane

Sun, 10 Feb 2013 09:47:00 +0000

You started out as a goldsmith before moving into painting. Was this a natural transition?
Yes, I think so. The work of a goldsmith calls for precision and rigour.

Do you see any parallels between your work as a goldsmith and your painting?
Yes, both share many key fundamental characteristics: precision, rigour, design and creativity.

Your work is very architectural. Do you have any technical training?
No, my architectural works are a return to the techniques of metalworking and, in particular, to miniatures painted in enamel.Â When I was young I would look at the artwork of Imperial Rome during the rules of Hadrian and Trajan through the remains of the Roman Forum and the Colosseum.

Your architectural landscapes have been described as âfuturisticâ yet are devoid of human life, why is this?
Man is not there physically but he is present through his buildings.

Your architectural landscapes move between realism and the fantasy. Thinking particularly about the series of works you have shown with Coates and Scarry where houses are suspended amidst âunrealâ canopies, how does this reflect your own view of the future?
The future I envisage is one of a growing harmony between us and the environment. Â Â Â Â Â Â

In the body of work you have shown with Coates and Scarry, houses and municipal blocks float in space, suspended amidst treescapes, the natural world encroaching inwards on urbanity, yet the buildings appear cocooned gently enveloped amongst the flora. Is this deliberate? Are they intended as havens?
Yes... I certainly wanted to create that feeling.Â I want to make people dream by destabilizing the viewer and encouraging the viewer to ask him or herself questions.Â They [the houses] are paradises.

I like the way your paintings have a very universal feel â they seem to belong to no specific location. Is it your intention to make work that appeals on many levels?
Anyone who stands before my work is free, without barriers, unconfined and can get lost in their thoughts at the precise moment of viewing and the viewer finds that he or she can travel in their mind to constantly shifting worlds.

When I look at your work, I want to know the story behind that piece. Do you imagine the characters that inhabit the buildings you paint?
To return to what I previously said about freedom, as one interprets one of my paintings, at that moment various thoughts spring into oneâs mind.Â Those thoughts can be positive or negative and they lead you to imagine, to dream and escape reality.Â I can see myself living in one of these places, they could be the perfect haven, with much love for life and for all that surrounds us.Â Just think, you could find yourself sitting at the table with a lovely squirrel.Â It would be fantastic!

Iâm intrigued by the environmental aspects of your work. What do you imagine the future holds for this planet?
I am not a fanatical ecologist, but a lover of nature and all forms of life.Â Perhaps we have reached a tipping point where manâs selfishness and aggressiveness has begun to remodel the land according to his own gratification without consideration for the fact that this beautiful planet is shared, it is not ours alone.Â I think it is absolutely essential that we reestablish a world in which every living thing is allowed its own space.Â My paintings bear witness to this.Â

Can you tell us about any exciting projects youâve got coming up, for example Trailblazers in Hong Kong?
Thank you to Coates and Scarry for giving me the opportunity to show my work in such an exciting and vibrant international context.Â The dynamism and talent of Coates and Scarry is an explosive mix.

Interview by Lottie Storey. Translated byÂ Elizabeth Lloyd.

Pure Evil

Thu, 10 Jan 2013 19:58:00 +0000

London is now your home, having been brought up in Wales and lived for a decade in California. How London-centric is your work?
Iâm an international artist living most of my time online, sucking up things from all over the world as they happen and adapting and creating things based on that flow of information. Iâm more interested in living in the 21^st century than living in the East End of London, but I DO still pick up on the interesting parts of London. Itâs a dirty city but you need dirt to make things grow.

The Olympic games was huge, particularly for East London where your gallery is based. How has the landscape of the capital changed as a result?
It didnât really impact on the local area very much - it seemed like a bit of a shindig for the VIPS and sporting people. It was fun to watch on TV in HD but the whole promise of more business and energy for the East End kind of didnât happen. A lot of local businesses thought things were going to be mad busy but they lost business at the time of the Olympics. I put out a print taking the mickey out of the Olympics being based in Hackney and I make mad money from it so Iâm not complaining. Well, I am a bit arenât I? I got some free chips from a guy in Hackney because I painted on his wall. That was a result. Crime DOES pay.

Your tumblr is full of vintage and/or American imagery. Is this a major influence on your work?
Itâs really all about a longing I have to visit the USA. Unfortunately, I am banned from entering the USA, I just canât get a VISA to go back there anymore. Remember those guys who had to leave the USSR and became exiles in the West? Well, I had to leave the USA and be exiled in the err... West (UK). A lot of my work has to do with American identity because I LOVE the USA â itâs amazing. I was watching âOn The Roadâ last night and it reminded me of how I am drawn to the American landscape. Itâs such a beautiful country. Some of the people are pretty nuts but, letâs face it, who isnât? I guess Americans are less concerned about hiding the fact that they are as crazy as some nationalities can be. Generally speaking.

http://pureevilgallery.tumblr.com/archive

Do you consider your work to be particularly politically driven?
Yes, definitely. I think if you can say anything then why not say SOMETHING? Painting on walls is a good way to get your message across in a big way. I am intelligent and I think about how to make the world a better place so itâs good to be able to use my medium to get a strong message across. My ancestor is Sir Thomas More - he had a vision for a Utopia. I do too.

Your father is also a painter (John Uzzell Edwards) who uses a great deal of symbolism in his work. How has his practice influenced your own?
He has taught me to research a subject and to work, work, work all the time. Itâs a good lesson. He has taught me to distrust academics and watercolourists and landscape painters. Weâre both pretty bloody minded. Our mission is to PAINT.

What has been the highlight of your career and why?
I guess hooking up with Banksy and getting my first piece into one of the Santaâs Ghetto shows he started doingâ¦ that got the ball rolling and led to me getting onto Pictures on Walls, and then eventually being involved in the CANS FESTIVAL projects. That was major.

Appearing on BBCâs The Apprentice was a high profile move. Are you glad you took part in the programme?
Yeah, I had two friends who did the Australian version of it and they said âdo itâ. They had a lot of exposure from the programme and the same thing happened with me. Things went mental after that programme came out.

How was it received by the street art community? Isnât it a notoriously secretive community?
The street art community is not at all secretive and has never strived to maintain its anonymity - they all have PRs and call up the press when they do anything. Graffiti artists are the notoriously secretive ones because they donât want to go to jail, they are the ones you are thinking of. The street art community wants to be famous and to be household names and to have their retrospective at the Tate and have their own trainers and customize a GUITAR HERO plastic guitar and have their own TV Show. On the whole, they completely LOVE attention and thrive on it .

Is it a competitive world to work in?
I donât think itâs too bad to be honest. People are extremely supportive and helpful and, wherever I have gone in the world, I find other street artists to be the greatest bunch of people ever. They are happy little bunnies because they are doing something they love and itâs the kind of thing that welcomes collaboration. The ones who do bitch and moan should just shut up and paint.

Whatâs next for Pure Evil?
I get to watch my wonderful little baby BUNNY grow upâ¦ her first smile, her first steps, her first words, and then show her how to get really good with a spray can!

For purchase information contact us on our contact page

Interview by Lottie Storey

Dean Melbourne

Sat, 10 Nov 2012 14:24:00 +0000

Your work has been described as falling into a literary painting tradition, responding to our inherent need for stories. You also have a love of language, expressed beautifully through your blog posts. Do you intentionally keep the two separate? How would you feel about marrying your words and pictures?
I have only recently started sharing my writing in this way. It feels very fast and allows me to see traits and undercurrents in my selections and structures that will definitely inform future paintings. I may even use the posts as starting points for work.

As for directly using words and sentences on the canvas, I have played with that in the past. For me, it doesnât work often. The speed of our reading and the slower pace of looking at paintings provide a visual challenge that would be a distraction.Â

You give your paintings the most intriguing of titles, for example The Thaurmaturgist (World Folder), or Langourla (The Promise).
How do these names come about and how important are they to your work?
Naming paintings is rarely the same process twice for me. Sometimes the title comes first and other times, even after a painting is finished, the right title wonât come. It can be a real fun game or a complete pain.
The titles, to me, at least, often seem straightforward. Titles can be used as a way in to a piece or a red herring. Most often, mine are meant as clues, or at least a hint at my process.

I love your artistâs statement, particularly where you say:
What I do with them [inspiring images]Â is to really just let them live in my head with me for a while and eventually they feel like they want to get out and live in a different way. They tell me when they are ready.
How do they tell you?
Itâs a hard one to verbalise but I think that itâs a circumstantial thing. I live with an ever-growing collection of images around me and in my memory and I scan through them when starting a painting to see what feels right. I could miss an image for years and then one day it is just right. Or at least I have progressed enough to be able to give it what it needs to exist in a painting.

You also liken your work to vinyl records, books and old leather bags â these things all seem drenched in nostalgia. Do you consider your work to be share this quality in any way?
I think that paint - the painted canvas - has a patina, it has visual crackle and noise. It is tactile and sensual. They smell amazing. Increasingly we see art on the screen and we lose its physicality and its imperfections. It seems to me that there is a real craving for things that have soul. My Grandadâs old leather wallet that I now use has that.

Although you have an obvious love of analogue, of history, and of the physical, your Instagram feed shows another side â stories, but told as digital snapshots. What do you enjoy about this medium?
Yeah, I have fallen for the Instagram craze at the moment. I like the confined format and the limitations that mean you can really see the differences in the way people see the world and select. Friends often joke that all I want is to be âspecial and differentâ. They are right, of course, and Instagram gives me a way of showing how I am.

Also, and more importantly, scanning back over the images is a bit like flicking through a book of a painterâs work. You can see compositional tendencies and colour selection and motifs that hint at a deeper understanding of what makes that person tick.

Itâs nice to meet another cloud-spotting, weather nerd. What is it about skies that intrigue you so much?
I am a life-long nature nerd, but relatively new to cloud appreciation. Clouds and skies are kind of therapy for me. They bring me to the present and help me see the moment. They increase my mindfulness, they remind me that things change and that I am part of something bigger. Being tuned in to my environment like that is starting to inform my work, and, as I mentioned via the blog, it also helps me manage my sometimes troublesome grey matter!

You work in many mediums - painting, linocut, drawing. Is there one you prefer to use or do you enjoy the variety?
Those three are all really important to me. I guess its like being able to play more than one instrument or speaking multiple languages. It just means that I can communicate with more subtlety and have a wider vocabulary to choose from. Drawing forms the backbone of my practice, although I rarely show drawings. Painting has been my focus for the last couple of years. I needed to feel better at it so I dropped everything else and pushed to improve.
I miss print and now Iâm in a new studio space I am looking forward to bringing it back into my working week and developing a new body of print works.

What has been the highlight of your painting career and why?
No doubt, it was being asked to exhibit with Coates and Scarry at the RWA earlier this year. It was such an honour to be asked. The other artists at the show were really supportive too. I was blown away to be there showing alongside them.

Iâm intrigued by your site-specific piece at BPN Architects. Did you enjoy working on such a large scale?
Yes, I really enjoyed those pieces and I hope to do more of that work in the future. I made them on the two days leading up to the show opening and so it was a little pressured but that added to the energy, I think. It was nice to have a perfomative element. I was thrilled to see that BPN have kept them on the wall too!

Did you work closely with the architects to develop the work or were you given free rein?
I developed a great relationship with them when I went in and delivered life drawing classes for them in their studio. I encouraged them to take risks and I was consistently talking about the power of marks. I felt I owed it to them to practice what I preach and so felt I should demonstrate what I meant.
They gave me a completely free rein in terms of where I drew and the subject. Those few lines transformed the space and I hope I made my point.

Can you tell us about any exciting projects youâve got coming up?
I am continuing to set up my new studio space and to prepare a printing area. The rest of 2012 will be about a new collection of paintings.

Carne Griffiths

Fri, 26 Oct 2012 08:44:00 +0100

Carne Griffithsâ artwork is born from a love of drawing and the journey of creating an image on the page. Working primarily with calligraphy ink, graphite and liquids, such as tea brandy, vodka and whisky he draws and then manipulates the drawn line. After graduating from Maidstone college of art Carne Griffiths served an apprenticeship and worked as a gold wire embroidery designer for 12 years, hence floral pattern, repetition and flow play a large part in his work. Our writer Lottie Storey interviewed Carne to find out more about him and his creative process.

How did you begin working with drinkable liquids?
I had always worked with calligraphy ink and water.Â It was a glass of brandy that led to the first splash of drinkables on the page, and, like most things I do concerning artwork, it was a chance happening rather than a planned one.Â Alcohol has a curious effect on ink, taking the colour deep into the paper very quickly - it behaves very differently to water and gives permanence to some inks.

What is it about this medium that interests you?
There are two contrasting reasons why I use non permanent inks and tea.Â Drawing with calligraphy ink onto the paper gives no room for error and records the immediacy of drawing.Â Underlying all of my figurative work is an exploration of automatic drawing and the involvement of the unconscious in the work. The second reason is that the line can be manipulated using layers of liquid, allowing for spontaneity and chance happenings to guide the work.

Your portraits have a wistful quality. What emotions do you try to express in your work?
I always approach a piece of work with the intention to get as lost as I can in the process.Â I feel if a piece of work is to be emotive then something has to be given to achieve that - you have to go through a range of emotions when creating a piece of work, and connect with the work on that level.Â I think I have chosen a style of work that allows me to best use those emotions. From free and bold mark-making to delicate and intricate pen strokes, there is always an injection of something else along with the marks on the page.

You've recently become a father. How easy is it to combine your work with your family life?
Life has certainly changed, and my recent works reflect this - the 2 things are inseparable, life and art.Â Having twins certainly doesn't leave much time to run to the studio, but I have a new laughter in my life. These things feed in to what I do. Don't expect faeries and bunny rabbits in the next pieces though.

Has this change made you approach your work in a different way?
It's made me think about life in a different way, yes.Â I have lost count of the times that people told me how I would feel after having children but nothing really prepares you for it.Â I am looking forward to seeing how this new depth of emotion transfers onto the page.

You spent 12 years as a gold wire embroidery designer with prestigious brand, Hand & Lock. How has this influenced your current practice?
Working within a very specific field for 12 years gives you a strong visual vocabulary.Â There were many things that I learned to do as an embroidery designer that now transfer into the pieces I make.Â Flow of line was always important when creating floral embroidery designs and it was something that figured strongly in my artwork through college, the transition therefore was a very natural step for me.Â The most exciting step was bringing these two areas of interest back together again when deciding to create artwork for myself again.

You seem to have a thriving business on Etsy. Have you intentionally sidestepped the traditional gallery route?
Really! I like Etsy, it provides a very good platform for artists to sell affordable works, especially low price collectibles and curiosities. Its strengths are that it takes care of all paperwork and lets you concentrate on creating.Â For me, Etsy is a great platform to show small editions and collectibles like postcards and small prints.

Do you think the internet has brought more opportunities for artists?
Absolutely - it has brought an international audience to the doorstep of anyone who wishes to share their work.Â It comes at a price though, people tend not to just stumble over your work. It takes a great deal of effort for any artist to establish a following and there are plenty of pitfalls along the way!

Has your experience working as creative director at Hand & Lock influenced the way you conduct your own business?
Absolutely, yes.Â My business knowledge was practically zero before working with Hand & Lock.Â My intention was to fulfill a design role within the company but I found myself becoming drawn into other areas, such as production managing, costing, and marketing.Â All of these areas are transferrable skills that will help, no matter what industry you are in.Â The thing I realised early on being self employed is that you are responsible for all of these roles within your own company.Â The emphasis is on you to create impact with how you conduct that business and how you treat others in your industry.Â

Can you tell me a bit about your recent collaboration with Rankin?
Yes, the Rankin collaboration came about earlier this year. I was approached by the design team from Hunger magazine who said that Rankin had seen my work and wanted to know if I would create a test piece for an editorial that was a feature in the 2nd issue of the magazine. It was a privilege to work with the material he sent through - the shoot was amazing and I was given free rein to add my own slant to the work, without limits. I've been an admirer of Rankinâs work since a friend of mine brought a small black and white book back from one of his exhibitions in about 1999-2000.Â When I heard about Hunger I loved the showcase concept, and Iâm constantly amazed by the sheer volume of work produced by the photographer between editions.Â It's good immersive stuff, and I think his support of emerging artists through the magazine is something that benefits both the artist and the publication.

I love the sound of your live performance piece with Michelin Star Chef Nicola Batavia. How did that come about?
I've been working with West London art laboratory Debut Contemporary for nearly a year now, and they had seen a project I had recently completed with Hong Kong brand JOYCE, which utilised small metallic eggs.Â Debut did what they do really well - they saw a connection between two creatives and an opportunity to put them together, network, and finally come up with a concept for a live performance.Â Following a wonderful 5-course meal at one of Debut's Art dinners, hosted at Nicola's restaurant Casa Batavia, we got together and planned an event, which involved the creation of one of Nicola's speciality egg dishes. Nicola refilled a hollowed-out egg shell which I then decorated as part of the performance, using a calligraphy pen to create individual floral designs on each piece. Edible art was definitely a first for me - it's always good to try and push the boundaries of what you do.

What other interesting projects are in the pipeline?
I'm absolutely thrilled to be showing with Coates and Scarry at Affordable Art Fair Battersea.Â I've admired their stable of artists for a long time so I'm stoked to have the opportunity to exhibit with them there and again in the future. Other projects for 2013 include solo shows in Italy and Los Angeles, and a collaboration with an East End fabric designer, plus a few more I can't talk about right now!Â Should be a packed year though and I am really looking forward to launching the next body of work.Â Â

Please contact us if you would like to know more about Carne Griffiths on our contact form.

Kate MccGwire

Wed, 15 Aug 2012 18:08:00 +0100

Q: Tell us a little about where you live and work?
When I graduated from the Royal College in 2004 I moved my studio onto a Dutch barge moored on a semi-derelict island on the Thames. Working on the river is amazing because you get this constant fantastic light. Iâm totally aware of the seasons, nature and temperament of the river, and that really feeds into what I make. The island itself it also fascinating, as well as being a rustic idyll it is also a 1940s time capsule on a grand scale. The lack of road access means the island has remained largely unchanged since the end of the second world war when the island was used for making motor torpedo boats (MTBâs) the workforce was provided by hundreds of local woman. The rusty warehouses, bomb shelters and out-houses still survive today most now overgrown with vegetation. Itâs extremely rare to experience this level of unkempt rural romanticism so close to London but this island Â also has thriving small businesses where people make things craftsman, boat builders, engineers, artists and musicians we even have a prosthetic hand maker.Â Â

Q: What is the focus of your work?
I try to create works that are bodily, which have some sort of visceral, immediate feeling about them. Take the pieces in the cabinets for instance, they are trapped, they have no head and no end, they are uncomfortable and beautiful at the same time. Iâm constantly trying to create this fine line between attractive and vaguely disquieting, they are bodily, so we recognise creases and crevices yet also alien and strange. The work uses natural patterns to suggest familiarity and truth yet they are impossible creatures; itâs more like a suffocation or tightness, a manifestation of a feeling or an emotion as opposed to an actual thing. The intent is to produce something that can be read on many levels, both visceral and cerebral at the same time, a mobius strip both in form and meaning.

Q: Who and what are you inspired by?
In terms of other artists who helped inform my artistic identity, I would have to mention Eva Hesse for her repetitive use of materials and the organic nature of her work. Also Doris Salcedo for her use of scale and exquisite detail in large sculptural objects. Louise Bourgeois was also particularly influential for her fearlessness in harnessing sexual icons and her binary references to both brutality and nurture in her work. With all three artists it is also the ambition of their works, which marked them out as seminal to my own artistic practice.

Q: How do you source the feathers?
I am an archetypal hoarder, so I collect materials constantly from many different avenues and my feathers are sent to me by a variety of sources. I think of them as being a by-product of an existing process, a form of recycling. The pigeonsâ feathers are the most straightforward as they are captive birds and their feathers are sent to me by a network of hundreds of racing pigeon enthusiasts around the country. It has taken quite a few years to establish an on-going relationship, whereby I write to them explaining and showing them what I am planning to make. Then, when their birds moult (which they do twice a year), they send me these beautiful feathers through the postÂ (which would otherwise be thrown away). I have kept every letter and envelope in which the feathers are sent to me, and I hope eventually to make them into an installation.Â The game birds are shot for sport and food, and I merely ask pheasant pluckers to collect specific feathers for me while they are plucking the birds.Â Crows and magpie are somewhat different. They are shot by farmers and gamekeepers as pests as they damage crops and kill fledgling birds (indeed, by some they're also considered to be part of the reason for song-bird decline in the UK), and their feathers are then sent to me.

Q: Where did you study?
My undergraduate degree was at the University College for the Creative Arts, Farnham, followed shortly afterwards by an MA in Sculpture at the Royal College of Art. I also worked for many years prior to my degrees as an architectural visualiser (this was in the years before Photoshop), which put my draftsmanship abilities to the test. I spent this time illustrating other peopleâs visions while not fulfilling my own; this was the main catalyst to starting my degree as a mature student.

Q: Your work was recently featured in a fashion shoot. Tell us more?
The photo shoot was for a fantastic magazine called Garage, a bi-annual publication, which straddles the art and fashion worlds. Thereâs a great synergy between my work and fashion design: I think the sensual textures and contours of my pieces compliment the human form. The clothes for the Garage shoot were chosen to go with my work, so there were garments by Kim West, Emporio Armani, Missoni and Alexander McQueen, a designer I feel a particular affinity towards. The photographer, Serge Leblon, was also fantastic. It was a true union of sculpture, fashion and photography, with a result I am very happy with. [Issue 3 of Garage Magazine is out Autumn/Winter 2012.]

Q: Can you tell us about the series of works exhibited at the Royal West of England Academy?
The RWA exhibition Unnatural-Natural History gave me the chance to exhibit some of my smaller, wall-mounted works alongside two of my more well known cabinets; Urge and Wrest. The Stigma series departs from my usual sinuous forms and plays instead with texture and depth, using planes of lead next to feather lesions to create a sort of vertical landscape. Meanwhile, Quiver and Sepal Speculum showcase pigeon and mallard feathers as harmonious circular forms, decorative and deviant in equal measure.

Q: Your installations are large and very impressive, how long do they take to make?
In a way it is a sort of endless process, a repetitious cycle of collection and creation. While the making can take anywhere between a couple of weeks and a few months the collection can take years. I always work on paper first to create the basic form through experimentation. Charcoal enables me to have free rein of shape and scale in a way that is restricted by my access to materials. On paper I can sketch an idea and save it for later if necessary. My final works are governed by the materials I have in the studio. In contrast, once a piece is ready to be feathered the process becomes much more like painting, fluid and expressive but meticulous and meditative. I often become completely immersed in the act of making and often look back at a finished piece of work and think âdid I make that?â Itâs like they have a life of their own.

Q: Do you think that art plays a role in developing critical thinking skills in young minds?
It certainly helped develop my own critical thinking, I had really enjoyed writing my MA dissertation on hair made me engage with the subject in a way I did not think I had a capacity to do. I think art has a way of communicating with people in ways that they did not expect. I also think that the artwork that young people engage with at the start of their careers will affect their interests later in life, these people will be the curators and artists of the future so I think reaching out to minds of all ages is incredibly important. I feel privileged that there is a great deal of interest in my work from an academic angle and feel that âyoung mindsâ often engage enthusiastically with the themes I explore in my work.

Q: What are some of the challenges you face as an artist?
Too many to mention! But I will say itâs as rewarding as it is challenging.

Q:Â Â What led you to have a passion for the artsÂ and to be an artist?
My affinity with the creative arts was present from a young age, as a child I was always making things, constructing and destructing the world around me. For me it was a way in which I could understand the world, make it my own and add to it at the same time. I was brought up in rural Norfolk, surrounded by wild-life of the Norfolk Broads. As a family we would make occasional trips to London visiting the British Museum, seeing the relics from Tutankhamenâs tomb and the Japan Exhibition was like nothing I had ever seen before, it set the foundation for my childhood fascination with art and objects. At the age of 16 I moved to Paris to work as an au pair. Having the wealth of Parisâs galleries daily at my finger-tips solidified my passion for painting and sculpture.

Q: Do you have expectations on what the viewer will get from experiencing your work?
I try to always expect the unexpected. My work employs a range of binary emotions, from beauty and disgust to fear and allure, so everyoneâs reaction is different, guided by their own experiences and affinities. I wouldnât like to impose my expectations on the viewer experience as I hope the work will inflict its own sense of meaning.

Kate MccGwire

www.katemccgwire.com Â

www.allvisualarts.org

August 2012

Christian Rex van Minnen

Fri, 29 Jun 2012 07:01:00 +0100

Q: Where are you from?
I was born in Providence Rhode Island, grew up in Colorado and haveÂ lived in the Western US for most my life.

Q: What is the inspiration for your work?
Habit, vanity, mystery, my fellow painters, markets, spirituality,Â Surrealism, Giger, cryin like a bitch, biology, violence,Â investigations into âOld Mastersâ methods and materials, pop culture,Â anthropology, The Internet, comics, racism, natural sciences, alchemy,Â Jacque Cousteau, Johnny Cash, Joseph Campbell.

Q: Did you go to Art school?
I went to Regis University, a liberal arts school in Denver CO where IÂ received a BA Fine Arts.Â

Q: What is the process in creating one of your paintings?
I generally use portraiture or still-life as a conceptual/physicalÂ framework to begin with. I like to create forms from both expressiveÂ brush work and careful interruptions that compliments and contrastsÂ within the composition. Whether an abstraction or somethingÂ representational, all forms and space are dragged through a divisionÂ of labor that includes under painting, grisaille and glazing.Â I fightÂ myself pretty much the whole way through and try to stay close thatÂ edge between sincerity and the absurd. I try to stay intimate withÂ whatâs awkward in each piece and nourish that as I go.

Q: What is it that attracts you most towards abstractive figuration?
I am attracted to contradiction and the paradoxical. Itâs also aÂ process that is well suited to moodiness. If I had to wait around toÂ have a great idea to paint Iâd never get anything done. I trust thatÂ there is infinite mystery right there in the wet paint and in theÂ space between your eyes and that paint and if youâre aware of it itâdÂ lead you places.

Q: The grotesqueries of your work seem to invite the viewer to deliberateÂ many current societal ailments and issues, do you intentionally create workÂ with specific objectives in mind or is the work more instinctual?
Itâs a balance of both of those things. They are portraits orÂ still-lives so immediately you, the viewer, is going to interact orÂ communicate with it in a very specific way- itâs sort of a conditionedÂ response. They are styles that communicate in a specific way, and inÂ my work they communicate a sort of charged ambiguity that leaves theÂ conversation open.

Q: There is a malleable feel to your work â do you ever work in 3DÂ mediums such as clay?Â
Iâve experimented with clay and other 3D media in the past. I wentÂ through a period of excessive mask-making. Because my wife and I haveÂ moved around so much over the past several years that a paintingÂ studio is really all thatâs been practical. Iâm also just reallyÂ obsessed with painting and with pictures. Painting is mysterious andÂ seductive.

Q: What are you working on at the moment?
The usual pile of paintings. I work on a dozen or so at a time, allÂ the time and sometimes some of them get finished. I have to let piecesÂ dry for days at a time so I always have something I can work on-Â something thatâs going to take some calm, focused-time or somethingÂ that I can be more aggressive with, and everything in-between.

Q: what is your studio like?
an extra bedroom covered in plastic with a tarp on the floor, box fanÂ secured into window with tape, a certain inevitable terracing ofÂ paints, palettes and brushes, hanging wires with cans lights,Â dozensÂ of paintings facing the wall, dozens of empty kombucha bottles, coffeeÂ cups, dead bugs, sealed-for-eternity leftover oatmeal and bowl, booksÂ on Dutch Golden Age paintings, shipping supplies, shipping supplies,Â shipping supplies, latex gloves EVERYWHERE. Itâs a mess. I hope toÂ settle down some day and have a nice, regular studio.

Q: What do you do to relax and kick back?
Journeys into the desert and wilderness, read some, eat salsa, paint,Â walk around.

Q: If you could change one thing about your world what would it be?
Put the buffalo back on the prairie and put an end to stink-eye.

Q: If you could own any piece of art in the world what would it be and why?
A âSumptuous Still-Lifeâ piece by Jans Davidsz. De Heem. I could lookÂ at those paintings for hours.

Q: If not an artist then what would you have been?
A mean-spirited motherfucker.

Q: What is your most treasured possession?
1993 Subaru Legacy, GL.

Q: What do you like most about yourself?
My wife.

Q: Tell us about your pieces for 'Unnatural- Natural History' groupÂ show this summer at the Royal Academy West of England or for short theÂ RWA and why you decided to be part of the show?
Well, thereâs one portrait and one still-life, âV Diamondsâ andÂ âUnstill lifeâ. As paradigms shift, words like ââunnaturalâ, 'naturalâÂ and âhistoryâ shift as well.Â I was attracted to the showâs theme andÂ concept as Iâm also interested in visual contrasts between what is perceived asÂ natural and unnatural.

Click here to find out more about Christian Rex van Minnen

Beetles, Birds and Butterflies from Rose Sanderson

Sun, 15 Apr 2012 19:26:00 +0100

Q: You live and work in Bristol but where are you originally from?
Iâm originally from Winchester, but I moved away when fairly young, growing up in Weymouth on the South coast.

Q: You trained as an illustrator, what made you move into fine art?
I wanted more freedom, and wasnât very good at being told what to do!

Q: What is the inspiration for your work?
Nature, decay, the beautiful things that generally go unnoticed.

Q: You often depict insects and birds in your artwork, what attracts you the most about this subject matter?
I have always been excited and intrigued by insects from as early as I can remember; in fact my first pet was a woodlouse! Beetles in particular come in so many different forms and colours, and are simply fascinating. I am also interested in their place in the world; recycling nature; creating life from death. Birds to me represent freedom, and the fragility of life.

Q: How would you describe your work?
Expressive yet delicate.

Q: What methods and tools do you use the most in creating your artwork?
I use a lot of mixed media; old wallpapers, cracking layers of paint, rubbing away, scratching into. I am interested in old walls and surfaces that display the changes of time, and try to represent this.

Q: What mediums do you work in and why?
I tend to paint mainly in acrylics, they are very versatile, especially when mixed with other types of mediums. I feel I understand how they work but can still discover new ways of producing interesting effects. I know some people can be a bit snobby if a painting isnât created using oils, as acrylics havenât yet done the test of time, but I quite like that, and you can get some real quality stuff these days.

Q: Are there any other mediums you would like to explore?
Always, but itâs having the time to explore them that is difficult. When I feel I have learnt all I can from acrylics Iâll give myself the oil or watercolour challenge.

Q: What made you choose book covers as a canvas?
They suit my subject matter well; the story of existence; like the life cycle of a beetle or a moth, natures continual loop; changing forms or purpose. They also create a good surface for painting on!

Q: What are you working on at the moment?
Iâve been experimenting with my backgrounds, working from photos I took in Mexico last year of various walls; inspired by the textures, colours and covering up of graffiti.

Q: Can you tell us a bit about your working space?
I am based at Jamaica Street studios which is a real hub of activity and full of some fun and inspiration people. My space is tucked away up a ladder on a small mezzanine which is full of character but lacking space when wanting to spread out and paint big!

Q: What or who are your main influences in your work/life?
Subject-wise, everything around me is of influence. However, as an artist, as cheesy as it may sound, I really wouldnât be able to carry on without the support of my friends and family.

Q: If not art then what would you have done?
A science definitely, something anatomically based, most likely Human or Animal Biology/ Zoology,or the study of insects, perhaps Entomology? Iâd love to learn more about all that, maybe one day I still will, I hope so.

Q: What does a normal working day look like for you?
A sore back bent over a painting! Once in my studio space I tend to get into a bit of a zone and before I know it, hours have passed. Sometimes it is difficult to break out of (until I am forced to go to the loo, or Iâm offered a coffee break).

Q: What do you do to relax?
I like to get out of the City; itâs not far to the coast, countryside, hills or woodlands. Walking, mountain biking, or just sitting and looking; Itâs important for me to get some space and fresh air every now and again.

Q: Are you a sweet or savory person?
Sweet, without a doubt, I couldnât survive without my regular sugar intake!

Find out more about Rose on her websiteÂ

We also have a print available of Rose's work and originals on our webiste.

More of Rose's fabulous work can be seen on this is collosal's website.

The works of Femke Hiemstra

Fri, 17 Feb 2012 07:14:00 +0000

Q: Where in the world are you from?
Amsterdam, The Netherlands

Q: What is the inspiration for your work?
That can be anything, really. From something that I experienced personally -speaking to friend with a weird nickname or finding a wounded bird on the street- to a music lyric or a line in a movie. But mostly I get inspired by visual art and design. There are the usual suspects like the art of Hieronymus Bosch and Max Ernst, but I also find the more anonymous work a rich source. Like the nameless designers of match book cover art from last century or the black and white scraper drawings from the Victorian era. This all nests in my mind and at one point they ask each other to dance and so a new work is born.

Q: Did you go to Art school?
I graduated at the School of Arts in Utrecht, The Netherlands

Q: How long does it take, on average, to complete a piece of work?
It depends on the size and the complexity but about a week to three weeks.

Q: Your work surfaces are varied, how do you decide what will make a good background for a piece of work?
I pick a background by feel. I often work on old surfaces like book covers and antique wooden panels. I have to do some tests beforehand to see if the water based paint will behave.

Q: What are your favorite mediums to work with and why?
Acrylics, colour pencils and graphite pencils. I've been usingÂ AcrylicsÂ since art school. I can bend it any way I want from thin, water colour like to fat, pasty oil style like paint. The pencils are great for structures and drawing the finer lines. Black & white graphite work is also fun because it can be almost meditative to do. No colour decisions to be made, just drawing smooth gradients.

Q: Your work is based on a variety of âanthropomorphized animals (or inanimates)â, what animals do you paint prefer to paint and why?
That's a tough question because I find all animals very fascinating. But if it comes down to a top three I would have to go for cats and dogs and horses. Those are the animals I can 'read' the best.

Q: What are you working on at the moment?
Iâm painting a panel. It's a smaller work; it's about a dog at sea. The composition is quite empty. And that's kind of new for me being horror vacui-ish. But I like where it's going.

Q: You are giving a lecture at the upcoming Pictoplasma Conference, What is the conference about and can you tell us a bit more on what you will be talking about?
Pictoplasma is a conference on character design and art and it will be held in Berlin, upcoming April. When I was still a freelance illustrator I went to see the first conference. It was a three day full program of lectures and presentations and workshops on characters, made for mostly commercial assignments. When I was asked to give a talk myself I had a few doubts; is this the right place for me to be with the kind of work I make now? But when I have to describe what my paintings are about I can't do that without terms like 'characters' and 'inanimates'. So even though I walk around in a different scene nowadays, I do think Iâm a right fit for that conference. I will be talking about my work, inspiration, technique and tell a few stories and show a bunch of work. I'm looking forward to it.Â

Q: If not a career in art, then what else would you likely have done?
I would have been a helicopter pilot, or singer/guitarist/drummer in a bad ass band.

Q: What do you like most about your work?
Freedom is the first thing that comes to mind. And the playfulness of it all, creating, painting and drawing. When the fun is gone I'm going for that helicopter license after all!

Q: Where is your favorite place to shop?
The US, London, the internet

Q: What would be your perfect gift?
A vintage little character doll/critter, like a âDakko-chanâ for example. But anything else, slightly awkward or obscure, would be appreciated.

Q: What do you do to relax?
Er... paint?

And in the time left I go to the movies or concerts, cook for friends, do sports, go to my favorite DJ and dance, and take my bike for a spin.

To see more of Femke's work click here

Introducing Nigel Cox

Mon, 02 Jan 2012 16:41:00 +0000

Q: How would you describe your work?
I always have difficulty with this and if asked directly, I usually say something like âI paint photorealistic people in empty spacesâ which I suppose, on the surface is what I do, but itâs more about how a person comes into their own when removed from the crowd and clutter around them. I work from my own photography. People arenât aware that they are being observed which keeps it more natural â very personal mannerisms appear and this can give the work a slightly surreal feeling.

Q: Where do you get your inspiration from?
I suppose people, light and movement inspire me more than anything else. Every time I go out in London I see so many amazing people just being themselves. The movement as they walk, their clothes, sunlight brushing skin or hair or shadowâ¦makes me want to paint.

Q: Your work has a very strong narrative without the trappings of background detail â do you start with the story or does it develop as you paint?
Iâm very basic in my approach. I photograph people who catch my attention in a crowd, I put pictures up on my studio pinboard, and gradually see what they can become. Sometimes changing the figure or clothing dramatically and developing it and at other times just painting it exactly as is. I think it is because of the lack of trappings that the paintings work for me. The space is important.

Q: What similarities are there between you and your work?
Lots really. I dislike clutter, it distracts/disturbs me. I like a fairly ordered study, possibly a touch of OCD going on there! My paintings keep it uncluttered, minimal too but the figures are very detailed. I lose myself in detail. I love space and the idea of being back in vast empty places (Antarctica, the Desert etc), but to be honest, nowadays I am much more comfortable with my âsolitudeâ outside a cafÃ© in the City. Lots going on.

Q: What for you makes a good subject for painting?
A natural stance or movement with lots of detail to connect with and sunlight causing strong shadows. âBrandedâ was great for me with all the text, cigarette pack, phone, tattoo etc.

Q: Do you people watch all the time?
Absolutely. Always people watching when Iâm out and about but you knew that! When out for drinks or meals with friends, I usually have my back to the crowd so that I have less to distract me and can focus on my friends. Otherwise itâs âgod, look at how the light is catching her cheek! What a tattoo! And so on which gets a bit tedious for friends.

Q: How different is it to paint a self portrait?
I donât do much of portraiture. Usually looking for something with a twist my darkest paintings have been portraits (See John). The painting experience is the same as with all paintings mood, music, shapes, colours, tone etc but when itâs finished Iâm genuinely surprised, excited and proud that I have captured my likeness.

Q: What are you working on at the moment?
Unusually, some portraits. Iâve just completed one of the Cuban ballet dancer, Carlos Acosta. I am working on one of Sir Ranulph Fiennes, the Explorer; A tattooed âReuben Dot Dot Dotâ and a couple of larger male figurative pieces. One of my walking away figures, much bigger than Iâve painted before and bringing lots of challenges and doubts along with them, but thatâs what helps me to improve pushing myself through my doubts.

Q: If you could work in any other medium, what would it be and why?
Bronze Sculpture. Many years ago I lived in Hamburg, Germany, next door to an artist. She worked in ceramics. One day she said I could make a piece and sheâd fire it for me. It was incredible. I loved the tactile experience of it. Ended up making a 5â futuristic skull with almost angular bone structure. When she fired it, it exploded. So I started painting in watercolour, learning as I went along then discovered oils.

Q:What made you decide to go on the Transglobe Expedition?
I hadnât travelled much. I had studied Marine Radio and Radar at college in Liverpool in order to join the Merchant Navy and âsee the worldâ. The Transglobe Expedition coincided with me graduating so I applied for the job of Radio Office straight from college, knowing for sure that I wouldnât get onto it. When they phoned and said I had the job if I wanted to join I was totally shocked. They gave me three weeks to make up my mind, the idea of being part of an exhibition was any kids dream so I joined. It was an amazing 3 year expedition. I âgrew upâ on the expedition.

Q: You have travelled around the globe, what next?
Painting takes up pretty much all of my time. So it will be London with trips for art related things and an occasional break in hotter climes for some sunshine and swimming to recharge the batteries would be good.

Q: What does your working place look like?
Uncluttered. Good sized studio on the second floor of our house with three north facing windows over looking a quiet street. Great light and a good sound system.

Q: What is your most treasured possession?
I have lots of âthingsâ, but little I would miss terribly if lost, it would have to be my music â a bit of a lifelong addiction for me and something that has helped me to get through some very difficult times.

Q: What is the best advice you have ever been given?
Lots of good advice has come my way and I have still made every mistake possible! I was however advised some ten years ago, when I was in a low, discontented rut, to start painting again â to help me find balance. That hit the nail on the head.

Q: Music is a great love of yours â what are your three favourite tracks?
Only Three!!!! It changes from day to day and depends on what mood Iâm in at any given time. But three outstanding tracks that I wouldnât want to be without are

David Bowie : âFive Yearsâ . . .Â The first âgrown upâ music I owned. . .Â I was 13 at the time.

Koop:Â âBeyond the Sunââ¦gets me into painting mood every time

Gil Scott Heron: âOn Coming from a broken Homeââ¦hits a real emotional nerve. But not my home.

And I have to have the whole of Carl Orff â Carmina Buranaâ¦First âclassicalâ piece I ever really liked.

Check out Nigelâs blog here or view more of his work here Nigel Cox.

Ron English as Somebody Else

Sat, 12 Nov 2011 07:30:00 +0000

Q: Describe yourself in 5 words?
Yes, I am somebody else. Â

Q: What is your favourite medium to work in and why?
Photography because there is an exact decisive moment.

Q: What is your creative process?
I start with a good idea and a good game plan, then I get lost in the process and arrive in an unexpected place. Â

Q: Your work uses satire/humour to challenge moral, ethical and socio political landscapes. Do you see your art work as tool for change or device for debate?
I see myself as a tool and my art as a device, but thatâs open for debate.

Q: You have been labelled as a âgraffiti artistâ, âguerilla street artistâ, âpop artistâ, criminal, and âpop iconoclastâ to name but a few! Why do you think people need to define you in this way and does it impact on how people interact with the work?
I think my job is to provide something for others to put a label on. Labeling is how the human mind is able to organize overloads of information. I think an artist is not really a success until his art needs its own unique label.

Q. You call your work POPaganda and there seems to be multiple meanings within in this term as well the obvious play on words. Why did you create the term?
My art needed its own unique label. Â

Q: Your work is âplayful and prankster-ishâ, a kind of funny uncomfortable! It heavily criticises the corporate world and shows the truth behind the faÃ§ade. What has been the personal and professional cost of having your say in such a public way?
Evil has no sense of humor. Facts are the enemy of manufactured truth and belief only appears bizarre when it is the guiding philosophy of others. Criticism can cost you dollars, but capitulating can cost you your sense.

Q: In the Dusty Wright Show interview you refer to your 3D work as âToysâ and Dusty called them âVinyl Sculpturesâ. Which term do you prefer and why?
I think of toys as art, so either one is okay with me. Â

Q: Do you think emerging artists are becoming politically braver or are they using politics to make their work seem braver?
They can see that Generation Sell Out is now bankrupt so using their own art to empower their own beliefs probably seems logical to them.

Q: What is your opinion on copyright?
Copyright infringement is like porn, I know it when I see it. Fair use is vital to creativity, commentary and socially relevant expression, and copyright enforcement is vital to commerce.

Q: What 3 things would you change in the world today?
I would like to change opinions, beliefs and diapers. Â

Q: What words of wisdom have your children given to you?
Grow up Dad.

Q: If not art, what career would you had liked to have had?
Welfare cheat or trust fund baby. Â

Q: If you could meet any person (dead or alive), who would it be and why?
Jesus Christ, but only if all the worldâs Christians would truly believe I was the only living person that actually met the man.

Q: What is your greatest achievement to date?
I still donât own a tie. Â

Heiko MÃ¼ller's fascination with the uncanny

Mon, 07 Nov 2011 17:00:00 +0000

Q: You are currently based in Hamburg, Germany. Can you tell us what you like most about the city?
While Hamburg is not exactly small at a population of 1.8 million, often enough it feels like a small town. It strikes me particularly when I return home from a trip to a bigger city. Itâs probably because Hamburg isnât that busy. Whatâs more, thereâs a lot of green, two rivers and a harbour. When it comes to culture, thereâs certainly not as much going on in Hamburg as in Berlin, but thatâs probably just fine as it is. If I lived in Berlin Iâd probably never get a rest.

Q: Did you go to Art School and how did you find the experience?
Yes, I graduated in illustration. I do have to say that the degree left me rather confused and at first I couldnât decide where to go from there. I quit painting for seven years and focused on my work as a designer instead. The break turned out to be a good idea; after that I could finally paint without worrying all the time where my pictures would fit in.

Q: You have a solo show coming up in San Francisco, USA and possibly another one in Barcelona, Spain â how will you choose which work will go where?
Thatâs simple. The Barcelona gallery is very small and focuses on drawings. The San Francisco exhibition will show paintings.

Q: What are you working on at the moment?
At the moment Iâm still working on the San Francisco paintings. I want to show 25 pieces and have only finished half of them so far. As soon as Iâm done with that, Iâll start with the Barcelona pictures right away.

Q: Your work has a very strong narrative theme about the hidden side of Nature, what was the influence that took you down this path?
Thatâs a hard question to answer. Of course I have a vague idea of what nudged me in that direction. It has to do with love of animals, love of nature, a fascination with the uncanny, horror movies, heavy metal music, comics and all kinds of childhood memories, but to be perfectly honest, I wouldnât like to analyse it too closely. When Iâm on the lookout for subjects, I prefer to let myself drift and trust my instincts. If I knew exactly where my ideas are coming from, Iâd probably find them less interesting.

Q: There is a duality in your work between colour paintings and black and white illustrations, which do you, prefer to work on?
I do prefer working in colour. Normally I only use black and white when Iâm not sure where the subject will take me. It makes it easier to improvise while developing the concept. When I use colour, Iâm most of time exactly sure where to go before I make the first brush stroke.

Q: Which mediums do you enjoy working with the most and why?
I enjoy working with pencils, coloured pencils, acrylic and oil. If I had to decide on one medium alone though, Iâd choose oil paint. The smell and consistency alone would be reason enough. Itâs excellent for painting transitions and the colours have a much more natural effect than acrylic paint. That said, itâs always very important to use high quality colours. Â

Q: If not art, then what career would you have most likely followed?
Before art school I applied for a printing apprenticeship. The employer wasnât interested though, saying he felt that Iâd immediately move on once Iâd completed the training. Thatâs what I call a judge of character.

Q: Where do you get your inspiration and source material from?
I use a lot of photos that I make when I travel or take a trip to the zoo or the deer park. On top of that, I have an enormous collection of pictures that I have stumbled across on Flickr or elsewhere on the internet. Most of the time my pictures are based on two or three, more or less, altered photos plus some creatures from my imagination. Â

Q: Apart from Nature, what other themes do you explore in your work?
Actually there have been few exceptions in the last years. Most of my pictures are about nature in the widest sense: about landscapes, animals and about what threatens them. Sometimes the tide turns and nature strikes back, like in my favourite movie âThe Birdsâ, sometimes I explore the cycles of nature. Now and then I paint the occasional portrait without thinking how it may fit into my general themes.

Q: What type of person would you like to own a piece of your work?
A good picture can have an impact on a roomâs mood, just like light shining through a window. Iâm always happy when someone purchases one of my pieces with exactly that in mind. When someone explicitly wants to buy one of my pictures as an investment or a product I might tell a lie and say that itâs already sold. And I canât say I feel too bad about it.

Q: Who are your main influences in your work?
When I was younger, I focused quite a bit on the Surrealists but also on the Old Masters. During my art school days my interest waned and I favoured Cy Twombly and Mike Kelley. My friends Till Gerhard and Henning Kles definitely belong on this list as well. I was able to use Tillâs studio for a year. He would paint during the day and I came to work in the evening. We didnât meet too often, but I was able to see his pictures taking shape and that has been very influential. Every couple of years, Henning, Till and I do a group show. That has become a tradition with us.

Q: You are currently teaching as an associate professor of art at the same place where you studied, how does it feel to be on the other side?
Itâs absolutely baffling! Being able to give young people some stimulation and encouragement, I feel more energetic than I ever did when I was a student myself. Actually I tend to be quite exhausted after class and have to take a nap!

Q: When you are not creating new artwork, what do you do to relax?
I read quite a lot and recently discovered that meditation has quite a favourable effect on me. Iâm meditating on a daily basis now.

Â Â

Q: What words of wisdom would you pass on to your children?
Boys, stay away from people who build their life on hatred. Â

Q: What is the most amazing experience you have had to date?
Certainly the birth of my two sons, but also the way they surprise me almost every day: what they say, what they think, how they make connections and so on. Those surprises grow into a wonderful collection of memories thatâs making life immeasurably richer. Â

Lindsey Carr and the Unseen Bestiary

Fri, 21 Oct 2011 16:43:00 +0100

Q: You currently live in Scotland but where in the world are you originally from?

I was born in Birkenhead and then raised in Ormskirk; both of them are located around the Liverpool area of England. Itâs very similar culturally to Glasgow (which is where I live now).

Q: Did you go to Art School?

No. I thought about it but I ended up being offered a job in Design and I really couldnât turn it down financially at the time. I didnât paint for about 10 years â it took moving to Scotland to turn things around. Â If Iâm honest I donât think I would go now if I had the choice. British Art Schools tend to glorify concept over skill - resulting in work which (to me) seems rather glib and depressing.Â Iâd rather my taxes went into sending young artists to the private ateliers which are springing up around Europe.

Q: You have recently been in the USA launching your new solo show, can you tell us a bit about your time there?

I loved the US, thereâs such a rich representational artistic scene going on at the moment. It was great to meet other artists - get to see their work and talk about their processes. It also helped that Thinkspace Gallery are such generous and professional people.

Q: What are you working on at the moment?

Iâm working on a show forÂ Roq La Rue in April which Iâm pretty excited aboutÂ â itâs been on my wish-list for years. It overlaps with a project Iâm working on called the Unseen Bestiary (http://www.unseenbestiary.com/) which involves portraying animals and plants Iâve never seen. Â

Q: What methods and tools do you use the most in creating your artwork?

I use water-based paints on paper. I tend to work very thinly, building images gradually through layering.

Q: Which mediums do enjoy working with the most and why?

I use acrylic inks. You can work them like watercolours but you donât have the problem of them lifting (as you do with watercolours). Â

Q: Are there any other mediums you would like to work in?

Iâve worked in oils before and would like to use them again in the future. I love the richness and lustre but at the moment the drying times are a major stumbling block for me.

Q: Where do you get your inspiration and source material from?

Iâve got a lot of books and richly illustrated portfolios of natural history prints. I practically bankrupted myself on some of them. As regards the moral background to my work recently - I like the philosopher Mary Midgleyâs writings. I picked up one of her books a couple of years ago and it felt like it crystallised many of my very half-baked thoughts.

Q: The natural world is a key theme in your artwork, what attracts you the most about this subject matter?

Well, Iâve always been an animal lover but animals naturally make great subjects for human topics. Thereâs a whole host of reasons why that should be the case but it might be better if I just re-suggest Midgleyâs writings to you. She says it better than I ever could.

Q: How would you describe the relationship between your art work and its frame?

The work is meant to look like a relic and the frames often have a ruined grandeur about them which helps with the effect. In the next series of paintings the frames will take a back-seat. I was afraid it was becoming a bit gimmicky.

Q: What or who are your main influences in your work/life?

Iâm fascinated by the golden age of natural history illustration. My favourite works are the paintings in the John Reeves collection but I also love Audubon, Pierre-Joseph Redoute, Robert Thornton, Albrecht Durer, Mrs. Delany, William Bartram, Frans Snyders, Hiroshige, Ito Jakuchu...and many others. The work of contemporary artists referencing the natural world is also very inspirational â the likes of Josh Keyes, Walton Ford, Tricia Cline, Caitlin Hackett, Martin Wittfooth, Jessica Joslin, Tiffany Bozic etc.

Â Â

Q: What does your working space look like?

Itâs messy, disorganised, full of books, plasticine models and fake flowers! Â

Q: Where do you sell your work?

I usually sell through galleries or fairs. Primarily Thinkspace in the US and Imagine Gallery in the UK.

Q: When you are not creating new artwork, what do you do to relax?

I get too uptight if I relax. Â

Q: You have said before, in other interviews, that you are an avid reader, what are your current top 5 best reads?

My all time favourite read is Lolita by Nabakov. If you havenât read it and have assumptions about its content I urge you to give it a try. Itâs quite astonishing writing. Beast and Man by Mary Midgely The Bloody Chamber by Angela Carter The stories of Alan Garner The âLife on Earthâ books by David Attenborough

Q: What does your ideal day look like?

Very long! Â

Q: If you could have or do anything in the world, what would it be?

Iâd sail up the Pearl River in a Chinese junk

Korin Faught's Multiple Perspectives

Sat, 17 Sep 2011 09:31:00 +0100

Q: Where are you from? Here and there, I grew up near Colorado Springs, but LA is my home. Â

Q: What is the inspiration for your work? My influences include - Photography, fashion, film, old master's and contemporary figurative painters Â [caption id="attachment_2691" align="aligncenter" width="500" caption="Joey Remmers and Korin Faught"]

Q: Did you go to Art school?

Yes, Artcenter. Â

Q: In an age of Acrylic paint why do you use oil paints?

It's beautiful don't u think? I love the tradition and craft of oil painting. The medium demands respect, dedication and patience.

Q: Do you only paint women?

Why, are you interested in posing Richard? (smirk) I do paint men but somehow my male-centric paintings are less interesting. The personal investment just isn't there. Â

Q: What do you listen to when painting

Right now I'm deep into Netflix. Listening to Movies and documentaries, I also listen to audio commentaries from my own collection. Â

Q: Favorite living and deceased artist?

Painters: Phil Hale, John Singer Sargent Â

Q: You have an amazing gift with light, how do you make it happen?

Sometimes I get luckyâ¦ subtle changes in color and shade is my bag.

Q: Do you have models sit for you?

Yes, I do photo shoots with friends, but I love painting from life so I use live-painting as an exercise to stretch my "painting muscles". Â

Q: Do you have any surprises for us with your upcoming show?

A new print "beyond pale" mini giclee give away and limited edition sculptures.Â

Q: Tell us about your latest show at Corey Helford Gallery?

It can simply be described as a series of paintings with a water theme. I was influenced by pre Raphaelite paintings and Victorian literature that romanticized drowning. Â

Q: What are you saying with your new work?

This show is not unlike my past shows. I continue to use multiple perspectives of one subject within a single composition. My intention is to capture the inner turmoil of my subjects while reveling myself in the process. I become master puppeteer and supreme author as I reenact my own fear, desire or elation thru my subjects.

Q: Favorite time of year?

Spring, perhaps. I like wearing rain boots. Â

Q: Your paintings are moody does that reflect you as person?

Oh you make me smile Richard! Â Yes, I am a self proclaimed Â "Debbie-downer" Â

Q: Biggest Fear?

The loss of my loved ones.

Q: Greatest joy?

Being in the moment, and finding inspiration in unlikely places. Â

Q: Goals for the future?

Bigger and better projects that keep me inspired. Â

Q: If not painting what would you do?

Photographer or other visual artist.

Q: What advice do you have for other young artists?

Keep at it. Painting is not like riding a bicycle. Practice your art! Â

Q: Tell us something we don't know about you - surprise us?

I enjoy watching wrestling shows J

The work of 'Hush'

Thu, 14 Jul 2011 00:35:42 +0100

1. Tell us something about your hometown? Home is Newcastle in the North of England, even though we travel a lot it's always good to get back to that city. It's an interesting place on lots of levels and can offer you whatever you want. 2. What and who inspires your work? Life, experiences, everything visual and not, graffiti. Who inspires my work? A villains comment, an old wall, sexuality and a multitude of artists and creatives past and present. 3. How long have you been painting/drawing/etc? I came out drawing, played with graf, art school, painting serious for ever and non stop for 8 years. 4. Is it possible to define your style? I think you know it's mine but define it how you like. I give clues but it can never seen how I see it. Every mark is a thought. 5. What medium do you use? Oil, acrylic, spray paint, ink, screen print, sometimes spit, sweat, blood (ok maybe leave the last one to Franko B, Marc Quinn & David Choe ;) 6. What's the best thing about being an artist? FREEDOM 7. What's the worst thing about being an artist? FREEDOM 8. Whose opinion matters most when commenting on your artwork? Anyone who dares to say what iâm thinking. It can be anyone. I hate it though as I think, âif I thought it, I should just do it.â 9. What advice do you have for aspiring artists? Just keep on making art, eventually you start to find it. 10. Tell us about what your working on at the moment? Oil paintings, sculpture, textile and 3d pieces. 11. Do you go to Museums and galleries when you travel? We always go to galleries and museums it's part of life, the History side of the MOCA exhibition was interesting. 12. Tell us about your studio and space in Newcastle? Well I was lucky to find a big ****ed up studio which is perfect, it's two big spaces. I paint in one and the other I look after with my wife Rachael. We started âOnethirty3â which is an installation space. We invite artists over every two months to make wall based works within the space. It gets true expression out, they can just **** the place up if they like. It's to take artists back out of the gallery setting and allows them to experiment. It's not a selling show (we make prints to fund the projects) but its mainly about an ideal. So far we've had TitiFreak (Brazil), Paul Insect & Sickboy Colab (uk) & Herakut (Germany). We all lock ourselves in the place for a week then the show opens, it's an experience iâll tell you. Thanks for your time Chippy and Richard Best Hush

Persistant Thoughts from Sarah Folkman

Sat, 21 May 2011 21:55:00 +0100

Tell us a little about your background? I grew up in a northern Los Angeles suburb that bordered orchards and undeveloped hills - areas in which I spent as much time as possible. Started painting when I was 18 while also plunging into music, and later, writing. Iâm self taught as a painter, but I did study graphic design, print making, and a tiny bit of photography until I was swallowed completely by music and painting and had no time for formal education. Wouldnât mind being able to go back and change that. Tell us about your upcoming show? These 8 paintings were created over the past year. Images and feelings that were persistently circulating in my thoughts. It opens on May 21^ST at Corey Helford Gallery. Your work contains figurative and natural history imagery, how did this evolve? Since I can remember Iâve had a desire to understand the manner in which people react with, or retreat from, the world. It wasnât until I was in my late teens that I realized creating art was one method for doing that and it saves me from going completely insane. Painting birds is particularly soothing; everyone should try it. What does a day in the studio look like for you? If itâs a full day off from my other job: Coffee. Feed cats. Some cleaning. Paint for a few hours until Iâm on the verge of screaming from being in one spot for so long. Exercise or more cleaning/yard work. Shower. Eat. More painting. Have you always painted in oils? The first several canvases I tried to paint were in acrylic, but I found it frustrating to work with. I didnât know about mediums that could extend drying time or fluidity. I switched to oils and immediately felt at home. Â How is your favorite living artist X3? Do you mean who? Joel-Peter Witkin Sally Mann Jason Shawn Alexander Most influential deceased x3? Francis Bacon Edward Hopper John Millais What would you like the viewer to get from your work? Emotion. Any emotion, ideally strong enough to make them pause. Your greatest fear? Iâve had so many, I canât pick a greatest. Â Your greatest triumph? Itâs May 18, 2011 and Iâm still alive! Hopes for the future? More and better. Does art matter? I go through terrible periods feeling it doesnât, that thereâs too much immediate craziness and pain and desire for numbness in people for art to have any space in a life... but then it occurs to me that that might just be my head talking and I should listen to others and find my way back to the very soothing import of art. Â For more info on Sarahâs work please contact jch@coreyhelfordgallery.com or www.sarahfolkman.com

Buff Monster's Reign of the Pink

Sat, 07 May 2011 18:06:00 +0100

What came first the streets or galleries? The streets, of course. I was painting graffiti long before I took my first step into a gallery. Â Why do you use pink in almost all of your work? Pink is a colour. But pink is really more of an idea, or rather, a representation of a few ideas: power/empowerment, confidence, individuality, sex, gender roles. How do you get those rich colours? There are a few brands of paint that I particularly like using, and I mix all the colours myself. Tell us a little about your background? I used to paint graffiti. Then I stopped. Then I put up a bunch of posters, and then I learned how to silkscreen. Then I put up even more posters. All the while, I learned more and more about fine art. Â What does super flat mean? Itâs a style or an approach named by Takashi Murakami. He wrote a book about it. I havenât read the book, although it is sitting on my shelf. To me, super flat describes my painting technique which you could say is very LA-centric. When did the Japanese influence come into your life? I was born and raised in Hawaii, and there is a huge Japanese population there. Traditional Japanese food and customs are a part of the local Hawaiian culture. So I grew up a Japanese influence and didnât even realize it. Favourite living artist? Perhaps the above-mentioned Murakami. I donât love all of his imagery, but I do love how and why he does what he does. Tell us a little about your show in London? Well itâs a nice follow-up to the Art From The New World show that I was involved in at the Bristol City Museum. This is my first solo show in the UK and I took the opportunity to create a bunch of traditional or iconic Buff Monster paintings. I also painted a wall in the gallery, which is something I do fairly regularly. Congratulations on the ten year anniversary of Buff Monster, did you think it would make you so famous? Thank you! I donât consider myself famous, but I do like to continue to work on bigger and better projects. Â What is the difference between street art and graffiti? Well, they certainly can look similar and use the same medium, but the purpose and the effect seem to differ greatly. Is it true the Bristol City Museum purchased one of your paintings for their permanent collection? Indeed. I was very flattered and honoured. Itâs incredible. Â What do you listen to when you're painting? Heavy Metal music gets me in the mood to paint, and conceptually inspires me. Tell us about your studio? Itâs a little place tucked away in the middle of Hollywood. I like having my own little quiet spot in the middle of all the craziness. Â Any advice for young artists just starting out? Do your homework, research the things you like and practice. Your voice and technique will develop and improve over time as long as youâre honest with yourself. What legacy would you like to leave? Thatâs a tricky one. I make work that brightens and enlightens, and I would like to see that endure. Â Surprise us with something we don't know about you? Mike Giant did my first tattoo. I traded him a painting.

Scott G Brooks: Finding a Home

Mon, 18 Apr 2011 21:33:07 +0100

[caption id="attachment_2383" align="aligncenter" width="500" caption="The Widow and the Birdwife (Available in Modern Fabulists)"][/caption] What part of the U.S. are you from? Iâve lived in Washington, D.C., for over 20 years. Iâm originally from Mt. Morris, Michigan, a suburb just north of Flint. [caption id="attachment_2382" align="aligncenter" width="500" caption="We the People"][/caption] Have you always been a painter? Yes, I have a fine arts degree from the University of Michigan, where I studied painting, but Iâve been painting since I was in my teens. I started with the cheap watercolors and went right to oil paints when I was 12 or 13. I bought canvas board and did some really awful paintings. My first job in high school was painting murals in the local schools, which I did all through college and up until I moved to D.C. in 1990. I also exhibit my drawings and made sculpture for several years, but itâs been nice to focus on painting these last few years. [caption id="attachment_2380" align="aligncenter" width="500" caption="Royally Ducked"][/caption] Do you have any ambitions outside of the art world? Iâve illustrated 6 childrenâs books and plan to complete one of my own stories soon. Iâve started dozens, but the writing side has always been a challenge. Itâs been back-to-back shows for many years now, so itâs hard to squeeze in the time. I see it along the lines of Roald Dahl or Charles Addams of course. Twisted and dark. [caption id="attachment_2381" align="aligncenter" width="500" caption="Separation Anxiety: An Allegory for the Conflict Between Good and Evil"][/caption] Tell us about your working method? Following any big show, I usually just want to clean up the studio and take it easy for awhile. At that point, Iâll spend a couple weeks sketching and coming up with some new concepts. When itâs time to get back to serious work, I usually have a few rough sketches to work with. I never do really detailed sketches or color studies and instead start right in on the canvas using thin washes of oil paint and gradually build it up. I have some paintings figured out from the beginning, but others are just a rough idea or concept that I work out as the painting progresses. Smaller paintings take me at least a couple weeks and most take a month or more. Iâm usually working on several at any given time, so itâs hard to say exactly. Some paintings take longer to come together than others. [caption id="attachment_2379" align="aligncenter" width="500" caption="Proliferation"][/caption] Your work has a feeling of Carnival, does the side show life inspire you? Iâve always painted these odd assortment of characters, but they werenât in a sideshow or carnival setting until recently. The last several years Iâve gotten more connected to the sideshow and burlesque scene here in DC, and it seemed like the perfect setting for some of my characters as well. You could say they were wandering around aimlessly and then found a home. It also allows me the freedom to experiment, in the sense that anything can happen in that environment. [caption id="attachment_2375" align="aligncenter" width="500" caption="Driven by Attraction (Available in Modern Fabulists)"][/caption] Please tell us about your new paintings for Modern Fabulists at View Gallery in Bristol? Iâm exhibiting two paintings in Modern Fabulists, and both of them are about relationships. âDriven by Attractionâ is about when relationships go right, and âThe Widow and the Birdwifeâ is about when they go wrong. âDriven by Attractionâ shows it takes two to keep everything in working order. Under her dress, the engine sputters and smokes, and heâs responsible for cranking it up and steering. The car theme here goes a little deeper for me, since Iâm from Flint, Michigan. I grew up around cars and âcar art.â It wasnât conscious when I started the painting, but I couldnât avoid it as the painting progressed. âThe Widow and the Birdwifeâ is about separation. The birdwife is put on a leash and taken away by the grieving widow, attempting to console herself. Those left behind at the tree anxiously await the birdwifeâs return, uncertain of the widowâs motives despite her beauty. Through no fault of their own, relationships can be torn apart. This piece evolved the recent run of bad news, including earthquakes, nuclear meltdown, oil spills, and Sarah Palin. Iâm very grateful for what I have, realizing tragedy can strike at any time. [caption id="attachment_2387" align="aligncenter" width="500" caption="Scott Brooks in his studio photo by William Waybourn http://www.williamwaybourn.com"][/caption] How do you keep coming up with new ideas for your work? I take my sketchbook with me everywhere, so if an idea hits me or if I find myself with some downtime while Iâm out I can sketch. I also get ideas from current events. Being in Washington, D.C., itâs impossible to shield myself from the bombardment of political news and world events. The U.S. is going through some interesting times, as is the rest of the world, and thatâs constantly inspiring new work. On a personal level, Iâm inspired by my relationship, friends, and family, and what theyâre going through. The challenge is translating all this into a painting that can be viewed more broadly. [caption id="attachment_2374" align="aligncenter" width="500" caption="Drifting Away"][/caption] Future directions? Hard to say. Iâve become more interested in technology and how it relates to us these days, both good and bad. Quite a bit of my work lately has included mechanical elements of some sort and have an industrial feel, so I can see myself going further in that direction. Our dependence on technology and machinery, be it the wheel or the computer, fascinates and scares me. Iâm totally dependent on all this technology but have no idea how it works or how to fix something when it breaks. It could be why painting still appeals to me. No computers or technology necessary. [caption id="attachment_2376" align="aligncenter" width="500" caption="Nativity on Demand"][/caption] What do you do to relax and take a break from painting? Unless Iâm up against a show deadline, it doesnât take much to get me to relax and take a break from painting. I live in a bustling neighborhood, and I like just getting out and walking in the city. When the weather is nice, I canât wait to grab my sketchbook and get outside. My partner Mike and I just bought an apartment together last year. Weâre still unpacking and getting settled, so when I get a break I enjoy making some progress on our place. I also like to spend time with friends and have a beer, or two. We also see a lot of burlesque shows and live music, and we travel when we can. Normal stuff. My life is pretty simple. No car, no yard, no kids. That leaves lots of time for work and play. [caption id="attachment_2377" align="aligncenter" width="500" caption="Duty Bound in a Fancy Coat"][/caption] One thing in the world you feel very strongly about? Separation of church and state. I donât want anyoneâs religion to dictate how the country is run. Three favourite artists? I usually list dead artists, so Iâll pick three living artists. Iâve always been a fan of Dave Cooperâs work. It looks like heâs always having a great time. The women in his paintings are so adorably weird, lush, and juicy. R. Crumb is also a favourite. His life and dedication to his work are inspiring. Jean Labourdette, a.k.a. Turf One, is an artist I first saw a few years ago. I get a kick out of him. There is so much great work out there itâs tough to pick just three. [caption id="attachment_2378" align="aligncenter" width="500" caption="Food Chain"][/caption] Three loves? Certainly my partner Mike, and the life weâve built here together over the past 10 years. Heâs incredibly supportive and puts up with all my nonsense, for the most part. I guess saying I love my work would be redundant, but itâs hard not to include. It keeps me going no matter what else is happening in my life. Finally, I would say I love Washington, D.C. Iâve been here over 20 years, and itâs tough to find somewhere else Iâd rather live. For someone whoâs never been here that might sound strange, since they see it only as a political city or the place thatâs making all these bad decisions. What they donât know is that there is an entire other part that has nothing to do with politics. There are artists and musicians and performers, great restaurants, and some of the best art in the world. Iâm lucky enough to live within walking distance to almost all of it. [caption id="attachment_2373" align="aligncenter" width="500" caption="Breaking Up is Hard to Do"][/caption] Three loathes? Conservatives. I just donât follow how they can rationalize their viewpoints. Organized religion. I very much see the potential benefits to people, but so much of it has been politicized at the expense of true faith. Lastly, wheat beer. Canât stand the stuff. [caption id="attachment_2372" align="aligncenter" width="500" caption="Battle for Thorazine"][/caption] Surprise us with something we don't know about you? Iâm an awesome vegan cook. At home, weâre 100% vegan, and I do almost all the cooking. Itâs just a lot easier, and healthier. To find out more about Scott click here to go to his website

Marco Mazzoni's Ancient Tales

Fri, 15 Apr 2011 16:47:00 +0100

Where do you live, tell us a little about you home town/city?
Iâve been living in Milan for the past 5 years. I grew up in a small village in the province of Alessandria. The reason for moving to Milan is mainly due to the necessity for me to be in the most important city for the arts in Italy at present.

How did you get started in you art career?
Iâve been drawing since I was a child. I used to spend my afternoons in the office where my father worked. Like all children, I had to be quiet and not disturb so I drew on waste paper with coloured pencils.

Tell us about your working process?
The first step is a research on plants in encyclopaedias and specialist books. I am focused on curative plants, traditionally connected with the ancient culture of Sardinia. The drawing action, a chiaroscuro base comes afterwards. The colours are the final step of this process. The coloured layers are applied delicately one by one.

What is the inspiration behind your work?
My works are connected with the oral tradition of ancient story tales. They are references to the Sardinian female-based societies from 16^th to the 18^th centuries which conserved their culture through the storytelling.

You have such good control over your use of pencil, any tips for budding pencil artists?
Patience and a lot of practice.

Who are your models?
All drawings represent my girlfriend. I am not interested in portraying, but in the interaction between the face and plants.

What make of coloured pencils do you use to get the rich colours?
I use the Durer Faber-Castell coloured pencils. The rich colours are rendered through the combination of many nuances on average each art work imply the use of 30 different colours.

Tell us about the pieces for the Modern Fabulists exhibition with Coates and Scarry?
For the show the series of works was inspired by some storytelling geographically and culturally connected to Europe. For more info see http://www.viewartgallery.co.uk/

Have you exhibited in Bristol before?
No this is my first time.

Three loves?
My kitchen, I love cooking! my dog, beers.

Three loathes ?
Cars, dust, negativity in life.

Future directions?
I am planning a solo show at the Bonelli Arte Contemporanea (www.bonelliarte.com) in Italy and at the same period at the B15 Gallery in Copenhagen.

Dan Baldwin: Always Pushing Forward

Sun, 10 Apr 2011 10:36:00 +0100

Where are you from?
I was born in Manchester and grew up in Lancashire until my parents split up when I was 9 and came down South.

Why do you create art?
All my childhood was creative. I was really into drumming and skateboarding. I channeled all my emotions into being quite active. Skateboarding was a very important chapter for me, skate art and the graphics, stickers, t-shirts etc. It was a massive influence, building things like my half-pipe or restoring my beetle when I was 17. My mum got me involved in a plumbing apprenticeship when I was 16/17 but it wasnât forÂ me. I gave that up after 9 months, went back to my old school and talked to my old art teacher who helped me get an interview at Eastbourne College of Art and Design in 1990 where I got onto a course. Iâd go to the library and discover Joseph Cornell, Peter Blake, Pop Art and was so focused on making art that I made more personal art than college work. I just thought wow to make your living doing this would be the ultimate. I did 5 years at college and never stopped.

Tell us a little about your creative process, mediums and method?
My chosen mediums are emulsion, spray-paint and acrylic on canvas or wood with 3d mixed media, paint pens, pencils and screen-printing/collage.Â I do not plan a piece but start with colour and layers, then build it up like a piece of music, layering until the balance is right. I combine hand painted elements with photographic screen-printing and collage. I get source material from all over like old books and antique toys, razor blades, knifes, or vintage crucifixes. I have always been a collector since I was a boy. I also hand paint ceramic vases.

How and why did you start working with ceramics?
Back in 2001/3 I was painting resin dog sculptures that sold in Selfridges, they were dipped in gloss paint which dribbled and then Iâd give them a silver chain and a dog tag. They sold well, my work was more about animals and nature then.Â In the pound shop I bought some cheap vases and just started to spray-paint them, hand painting them with emulsion and then doodle on them with marker pens. That was a light bulb moment where I thought I would like to make really sinister but sexy vases, from my range called EVIL N SICK N NEED HELP which was the title for my fucked up doodles Iâve always done. I then started to paint vases like I make paintings and thought that juxtaposition was really interesting. Iâve developed them for 5 years now and work with a Sicilian potter who makes vases for me by hand on the wheel, I hand paint them and he fires them. I have a lot of ideas about the new vases which I think will be really exciting. Â Itâs the combination of the delicate, the 3d, the dark, and the history of arts and crafts, these ceramics are really sexy one offs. You want to keep turning them around. They are also more affordable original pieces, between a print and a painting and thereâs an element of risk with them.

What and who inspires you?
I just love being in my studio making art, feeling secure and listening to music. Annie and Dylan are in the house and Iâm just next-door in the studio. I like being at home every day, working with interesting people on exciting projects, progressing with every piece, and to just do what I love doing daily. I work 7 days a week and if I have a day from the studio I get very wound up. Â I think its like therapy, it keeps me calm like channeling all the shit out onto a painting and then its exorcised. Its the same with drumming, skating, or cars, you have to get it out your system. I love fan mail from young students who are really inspired by my work, or a whole class of students basing their projects on my work. I love selling a piece, thatâs a massive buzz, and then moving on so Iâm always pushing forward, working alongside Peter Blake or being in Hirstâs print studio really inspires me as these are the artists that influenced me way back. I enjoyed meeting Shep Fairey at my show in LA as Iâm a fan of his. I love working on a massive high profile project, or travelling the world. I think art is better than being in a rock and roll band as you still have your anonymity. It crosses over to so many areas, music, fashion, charity, printmaking, books and interiors. I love the places it takes my work. Its exciting to meet your heroes through your work. I still get a buzz when a famous person contacts me to say they have a print or something. Its also this inner feeling of so many paintings still to do. Iâd hate to be 80 now as Iâd feel really frustrated. It never ends, its never complete as your next work is always better than the one before. Maybe its all about acceptance, being an artist or wanting approval.

Tell us about your new work for the Modern Fabulists opening at View Gallery in Bristol?
The painting 'Death at the Parade' (after Mexico) was inspired by a painting I saw in a museum in Mexico, it has a skeleton on all fours looming over a little sleeping child, she may be dead and is wearing a crown. My rendition became more like a painting I did for the LA Carmichael show called Parade. Its quite dreamlike as the central figure is a sleeping girl but she is surrounded by a carnival like scene with animals, freaky creatures, flags, anatomical diagrams and a skeleton looking away to the distance where we see the silhouette of a church. Death at the Parade is also as a follow up to the painting entitled The Dream I made last year. The two vases are the first large hand made ones my new potter and I have worked on. They are 45cm high and the beginning of the new pot chapter. One is titled Relics and is decorated with images from war, Adolf Hitlerâs skull with a bullet hole in it, (still with his flick of hair and moustache), swords, guns, and battle armour like ghosts of war. The painting The Road to Hell (after Bosch) was inspired by the Hieronymus Bosch painting The Garden of Earthly Delights which took 10 years to paint is incredible. You think Dali was mental, this is who he was inspired by. Its idea was the road to hell, the journey along some post apocalyptic wasteland where the central figure of a sinister child with a clown face is picking at the debris of a hellhole. Other images include depictions of heads on spikes, monkeys playing with abandoned shopping trolleys a symbol of modern society, apes holding placards replace humans whilst another great symbol of our modern age the burger building is on fire. A skeleton toys with a cattle like a plaything. I think cattle represents third world survival (well in my mind I think of Africa ) and also feeds the burger chain. There is also a bird in a cage, a nod to vanitas or a vision of the future where all nature is dying off. Our childrenâs children will hear stories of what a bird was because they are all long since dead. Thereâs also a clock face, a reminder that time is ever ticking, its a cheerful piece.

Is this your first showing in Bristol?
Yes

Your paintings are strong vibrant and graphic, how did this style evolve?
I have always loved colour, its a very important factor for me to get the balance right with so many colours from a deep brown with a pale yellow to a candy pink or a deep purple. I love colour balance, every blob is on purpose being inspired by people like Warhol, Basquiat, Rauschenberg etc. It developed over many many years. I was making 3d mixed media works in the early 90s which were like Cornell or Blake, then started playing with pure spontaneity, paint sticks, wood, emulsion and paper, then making gloss on wood paintings inspired by Japanese art, playing with paint effects, dribbling like Pollock and letting the paint marble. Incorporating kittens, puppies, tree paintings, sinister, oversized, sexy, kitsch, to then fragmented allegorical works incorporating all aspects of life and death. I always felt I had to push and push and get away from what had been done before. It was about 1998/99 when it became quite graphic. I was developing a photorealistic technique with grids like Chuck Close using dots in a stipple effect and playing with images on Photoshop, gridding them up to make them into paintings. You can see Rauschenberg/Warhol influences in the photographic silkscreen blending this with other graphic elements and mixed media really excited me. I still do and the spontaneous mark makings like Twombly or doodles. I have created a formula that has enabled me to have total freedom in my work and to go in any direction yet always recognisable as my work. It may be landscape with no perspective. The graphic influence is also subconsciously from the skateboarding years and the rockabilly years using imagery like skulls, dice, flames, butterflies, cobwebs etc. Its like science, a bit of this, and a bit of that combining all the things Iâm into.

What does a day in the studio look like for you?
I tend to work at the desk on email/admin stuff from the moment i get up till midday, I eat breakfast at the deskÂ then get into the studio at 12- till 6/7. Im not a early morning person, I hate getting up before 9. I work in intense bursts always with music on. Sometimes I go back in at 8pm till 10 then back to the desk to do more admin emails etc. I wish i could get to the studio at 10am but it never happens but in 5/6 hours I can really do a lot so I can relax for a bit away from the fumes then go back to work with fresh eyes. I may be working in the house if its a vase, or an interview or something on the computer. It can be hard working from home so I have to be really disciplined and thatâs not easy with Annie and Dylan here. Being trained in illustration really teaches you discipline though, most days are like this - Sundays, Saturdays and bank holidays mean nothing to me. bulists)"]

How is juggling being a new Father and a working artist?
Its getting much easier now apart from a constant tiredness. Iâm trying to not drink in the week as im woken up by Dylan at 6am, 8am and I hate feeling tired all day but thatâs easier said than done, especially when you work from home. We sleep in three separate rooms, baby in one, Annie in the other and me in another which is important as lack of sleep is not good for me at all. I didnât actually want children as was too focused on work but now he is here he has changed everything for the better. Since his arrival I have a new accountant, a new website and a new publisher, its the baby forcing change because he has changed everything. I work even harder now as I have him to think about too, I just want to protect him and Annie and provide for them both. . i can come in the house and have a quick cuddle, check on them and go back to work which is nice. He is amazing and comes everywhere with us. Heâs been to a Prodigy concert, Â art shows, print meetings etc -we are taking take him to the Royal Academy in a few weeks.

How does art impact the world?
Art affects everything, it crosses over into fashion and music. A few years back the high street was suddenly flooded with skulls and swallows on fabric that happened the same time a large clothing company bought one of my Divine Revelation paintings for a dress, coincidence? Art filters down to the streets, the influences of Warhol/Lichtenstein/Haring are everywhere in the high street. Music and art go hand in hand, think of Peter Blake working with The Who, Paul Weller, Beatles etc. Jamie Reid for the Sex pistols. Designers of cars look to artists for inspiration. Citroen have a model called Picasso and work with designers on limited edition models. Â Art influences houses, fabrics, interiors, wallpaper, carpets, rugs and chairs. Hospitals have art on their walls to cheer up the patients, ski companies look to artists to make hip and groovy designs. Boutique hotels and stores worldwide want art in their windows and walls. There are no rules anymore, the average man on the street will think art is elitist but subconsciously will be surrounded by the effects it has on every day life. I think its great that kids now are into art thanks to Gorillaz, Jamie Hewlett, Banksy etc. I think art is very much more approachable and people donât feel intimidated by it anymore. When we were kids we didn't know anything about art, maybe Mondrian or Turner. Nowadays I think art is very much more approachable and people don't feel intimidated by it.

What advice do you have for young artists or students with a need to paint?
Be prepared for a long ride, it took me 16 years before i was able to go full time. Be thick skinned as people will slag you off or love you. Be unique look at whatâs been before you and strive to be original. Work hard and give it 100%. Too many artists now think they are artists after 6 months of making a few prints and expect to sell them and be art stars a year out of college. Thereâs no soul, no journey and they want success overnight. I have had collectors of mine suddenly start to become artists. Do your research, its all out there online nowadays. We grew up with no internet, no computers, no Photoshop, no email , no mobile phones and Iâm glad we did. At art school we had to learn to use Letroset or acitate hand drawn lettering over a piece, do life drawing, and learn art history. My advice is to just focus on your work and understand that we are all on our own journey.

Any big plans for the future?
Yes, some very exciting plans in the pipeline, which I cant, go into now. I am excited to launch new silk-screens with CCA galleries in Aprilâs London original print fair at the Royal Academy alongside Peter Blake and others. Exciting projects with www.thisisalimitededition.com and Sara Berman.

Something we don't know about you?
Years ago when I was skint I was asked to be a postman for a TV campaign. Every morning on TV when the weather came on i was the postman. No one recognised me as I had to shave for the part. The things you do for money as a struggling artist, it was awful, as Iâm not an actor. Its really hard to act. Â I also ran a really busy newsagent for 5 years living a double life, newsagent by morning artist by night. Â Â

Derek Weisberg's Figurative Sculpture

Fri, 25 Mar 2011 09:05:00 +0000

Who is Derek Weisberg? AAAHHHH, who is Derek Weisberg? It is a question I am still trying to figure out and I guess, hope to be pursuing till I die.Â For now, I am 27, a Californian bay area native. I reside in the âWestâs Best Betâ, that's Oakland for those who don't know.Â Â I am a workaholic and find heaven in my studio blasting mid 90?s and or obscure underground rap music.Â I am an artist, a creator of objects, a sculptor.Â I primarily make figurative sculpture out of clay, but also sculpt with other materials, draw, paint, make prints, and pursue anything else to keep me interested, curious, to push myself and create something visually in whatever form the piece dictates. Tell us about your creations? Primarily they are figurative sculptures, focusing on the human condition and portraying emotions.Â I aim to make work that is accessible and crosses all demographics, work that is timelessness and universal.Â The figuresâ physical features are stylized to emphasis the emotions, psychology, and condition I am interested in portraying.Â I am concerned with realism only as much as to make the work believable and to express an innerness, getting the viewer to feel.Â At its core the work reflects humanist ideology, as I search for truth based on the commonality of the human condition. When did you first start selling your art? I've been selling art since I was a kid, I was a youthful entrepreneur. I've been making art since I was old enough to hold something in my hand, and was encouraged to show it early on.Â I remember being a young teenager and entering art competitions and exhibitions that required the applicants to be 18 or older, and making up a fake age, just to show my work. Â How has your work developed over the years? A lot!!! I was making silly shit when I was a kid, to see and hear about that stuff, you will have to visit my pops house.Â When I was 18 I was making more silly shit, b-boys, and rappers, dj's and all this stuff about hip hop music and culture.Â A lot in my life changed quickly after 18; my first true heartbreak, and my Mothersâ cancer metastasized, to name 2 in a long list of things. I didn't want to give up including the culture of hip hop in my work, so instead of commenting on it I used the aesthetics and style of it to comment on art about my life, my experiences, and emotions.Â Another big change in my work came when my Mother passed away when I was 23.Â Since then my work has continued to examine my life,Â emotions and such, but the work is also dealing with issues and ideas of life and death, the afterlife, the metaphysical, death, funerary rituals and practices, grieving, renewal, rebirth and creating in the memory of things and people lost. Â Did you study art at college? Yeah, I went to California College of Arts and Crafts, (now CCA) got a BFA, in ceramics. Â How do you make your sculptures? They are all one of a kind, hand built ceramic.Â No mold or casting.Â They are all coil built, so they are all hollow, no armatures or anything like that.Â As the clay hardens and looses its water it becomes firm, and I can go in and refine the pieces, adding on and subtracting material to get the final form.Â Then they get glazed, or painted with ceramic pigments and then fired in a kiln, sometimes up to 2300 degrees.Â This is a very general, simplified explanation, I don't want to bore you with ceramic dorkery and technical B.S. What are your influences? What aren't my influences?Â Life is my influence.Â Relationships and interactions, experiences, and emotions, sights, sounds, memories, the sky, the street, art history, funerary rituals, Judaism, classical music, hip hop music, existentialistic and humanistic concerns, as well as ideas of an afterlife and spirituality, daily news, the world and everything inside and outside of it. A few of your favourite famous artists? Ancient Egyptian tomb sculptors, Roman and Greek art, the Fayum portraits, El Greco, Jaina Mayan sculptures, Benin art, Gothic and Baroque art, Fra Angelico, Schongauer, Schiele, Neri, Giacometti, early Picasso, Riemenschneider, Messerschmidt, Baskin, Caravaggio, Rembrandt, Bernini, Twombly, DeStaebler, Freud, Auerbach, Rauch. Arthur Gonzalez, Rodin, Memling, Van Der Weyden, and aÂ few, not so famous: Evoke, Other, Mike Simpson, Mike Lay. I really really love art history.Â I think it is very important!Â No artist as much as they would like to think exists in a bubble, mankind has been making "art" or expressing themselves visually for over 30,000 years. I think it is the artistsâ responsibility to acknowledge and honour this history and the lineage and to draw from it. The best thing about being an artists is? I have a creative and positive way to express and release.Â I have an outlet to pursue "truth", a means to try to understand life and this crazy world. What do you do to take time out from work? I don't really.Â There is no separation between life and art/work for me. What are you working on at the moment? I just finished 3 pieces for the group show for Coates and Scarry, âModern Fabulistsâ, at View Gallery in Bristol, England.Â I am very happy with those works. They are a continuation and expansion on an earlier series I was working on, mixing ceramic and fabric.Â I used porcelain to sculpt the upper torso of these figures and they came out so buttery and delicious, I love the vitrified, low sheen of porcelain, and the random cracking that can happen. Also I am working on a big piece for Anno Domini's 10 year anniversary show coming up.Â This is a show to keep your eyes and ears open for, it will be an incredible line up of artists and an incredible testimony to what their program has been about for a decade. Plans for the future? BIG PLANS!!!!!!, some of which the details are being negotiated; but all of which will include making the best art that I can, pursuing my dreams, and living each day to the fullest of my potential.

Mr Mead's Bio-Mechanic Anthropomorphism

Fri, 04 Mar 2011 16:16:00 +0000

Q: Introduce yourself to our readers that may not know you already?
I go under the alias Mr Mead and am an Artist /Illustrator from deepest darkest Cornwall. Currently I live and work in Bristol.

Q: Tell us about your art and the characters you paint and draw?
From an early age I have been terrified of people wearing animal suits, all due to Reginald Mills 1976 ballet film, âThe Tales of Beatrix Potterâ. To this day I still cannot watch it! Recently though I decided to embrace my fear to try and get over it instead of running away, ever since I have been drawing animal people. I like the idea of people mixed with machines and have nicknamed what I do as âBritish Bio-Mechanic Anthropomorphismâ which is a bit of a mouthful! My ultimate aim is to actually draw something that I like, which as I am very hard to please is quite a challenge.

Q: What made you want to be an artist?
I never wanted or could do much else, I am ridiculously stubborn (as my parents would agree) and all I ever wanted to do was what I enjoyed, and art was it for me.

Q: Who or what are your main inspirations?
Antlers the gallery that I am represented by inspire me at the moment, their professional drive genuinely makes me want to push myself much more.Â Music constantly inspires me as well, I find myself creatively stale if I donât have a new band coursing through my head.

Q: What medium do you use and why?
For the smaller pieces I use a fine dip pen to get the detail. For the larger pieces I draw on large pieces of sanded MDF usually going through about 45 pens each drawing, as I am yet to find a pen that can last! I am getting into using ink washes and I think etching is next.

Q: Did you study art?
I did, I studied Animation production at the Arts Institute Bournemouth. A fantastic course, but I could never animate so went into background design and art direction, which led me in a roundabout way to where I am now. Ironic that most of my pieces donât include backgrounds, but they will soon.

Q: Where do you live and work?
I live around the Stokes Croft area of Bristol, its an amazingly inspiring place and perfect for an artist. Most of the time though I am in my second home Jamaica Street Studios, drinking a lot of tea and procrastinating/working.

Q: Tell us about the infamous Jamaica Street studios?
Its an incredibly inspirational place to work, there is so much talent and diversity to learn from here. I came to the studio struggling in the 2D animation world, once the open studios came last year I put my work on the wall for the first time ever and the experience changed my career! I used to consider my art âa processâ therefore attaching no value to it, now I think the complete opposite and I am happy to say that this studio has changed me for the better!

Q: What is the most challenging part of being an artist?
For me its actually being able to get what is in your head onto the paper, itâs a permanent form of torture, but a torture I couldnât live without. Oh, and the living off lentils part is pretty challenging as well! But thatâs half the fun I guess.

Q: What does Mr Mead do when not immersed in the studios?
Not as much as I should, admittedly I am a complete workaholic so mostly I am drawing or trying to find materials to draw on. I skateboard as much as I can, but my old useless body is slowly giving into that. Mostly in this crazy place itâs going to endless private views and gigs, which is never a bad thing.

Q: Name a few favourite artists, dead or alive?
H.R Giger, Nate Frizzel, Shaun Tan, Goya, Tim Burton (back in his heyday). Locally Beth Carter and Tim Lane. Mostly though it is Koji Morimoto and Remi Wyart . [caption id="attachment_2158" align="aligncenter" width="500" caption="Skin Deep"]

Q: Most amazing place you have ever visited?
China, it completely blew my mind. I donât think I have ever had so many photos taken of me. Why hundreds of Chinese girls would want my ugly face as a photo will always bemuse meâ¦.a dartboard perhaps!?

Q: We hear you have been working on a book, can you tell us about it?
Originally it was going to be a dark folk tale book with 10 old tales each from a different culture reworked and made modern. But I struggled to find a writer to help me, and then realized that the project was a vast one. So now I am working with a local writer to find a publisher and adapt one of the tales I found into a graphic novel. If this all goes well it will be released by early next year.

Q: What next for Mr Mead?
I am currently working with Antlers Gallery on a limited edition deck of playing cards featuring my character designs, we are looking to launch these in April in a temporary gallery in Cabot Circus, Bristol. There is also the JSA Yellow show at St Georges and then I have some big plans for the 21^st-24^th July for the open studio event at Jamaica Street. Along with trying to cure my artistic torment and actually seeing some sunlight now and again.

Q: If we were to give you Â£100,000.00 to buy one painting what would it be?
I donât think I could buy a painting for that much, as I have never seen that kind of money before. If I did though it would have to be âThe reprobate seriesâ by Anthony Micallef, or commission Giger to mural my house. Photos by Luke Vagnolini Purchase info at Antlers Mr Mead's website

My Name is Luke Chueh

Sun, 20 Feb 2011 19:10:00 +0000

Q: Can you tell us a little bit about your background? My name is Luke Chueh. I am Chinese American, raised in Fresno, schooled at Cal Poly San Luis Obipso's Art & Design Department (Graphic Design Concentration). I'm currently residing in Southern California, and I'm a Pisces.

Q: What came first, toys, designing or painting? The drawing came first (age 5), followed with the designing (age 18). Painting kicked in full-time when I moved to Los Angeles (age 30) though I messed around with paint throughout college, and toys followed 3 years later (age 33)

Q: Who and what are your main influences? My ideas come from life experience (both my own and my friends and family), but my visual influence came from my colleagues and my meagre understanding of art history. Yoshitomo Nara, Takashi Murakami, and the entire Superflat scene were incredibly influential.

Q: Can you talk briefly about the process of creating one of your paintings? I start by developing my ideas as a pencil sketch. I scan that sketch in and resize and compose it in Photoshop. I break the Photoshop image into tiles, print them up, and reassemble them with scotch tape. I choose a background colour and texture, usually based on the narrative idea behind the painting. I then trace the tiled image onto the painted background. Then I paint the character, ink it with Indian ink, and finish it off with a matte or "satin" varnish.

Q: Do you always paint the bear? I usually turn to the bear as my main character, but I also mix it up with other cute animal characters such as rabbits, monkeys, chickens, etc.

Q: What makes a good day in the studio? Good weather, fun projects, and good tunes.

Q: How many hours a week do you spend in the studio? At least 4 to 5 hours a day. More hours are spent as I get closer to a major deadline.

Q: Have you ever done 3D work on a large scale? This latest show (Contemporary Art at Corey Helford Gallery) features a 6 foot version of my 'Possessed' sculpture. Its sculpted by Burbank based Jedidia (no last name). The finished piece will be made from steel reinforced fibreglass.

Q: How do you spend your time when taking a break from painting? Movies, video games, books, friends, and food.

Q: Three things you couldnât be without? Food & water, paper & pencil, and a warm bed.

Q: If you didn't paint for a living what would you do? I'd probably be pursuing a career as a graphic designer.

Q: You inspire so many people around the globe how does this affect you and your work? It's absolutely flattering. I'm always touched when people share with me their remakes of my work, or paintings inspired by my stuff. I'm not exactly sure how or if it directly influences me, but it definitely motivates me to keep working.

Q: Greatest Joy? Being with friends and family.

Q: Greatest sadness? Loneliness, or specifically, being alone against my will.

Q: As an artist what message do you carry? Hope through hopelessness

Q: Advice for young or not so young emerging artists? Go out to shows, and see what works/sells. Also, if you want to make a career out of this, start by pricing your work as low as possible. Sure you'd like to sell your work for tons of money, but the fact of the matter is no one will willingly throw that kind of money at an unestablished artist. If you're in a group show, you'll quickly realize that that little red dot is much more impressive than whatever you're pricing the piece for.

Q: The paintings for your upcoming show are quite different fromÂ previous shows, tell us about them? Before this show, the paintings I created employed my characters a vehicle to communicate an emotive narrative. With this show, I chose to use my characters in an iconic fashion. Basically, the work in this show is inspired by my personal understanding of contemporary art.

Q: Does Art Matter? Yes... Unless we're living in a post apocalyptic hellscape. In that case art probably wouldn't matter much.

Q: Favourite medium? I usually use heavy acrylic paint and Indian ink on wood panel. I'm also love graphite on paper.

Q: What kind of art interests you? "Lowbrow" / "Pop Surrealism", "Superflat", street art / graffiti, surrealism, renaissance art, and modern art.

Q: Favourite living artist? It's probably a toss up between Takashi Murakami and Mark Ryden.

Q: Dead artists? Salvador Dali, Michelangelo, Pieter Brueghel the Elder, Hieronymus Bosch, Francis Bacon, Mark Rothko, and Francisco Goya, to name a handful.

Q: Hopes for the future? To maintain a career as an artist. web: http://www.lukechueh.com/ blog: http://igneusgero.blogspot.com/

Jeremy Gedde's Emotional Beats

Sat, 12 Feb 2011 08:30:00 +0000

Q: Where do you live?
In an old shop in Melbourne, Australia.

Q: Tell us about your home town?
I grew in up in Geelong, a small town outside Melbourne.Â Itâs a flat industrial place. I grew up near a cement factory which would coat the surrounding houses in a dull grey pall, and which formed the bones of the painting 'there is glory'.

Q: How long does it take you to create a cosmonaut painting?
The larger paintings can take months. It can be frustrating when they begin to drag and I have other images I want to get to, but I find it impossible to leave paintings in state that I feel could be improved, so I have little choice but to press on.

Q: Talk us through your creative process?
A painting begins with some spark of interest, which can be an image or a feeling, and from there I try to conceptually build the idea into a fully formed painting. Those initial glimpses are usually not easily translated into a painting that will work, so the development can take some time, refining the initial concept through a succession of studies until I arrive at something which I feel works.

Q: When did you start painting?
I started painting in high school, and havenât stopped for any appreciable time since then.

Q: What is the inspiration for your work?
The factors that contribute to the images are obviously many and varied, and Iâm sure Iâm not aware of most of them (and if I were then their production might interest me less). Music certainly plays a large part in the formation of the concept behind the painting, I use certain pieces of music to help me focus in on the emotional beat of a painting, whether certain elements sit harmoniously with the music can help me refine the image.

Q: Did you go to art school?
I went to the Victorian College of the Arts in Melbourne.

Q: Tell us about the Bavarian State Opera posters?
The Bavarian Opera contacted me, wanting to use the cosmonaut paintings to promote their new season. It was a wonderful honour, and a great compliment that they feel my art can be juxtaposed against the music.

Q: What do you do when you are not painting?
I donât really do that much outside painting; Iâd say I spend it with my wife and my dog

Q: Do you travel at all?
Only really to art related places, for shows etc.

Q: Future goals?
Make those better paintings I feel I might be capable of.

Q: Three loves?
Good music, Soph and my dog, Solitude

Q: Three loathes?
Loud noises, Aggressive people, Cruelty of any kind

Q: What are you working on at the moment?
Iâm working on about four different paintings at the moment, a few large and complex ones and a couple that are looser, to give me a break when the big ones get too much.

Q: What do you believe art does for the world?
Hmm, for the world? Nothing, it is merely a consumer of resources like most other human activity.Â For people, I guess at best it can contribute to a cultural conversation. It can, possibly alter peopleâs perceptions of the world around them, although, however much I like to think otherwise, I suspect only slightly and for a very limited time.

Q: What kind of legacy would you like to leave?
Itâs not something I really think about too often. Iâm not entirely convinced that our species has a long future ahead of it.Â Being remembered isnât something that keeps me up at night. If I can touch or make some honest contact with a persons intellect or emotion through my paintings for even a short time then Iâm happy enough.

Q: Advice for any for anyone with a desire to paint?
Get to it, youâll only improve through practise, so a day lost to procrastination is a day worse youâll be in a year.

Click to find out more about Jeremy Geddes

Wildlife mutations by Corine Perier

Tue, 11 Jan 2011 10:19:00 +0000

Q: Tell us a little about yourself? I was born in Paris, where I still live and work. My childhood was happy and secure. I enjoyed drawing and painting during my free time. I grew up in an environment that always encouraged me in an artistic career and I naturally studied in Art School.

Q: What made you want to be an artist? Since I was a child I had felt the need to express my feelings through images. Iâm always very moved by all artistic things. Itâs my way of life and has always been.

Q: Tell us about your work? I paint surreal animals in desert landscapes. I explore the meeting of different species through supernatural wildlife mutation. They are not animal portraits but my own vision of the life in a disturbed world.

Q: What techniques do you use to paint? I paint in oil on wood panels. I love the smooth clean surface of wood.Â I sketch the layout directly on the gessoed panel with diluted oil paint and I paint in thin layers and glosses to get the desired result. I usually have 3/4 paintings going on at the same time.

Q: Name a few artists that inspire you? I love the old masters and find inspiration in their works:Â Bosh, Snyders, Oudryâ¦ , to name a few. As contemporary artists, Iâm always discovering new people that amaze me, some of my favourites are Â Martin Wittfooth, Chris Berens, Alex Gross, Steven Kennyâ¦and many others!

Q: How and where do you get your ideas for your paintings? Iâm a great dreamer and I have detailed visions all the time in colour of my future paintings in my mind. I know how finished my finished work will be before starting! Some animals are painted from my head but I pull reference when I need to. For inspiration, I have all pictures of my favourite books in my studio.

Q: Your favourite art museum in Paris? The Museum dâHistoire Naturelle of course, with itâs â Galerie de lâEvolutionâ that is a giant parade of all species of animals! I appreciate also the MusÃ©e dâOrsay for its fine collection of romantic paintings of the 19^th century, and there are plenty of others.

Q: What is the art scene like in Paris? Iâm not the good person, to ask about this! I donât exactly know whatâs going on her. I try to have my own style out of any influence, so I donât feel the need to know the local artistic scene.

Q: Three loves? My husband and children, animals, and dark chocolate!

Q: Three loathes? Rude people, cell phones, television.

Q: Goals for the future? I want to continue to explore my individual world, and get better at painting. I also have the project to exhibit my artwork in other countries and meet other artists. It would be very exciting for me.

Q: Is there a message in your work? In my work, I process the necessity of adaptability in a world in mutation through the contemporary problem of the disappearance of species. I hope that the paintings I create can, with this, contribute to a life in a more peaceful and dreamy world.

Q: What do you do when taking a break from painting? I watch great classic films; it takes my mind of everything else that is going on.

Q: Any other hidden talents? It seems that Iâm a good cook, Iâve fans at home.

Q: Tell us about Montmartre and your show? Iâm preparing my first solo show, opening on march 24^{th 2011}, at the Galerie Montmartre (located on the Place du Tertre in Paris), that represents currently my artwork. Iâve got 10-15 new pieces for this show. Iâm really excited about this opportunity! To see more of Corine's work please go to her website at http://www.corineperier.com/

Universal Nightmares: Alex Pardee

Mon, 10 Jan 2011 18:40:00 +0000

Q: Did you study art?
Not anything official past high school. I always knew I wanted to do SOMETHING creative for a living. I wanted to go to film school actually, but I was really introverted toward the end of high school. With filmmaking I knew it was completely a collaborative effort and that interaction with others scared me a little so I gravitated back more towards art since I was a huge comic book, cartoon, and graffiti fan.

Q: Three things you couldnât be without?
A brain, a heart, and a chai tea latte.

Q: What/who are your major influences and inspirations?
Iâm pretty much influenced by almost everything. Iâm a sensory overload addict. Iâm constantly trying to absorb every form of media, even if itâs just to make fun of it and complain. Whether it shows up in my work or not, I am heavily influenced by 80âs horror films and some of the more offbeat 80âs pop culture like Garbage Pail Kids, skateboard art, old Tales from the Crypt reprint comics and so forth. Jim Phillips, Graham Ingles, Berkeley Breathed, Todd McFarlane, John Pound, Pushead were all early art-inspirations because they were amazing examples of how you can create demented artwork and flip it into being accepted on the mass media level. I was aware of that happening even in third grade. Those things were SO much different then a lot of other stuff out there at the time, but some of them were getting just as much attention as things like Strawberry Shortcake and Barbie. It was great. The most consistent art influence that I have had since I was 15 is Sam Kieth, creator of that comic & cartoon The Maxx. That is the greatest comic of all time and had such a huge influence on me in so many ways when I was at a pivotal creative age. Up until I saw The Maxx, I thought comics were all superhero-based and didnât deal with much else. I mean, I read the Watchmen and was pretty taken aback because of the sad realism of the story, but it was still a superhero book. The Maxx was like a fucked up teenage girls diary uncovered and marketed under the guise of a superhero book. And it wasnât just the weird story, it was the loose, scribble-filled and expressive art style. I mean that art was A MESS. But in the most beautiful way I had ever seen, and Sam was making a LIVING from this! From that moment on, I thought, hey, Iâm not going to try to conform to other art styles any more, Iâm just going to scribble and hopefully one day I can make a living doing it, if not, who cares, I like scribbling.

Q: Do you have a dark side?
On one half of my moon I do! Sure, I definitely have a dark side. Luckily I think that I am able to have it being expressed through scribbling bloody things or writing some random tales about revenge and depression and mutants. Maybe if I didnât have that outlet I might be a little darker of a person, but I think Iâm pretty upbeat and lighthearted. A little cynical maybe.

Q: The paintings for your upcoming show are quite different from previous shows, is there a reason?
I have been lucky enough to have projects going on NON-STOP these past two years. My whole career these past years has been playing catch up with deadlines and juggling. The good thing about that is that Iâm busy working doing what I love for a living. The bad thing is that there is no room for experimentation and learning from failures because even my failures would get turned in somewhere and published. Because of that, I started noticing that I was sort of âplaying it safeâ in regards to my process of creating pieces of art. I wasnât stagnant, and I wasnât being repetitive, but I was starting to feel that if I didnât discipline myself to start trying new things, I might fall into a stagnant state, which scares me tremendously. So Corey Helford and I decided that this was a good time for me to set everything aside and start something new. I had never painted with acrylics before, and although I was scared, I gave myself that challenge and forced myself to learn and create these last few months to debut a new different body of work and I am very proud of what came out of it.

Q: Can you talk briefly about the process of creating one of your paintings?
This âVERTIGOâ show at Corey Helford is actually completely opposite of how I had created work in the past. For years, it would go like this: I would get a LOOSE idea, if any idea at all, and scribble something that might resemble what I want to do, but most likely would morph into something completely different by the time I was done sketching, because I have always been an aesthetics person, so that composition was always the most important thing. I would have confidence in my imagination that I can make something visually appealing out of a cool shape. Then I would just go from there and figure out the best way to translate that drawing to canvas. This âVERTIGOâ show was a complete different challenge because I did everything completely opposite. I treated each painting like an art-directed commercial job that I gave myself because I wanted all of the paintings to be something that I hadnât done in the past. So I wrote down descriptions of what I wanted to paint and forced myself that even if I got stuck on the concept drawing or anything. I would still just FIGURE out how to make it work. I think that discipline helped me learn quite a bit with this new collection.

Q: Why do you paint on wood?
I actually havenât for a LONG time until this new collection. I had been doing a lot of watercolor and ink paintings on paper and then got obsessed with clayboard because I could make thousands of cuts with a knife that simulated line work, so that was fun. But yah, itâs been years since I have painted on wood. I felt that it was a good surface to try to learn acrylics on. A couple of my huge inspirations and friends, Greg âCraolaâ Simkins and SKINNER, had both convinced me to start on wood panels actually.

Q: I notice nightmares in the new work, is that a favorite for you?
The most current work I do is usually my favorite because I put so much of myself into anything and everything that I create, that at that moment it seems like that is all that exists in my life, and plus I love what I do for a living, so yah, right now these Nightmare paintings are my favorite. I also love the narrative that I built around the paintings, as I think nightmares are so universal and the idea of these nightmares coming out into the real world and having a superstar ânightmare-hunterâ is a great vehicle for a fun visual ride.

Q: Have you ever considered using other mediums or doing 3D work?
Of course. However, I am TERRIBLE at anything 3-Dimensional. Seriously. I tried taking a 3-D art class in high school making like bowls and jewelry and sculptures and I straight up FAILED the class. Plus it is HARD to fail an art class, especially if you show up every day. I would like to explore more 3-D animation though. I got a chance to develop and work on a 3-D animated web series for Warner Bros last year called CHADAM and that was an amazing experience. Such a different art form but just as amazing.

Q: What makes a good day in the studio?
Turning my phone off! I co-own a clothing and art company called Zerofriends, so that, on top of me handling a majority of my own clients and scheduling, my phone and emails are the biggest distractions. Also, I think Iâm addicted to Twitter.

Q: How do you spend your time when taking a break from painting?
I will let you know as soon as that happens!

Q: If you didn't paint for a living what would you do?
Be a professional Depressed Teenager. Realistically, if it wasnât painting, I would find something else creative to do. Writing, movies, etc. But if I wasnât doing anything creative at all, I donât know. I donât think I would ever be satisfied with falling into something out of necessity.

Q: Greatest Joy? Reaping any small reward for working my ass off and being able to share that celebration time with friends and family that have helped me achieve it. [caption id="attachment_1412" align="aligncenter" width="500" caption="Packed show at Corey Helford (Photo by Sam Graham)"][/caption]

Q: Greatest sadness? Knowing there is not enough time in my life to create everything I want to create.

Q: Hopes for 2011?
Hoping to continue learning, whether its new mediums, new techniques, new media, etc. I want to take these worlds Iâm creating and make them in bigger & broader form. Movies, roller coasters, animated films, video games, etc. Who knows, but regardless Iâm going to continue to move forward as hard as I can.

Q: Advice for young or not so young emerging artists?
Patience and persistence and the realization that getting people to see your artwork, accept your artwork, and then demand your artwork, takes a LOT of time if you are doing it on your own. But the things that people notice when looking at artwork is the passion and heart behind it. So If you are passionate about it, and itâs original, and you keep doing it, eventually someone is going to notice it and be like, âhey, I like this piece, I want moreâ. Patience is key. Itâs frustrating for sure, but it is important.

Q: What can we look forward to with this show?
A completely refined version of everything I have done in the past 3 years. The concept is tighter, more thought out. The drawings themselves are a lot more refined, the color use is more conscious, and the subject matter ranges. I mean, I still just got to paint monsters! But there was a little more thought put into it! Also, we set up the show like a natural history museum so that there are some actual artifacts and taxidermy from this âNightmare-huntingâ world. So much fun.

Q: Favorite medium? (for an artist who works in so many)
I grew up as such a fan of comic books, skateboard art, graffiti, and cartoons that I will ALWAYS just love the expressiveness and technical look of pen and ink. I love it. I try to abandon it sometimes but then I get really sad, so I think I will always incorporate line into my work.

Q: What kind of art interests you?
Anything and everything. I simply like the fact that people can create something that can get someone else to look at it and hold their attention for more than 1 second in a world with so many over-stimulants.

Q: What do you think about when you first wake up?
Wait, to wake up that means you have to sleep first, right? Next question!

Q: What kind of legacy would you like to leave behind?
Hopefully I can leave enough weird characters and worlds and random ideas behind that someone in a hundred years can dust off the old Internet and see something of mine that sparks an idea and they can create something new from it.

Q: Surprise us something we don't know about you?
I have six nipples, and all of them shoot rainbows whenever I get punched in the left eye.

Click here to find out more about Alex Pardee

Introducing Russell and Ryan Oliver

Fri, 31 Dec 2010 09:16:00 +0000

[caption id="attachment_1385" align="aligncenter" width="489" caption="Portrait of a dead self 2010 by Russell Oliver"][/caption]

Q: Tell us a little about your childhood? Russell: It was happy; my parents were supportive and were always encouraging whenever I wanted to get out the crayons or felt-tips. Ryan: It was a happy one.

Q: Being twins and both artists? Russell: Iâm often asked âwhat it is LIKE being a twin?â Being born a twin is an accident of birth: I donât waste much time imagining a different existence, so I find the question odd. I donât recall ever asking, âwhat is it like NOT being a twin? Ryan and I have a lot of interests in common and artistic technical skills that we both happen to want to pursue, this seems to have been with us always. I feel its more than vocation; I have as much say in the matter as I do in being born Ryanâs twin brother. Ryan: Sibling rivalry is a wonderful motivator.

[caption id="attachment_1390" align="aligncenter" width="453" caption="Will & Daisy Plasenta Kiss by Ryan Oliver"][/caption]

Q: Do you influence each otherâs work? Russell: We occasion advice from opposite sides of our shared studio at Spike Island. Ryan works in photomontage and I in acrylic paint so our practices are very different. It has been said that the work shares a similar âenergyâ(?). Ryan: I would say to Russell, if I didn't think a piece of his was up to scratch. [caption id="attachment_1394" align="aligncenter" width="480" caption="by Ryan Oliver"][/caption]

Q: Tell us about your creative process? Russell: I start by selecting an image; a photo that fuels my own interests and one that I can manipulate in paint. I tend to select black and white photographs as they provide strong tonality. Being devoid of colour I have free range to imagine my own. Stylistically I try to blend figurative with abstract and expressionist painting; an attempt to combine tight detail and looseness with an exaggerated use of colour and brushstroke. There is a mixture of solid and formal lines and gestural streaks and drips. This fusion, I hope, makes us look beyond the initial image and will stimulate questions Ryan: I work with photomontage/collage. My current practise examines the visual language ofÂ high fashion/lifestyle periodicals. Concerns with the position of women regarding imagery and representation are explored, the beauty/perfection constant, probed and scrutinised. Predictably banal, superficial objectification of the female form are cut from their origins and juxtaposed with strenuous misalliance to invalidate beauty's all important symmetrical balance. Other works facilitate dialogue between the innuendo laden visual language of fashion imageryÂ with pornography by exchanging the implicit for the explicit, drawing parallels where the female form is commodity. New works confront fashion's fallacious covenant of eternal youth; tumorous flesh, death and grief are imposed as rebuttal.

[caption id="attachment_1387" align="aligncenter" width="500" caption="Regarded with loathing-The young Crazed Peeling 2009 by Russell Oiver"][/caption]

Q: One of lifeâs pleasures? Russell: Coffee. Ryan: Music.

Q: Your alternative career? Russell: Iâd have to do something creative; Director, musician or writer, but I donât know on what grounds I should propose these options (other than loving film, music and books?). I have no skill in these fields. Ryan: Professional Boxer

[caption id="attachment_1382" align="aligncenter" width="480" caption="HOT! by Ryan Oliver"][/caption]

Q: The inspiration behind your work? Russell: I am inspired by popular culture and modern mythologies, philosophy and religion and all music on my I-Pod (essential for long hours in the studio). Ryan: Collage by it's very nature is disparaging of it's source material. CollageÂ is rendered with second hand material so inspirationÂ is a response and is countering to what was presented originally. The mutability of fashion/mediaÂ insures new aesthetics for me to manipulate, whilst the repetitive nature of fashion assures that the same concerns will always be present.

Q: The most challenging aspect of being an artist? Russell: Making it pay. Ryan: Not having a career path.

Q: The best thing about being an artist? Russell: As an artist you interpret the World on and in your own terms. Ryan: All artists are essentially egotists; we're all saying "Look over here, look what I can do, I have something to say". Being an artist allows you to ask questions and have your voice heard.

Q: A few of your favourites? (musician, visual, writer) Russell: Marlene Dumas and Daniel Richter, Stanley Kubrick and Terrence, Christopher Hitchens, Richard Dawkins and Sam Harris Ryan: Jake & Dinos Chapman, Thomas Hirschhorn, John Stezaker, Linder, John Baldessari.

[caption id="attachment_1383" align="aligncenter" width="490" caption="Cowl by Russell Oliver"][/caption]

Q: Three loves? Russell: Being around friends, nursing drinks and cigarettes Ryan: A: Coffee, scotch, red wine.

[caption id="attachment_1395" align="aligncenter" width="500" caption="by Russell Oliver"][/caption]

Q: Three loathes? Russell: Organised religion, hereditary monarchy, superstitious ideas of predestination Ryan: Religion, prejudice, ignorance.

[caption id="attachment_1379" align="aligncenter" width="500" caption="Untitled by Ryan Oliver"][/caption]

Q: Life outside art? Russell: Yes, there is. Ryan: I spend time with other people, not alone in the studio. [caption id="attachment_1386" align="aligncenter" width="500" caption="Portrait without Cigar 2010 by Russell Oliver"][/caption]

Q: Plans for the future? Russell: To make my art pay. Ryan: Strive to be a better artist. [caption id="attachment_1396" align="aligncenter" width="480" caption="Russell (left) and Ryan"][/caption]

Beth Carterâs Internal World

Sun, 05 Dec 2010 18:24:00 +0000

Q: Where are you from? I was born in Derbyshire (UK) but left there before I was 2 years old. I really consider myself to be from the South West of England where I've mainly lived since. I'm now based in Bristol.

Q: Where did you train? I went to Sunderland University 1992-95 (UK), it was a good course in many practical ways, I learned to weld and do basic mold making, but the place was a cultural desert with a gloomy soul, during the course I organized a 3 month exchange to the Cyprus College of Art (Paphos) for which utterly rejuvenated my creativity, it got me interested in the myths of the classical world and in a way set me on the path I'm still on, that of exploring archetypal ideas through allegory.

Q: What/who inspires your art? Like most artists, I'm inspired by many different things. But essentially my work stems from my internal world, I find things in everyday life, films, books, songs, people etc. act as triggers for ideas and images which are already there in my subconscious, like a big endless library.... the process of making art feels like finding external images which correspond as closely as possible to ones which are already quietly waiting in the wings.

Q: What techniques do you use to create your pieces? For sculpture, my favorite medium to model in is clay, I also sometimes model directly in wax. Using this process also requires welding an armature, mold making and finally casting in bronze, bronze/Iron resin or jesmonite. I also draw in charcoal and make prints using etching, drypoint and photogravure.

Q: Do you cast your own bronzes? No i don't cast my own bronzes, the process is too industrial for me. I do make my own waxes which is the first stage of the bronze process, and if I've not got much money I'll make the molds and cast work into bronze/Iron resin myself, but the casting/molding process is quite toxic and physically quite demanding so I get other people to do it when ever possible.

Q: The most challenging aspect of your creative process? I'm lucky enough to have constant exhibiting opportunities, which means I'm working to deadlines most of the time, as well as dealing with the increasing administration/emailing side of things. This all encroaches on my true creative time, so the most challenging aspect of the process is getting the clear space and open ended time to work and experiment in the studio.

Q: Three of your all-time favourite sculptors / visual artists? Ana Maria Pacheco, Rodin, Paula Rego

Q: The best aspect of creating a scupture? The part which is most blissful is modeling a new clay figure, just me and the clay.

Q: The worst? The worst part is all the process involved in producing a sculpture, the welding, molding, casting, I can do them all and there is a level of satisfaction in doing them but there is little creative reward.

Q: How do you spend your leisure time? I travel when ever I can, most recently, I did a residency in Guadalajara, Mexico, I love Mexico its full of stories and magic. My mother teaches for most of the year in Kenya/Tanzania/Zanzibar and Gambia, so I get to travel and visit her. I also do yoga and run, dress up and party.

Q: The key to good business as an artist? I'm not a business person, I find keeping proper accounts highly traumatic(!) but have always found that if you value your own work then other people will value it too.

Q: Major ambitions? My ambition for the next few years is to create a situation where I'm working on one or two shows a year, nationally and internationally. To have time and space to fully explore and develop my ideas. I want to design and build myself a wonderful studio one day, and I want to paint.

Q: How do you keep developing new ideas? My head and my heart are full of ideas, they get developed by blocking out the world and listening to the quiet voices.

Q: Tell us a little about your studio space? I have a great studio space, at Spike Island in Bristol (UK). It's a converted tea factory near the docks. The building has 100 or so artists working in it and one of the best parts about it is that there is a wealth of knowledge and advice at hand. My fellow sculptors are highly skilled and experienced so there is always someone who knows about a certain material or technique, or just to help lift something, it's good to be in a supportive environment with like minded people around you. I'm a very focused solitary artist, so having other people around keeps me from disappearing into my own world and not being able to come back. The downside about my studio is that it is getting too small and there is only an overhead skylight, no window onto the world, I would love to have a view.

Q: Surprise us? Every time I cast a new piece of sculpture, I put a secret message or a drawing inside. A kind of offering or a charm or a wish.

Multi-media artist Jacob Arden McClure

Sun, 28 Nov 2010 17:39:00 +0000

Q: What made you want to be an artist? My parents exposed me to lots of art growing up. I used to go to the Salvador Dali museum in Florida about once a month when I was little, that really affected me. There has never been a time in my life when I was not into art, or did not want to be some form of artist. Some kids like Football, some kids like painting.

Q: What/who inspires you? Other artists, photographers, film-makers, architecture, old photos, furniture, street signs, books, magazines. I think my wife is sick of me pointing at everything and saying "That's Amazing!"

Q: Did you go to art school? No, I got a library card.

Q: Why did you choose the medium you work with? I work in so many mediums. Film, Paint, Sculpture, Graphic Design. I hope people see a cohesive thread in what ever medium I'm working with, and a style that is distinctively mine.

Q: Tell us about your process of creating a piece of work? I canât even think without music, so Iâll put something on. Look through a dozen books, take down a page of notes and think about what I want to do for way to long. Then do it.

Q: Tell us about your travels? Just got back from travelling Europe for 2 months with Anne, so inspiring, so amazing! Words cannot describe.

Q: Three favourite artists? Neo Rauch, Gregory Crewdson, Matthew Barney, Tom Ford, Paul McCarthy, Charles and Ray Eames, and of course Anne Faith Nicholls.

Q: What is the first thing you though of when you woke up this morning? Will today be the day?

Q: Tell us something we donât know about you? I might be the next great American artist.

Q: Living and working with another artist? I am lucky enough to live with my amazing wife Anne Faith Nicholls. She is such an amazing artist, we create stuff everyday and share ideas. I can't imagine not being with an artist. They would not understand why you are doing what you do, why you work so hard, why you are so stressed out.

Q: How do you spend you leisure time? Cleaning what I have messed up while I'm creating art.

Q: Three loves in life? My Wife Anne, My Family, My 1967 Mercedes 250 SE

Q: Three loathes? Liars, The word zeitgeist, My 1967 Mercedes 250 SE

Q: A word of advice for aspiring artists? It is all about who you know, try to make as many connections as you can and build relationships with people who are in your field and share your same passions.

Q: Your plug? www.jacobardenmcclure.com

The Art of Anne Faith Nicholls

Thu, 18 Nov 2010 19:51:00 +0000

Q: What made you want to be an artist? I was raised an only child by a single mom, so I spent a lot of time doing solitary activities like art, drawing, building forts in the local Forrest in Seattle where I grew up. From a really early age my mother and I traveled all over, she took me to art museums as much as she could, and I really fell in love with Salvador Dali, Frida Kahlo, Man Ray, Andy Warhol, Chuck Close, Pop Art, Surrealism, Turn of the Century Art History, different cultures and things like that. My Grandmother instilled the love of flea markets and garage salesâ¦ basically collectingâ¦looking for âdiamonds in the roughâ, so to speak. From a really young age, I have always felt compelled to become an artist and take the road less traveled.

Q: What/who inspires you? Photography, music, books, nature, travel, my community (Venice Beach, CA) my friends, my friends hobbies, my husband Jacob.

Q: Did you go to art school? First I went to business school at Seattle Pacific University. I got my BFA in Illustration from The Academy of Art University in San Francisco. I also studied art history in Italy for a semester while I was in college.

Q: Why did you choose the medium you work with? There is a lot of diversity in what I do as an artistâ¦from exhibitions to commercial illustration, to designing ad campaigns. But, I really found my niche doing on-site installations in galleries and throwing big fun art openings. Nothing else gives me quite the gratification of unveiling a new body of work in itâs own special staged environment, and then being able to talk to people about art. And so the paintings on canvas have become relics of these moments that Iâve created, and thankfully, people have enjoyed my work enough to become collectors. So I am able to continue to do what I love.

Q: Tell us about your process of creating a piece of work? There is no protocol. I travel a lot so during that time I like to observe, sketch, photograph and collect things that inspire my paintings. Then I create my works in my studio in Venice Beach. Iâm usually working on 15 things at any given time. I always feel way too busy.

Q: Tell us about your travels? Well, I just got back from living in Europe this Spring. My husband and I got married in Paris and we wanted to try out Euro life for reals, so we got an apartment, a sort of âbase campâ in Paris. From there we made a point to see as much art and culture as we could. We drove through France, Belgium, and Den Hauge, and rode bicycles through Nord-Holland, The Netherlands, and Amsterdam which is a city that I totally fell in love with. We sailed across the Mediterranean Sea to Barcelona, which is my favorite city so far in Europe, and stayed there for a while, because we couldnât stop eating the amazing food and taking in the art there. Then we took a train all the way down the Mediterranean coast to Italy, Genova, Portofino, Santa Margarita and Rome. But, I have to say, even though I have been all around the world my heart is still in California. I have become totally beach bum and I maintain that Cali is one or the most beautiful places with beautiful people in the world!

Q: Three favourite artists? Neo Rauch, Frida Kahlo, Rene Magritte.Â But thereâs more than 3â¦ Matthew Barney, Francesco Clamente, Jeff Koons, David Bowie, The Clayton Brothers, Damien Hirst, Cindy Sherman, Rodney Graham, Emily Car, Vermeerâ¦ Soo soo many.

Q: What is the first thing you though of when you woke up this morning? What I have to do today at CURIO (my studio and collection/shop)â¦ who I have to emailâ¦who I have to callâ¦ what deadlines do I haveâ¦did my husband happen to make coffee alreadyâ¦when I am going to walk the dogsâ¦what am I going to wear todayâ¦whatâs the weather likeâ¦is it nice enough to ride my bikeâ¦the usual stuff.

Q: Tell us something we donât know about you? I was born with my heart actually backwards and I had to have 3 major open heart surgeries that left me with scars all over my torso. Thatâs where a lot of the âheartâ imagery comes from in my work. My new thing is that I really want to learn how to play polo!

Q: Living and working with another artist? Yes, I live with my husband Jacob Arden McClure, who is also and artist/designer/filmmaker. We live in a rad old craftmans house a mile from the beach, and itâs full of our combined collection of furniturr, mostly his. He has an awesome collection! He is my muse and my hero, he can build anything, and look good doing it. He can also shoot the shit out of anything and creates really interesting, unique video art. His work has been and belongs in museums. He inspires me everyday.

Q: How do you spend you leisure time? When I am not working I am either traveling or riding my vintage Schwinn Breeze Bicycle around Venice Beach. I also like hanging out with my girlfriends. I got a tight handful of fabulous gals and we go to lots of art openings and fashion events.

Q: Three loves in life? Can I have 4? My husband, my mother, my dogs, art.

Q: Three loathes? Waiting in general, restaurant waiters that squat next to you when they take your order, and the smell of roasting chestnuts.

Q: A word of advice for aspiring artists? Always have a business card on you.

Q: Your plug (as in plug your work/show/friends/shop opening work etc)? I have recently opened a new space called CURIO by Anne Faith Nicholls. Itâs my studio and collection, in the heart of Venice Beach, and is open Tuesday-Saturday, 12-7pm. More info at curiobyafn.com. Next on Coates and Scarry find out about Jacob Arden McClure.

Melissa Forman talks of portraits and nature

Fri, 12 Nov 2010 20:37:00 +0000

Q: Can you talk briefly about the process of creating one of your pieces? Well, the first thing I do is come up with a vision in my head, sometimes I do thumbnail sketches and sometimes I don't depending on how clear my vision is. From there, I decide on the costume/outfit, makeup and the overall look of the figure and then set up a photo shoot. I then take those photos and manipulate them in Photoshop until I can get the color and mood just right. I print out the finished Photoshop file on a large scale and then use that as reference. I then use transfer paper to transfer a quick line drawing to the board I will be painting on. Then all there is left to do is paint. I usually paint in two or three layers. The first is rather loose and transparent, but as I add more layers they become more refined and opaque.

Q: What makes a good day in the studio? When I am trying to finish a painting I will set mental goals for myself each night, like, "I really need to get the face, neck and hair painted tonight." If I achieve those mental goals then it's a good night. I find that's the only way to get a large amount of work done in a short amount of time. I had to learn to be very methodical and structured with my time.

Q: How do you spend your time when taking a break from painting? Actually, now that I've finished all of the paintings for my show I don't know what to do with myself. It's been so long since I had a moment that wasn't spent working. But I do have a lot of plans running through my head of all the things I can do with a little free time. I have some movies I want to see and some books I'd like to read, but I'd really like to spend some time fixing up our condo. Interior design/decoration is a hobby of mine and right now our condo feels like an unfinished design project.

Q: What artists inspire you? I am inspired by everyone from current fashion photographers to modern artists to classic painters. Eugenio Recuenco, Tim Walker, James Jean, Mark Ryden, John William Waterhouse, and Ingres all inspire me.

Q: Can you tell us a little bit about your new pieces? My new pieces stem from my love and great regard for animals and nature and my need to protect them. I imagined a place where humans and nature worked in tandem, a place of great mutual respect and understanding. I feel that in order to change the way things are right now for the better, we need to realize that the Earth and all the creatures that inhabit it deserve our utmost respect. They are ours to protect and cherish.

Q: How is the arts scene in Ohio? The art scene in Ohio is varied. There are obviously creative people everywhere and there are many very talented artists that live in Ohio, but selling work here is a bit difficult. There are obviously galleries that do very well in Ohio, but I think overall, it's not easy.

Q: Do you collect art yourself? I really wish that I could say that I do collect art, but my budget is rather limited and although I see many pieces that I would love to have on a regular basis, it's just not possible right now. Hopefully, some day I can call myself a collector.

Q: How long does each painting take? Well, it's a little hard to calculate how long each one takes. Obviously, the larger, more detailed ones take longer, but I would say that each one takes about 80-140 hours from start to finish.

Q: Which living artist would you like your work to be displayed alongside? That's a really interesting question that I hadn't really thought about. The first person that comes to mind is Martin Wittfooth. I think he has a really great, classic technique of painting that he combines with some modern symbolism and subject matter. He's also really good at creating a mood and playing with light and color. His paintings have a darkness to them that speaks to a story behind the visuals. I think our two styles might go well together.

Q: Three things that you hate? 1. long lines at the bathroom 2. how commercials are louder than television shows 3. when bad songs get stuck in your head for hours

Q: Three things that you love? 1. my boyfriend's hugs 2. being in a warm bed on a rainy morning 3. having a furry friend nearby

Q: How long do you spend in the studio a week? Lately it's been about 65 hours a week in the studio painting, and 40 hours in front of a computer doing commercial art.

Q: What kind of people collect your work? You know, I don't always meet the people that buy my work, but going by the emails that I get from people, I would say that it's pretty mixed. I've had everyone from members of the military to teachers to poets to business men to young aspiring artists contact me. I'm always really intrigued by the people that take interest in my work and it always make me see things in a new way. It's interesting how a piece of art can mean so many different things to so many different people.

Q: I love the way you bring nature into your work, how important is nature to you as an artist? Nature has been important to me ever since I was a child. I always spent as much time as I could outside and I still have a great love of animals and nature. I grew up in a rural area and we had a big back yard. We were surrounded by fields, farms, and streams and we always had pets. I had a hard time making friends when I was a kid because I was so shy, so my animals were always my best friends. I think that's probably where my love of nature started. Today I live in a high rise building on the 11th floor, but I try to surround myself with as much nature as possible. All of our windows are lined with plants and we're always thinking about what pet we should get next.

Q: What old masters do you study? I admire so many classic paintings that it's kind of hard to say. I am also terrible with names so whichever artist I happen to be currently admiring is the one that I remember. Right now I am semi-obsessed with John William Waterhouse. He's definitely a master at what he did. His paintings are gorgeous and they always tell such an intriguing story. They're so full of emotion.

Q: Tell us a something about you that we would not know about you? Well, let me see, I will just list some random facts: 1. I collect religious icons and artifacts although I am not religious. My most recent piece was a vintage priest's holy water bottle. 2. I have a cat named Pixel that thinks she is at least 20% smarter than me. 3. I once met Dolly Parton and she told me she liked my haircut.

Q: Ambition for the future? My ambition is to grow as a person and an artist. I think the thing that makes great artists great is the fact that they keep evolving. I always want to build upon what I've done in the past to be better in the future.

Q: Why does art matter? Art matters to me because it is a way of sharing and communicating with others. It's a way of expressing things that can only be said through a visual language. Art can attract people, draw them in and then tell them a story all in a few seconds.

Q: Favorite Museum? I would have to say that my favorite museum of all time is the Smithsonian Museum of Natural History in Washington DC. My dad used to always take my sister and me to this museum when we were young, so I have very happy nostalgic memories of it. Plus, it's just an amazing museum.

Q: Why do you focus on portraits? I focus on portraits because I find the human face fascinating. There is so much detail and intricacy. Plus, no face is exactly the same. To me, it's an amazing feat of nature that can relay so much power and emotion.

Q: Advice for younger or emerging artist? Well, I think it's important to know how much work it takes to be a professional artist. I have had to make plenty of sacrifices and I think it would be helpful to know that going in. It's kinda like trying to become a professional musician. You have to make a ton of sacrifices and hit a bunch of brick walls before you'll finally get to a place where you're happy with your career. Honestly, it's not difficult to let go of paintings. I used to get really attached to everything I made and the thought of parting with it was hard to fathom. But now, I think that I make things with the intent of putting them out in the world and letting go of them. Since I know that from the beginning, it's not hard to part with them. I pour everything I have into them, but then I'm ready to let put them out there and let someone else enjoy them.

Q: I am giving you a magic wand, what would you change in the world? Wow, that's a tough one. I could ask for world peace, or save the environment, or get rid of all fear and hatred in the world. Or I could just make things that taste really good not be so bad for you. I do love sugar. For purchase info contact jch@coreyhelfordgallery.com

Chloe Earlyâs Birdsong and Machine Sounds

Tue, 19 Oct 2010 20:46:00 +0100

Q: Where did you grow up, what was it like? I grew up in Cork, Ireland, it was green, wet, cosy, peaty, quiet.

Q: Did you go to college? Yes I went to NCAD in Dublin for 4 years, I studied Textile Design but I spent most of my time painting.

Q: Major influences and inspiration? The history of painting and watching how it has changed with the times the artists live in. Colour in all its guises, words and stories, other artists. The list goes on.

Q: Tell us about your technique? I take and collect photos of figures, landscapes, objects and then I re-arrange elements of the photos into a collage in Photoshop from which I paint. Up until quite recently I never worked from a collage I just created the composition as I went along but for this show I tried to be more ordered and plan more.

Q: Who are the models in your paintings? Jessie is the girl suspended in the air, she is an aerial performer, I saw her performing once and then I started taking photos of her, the other people are life drawing models I contacted.

Q: How do you spend your time when you are not working? Eating, sleeping, having fun with my friends and boyfriend. Seeing my family, the usual things people do.

Q: Why do you do a lot of paintings on aluminium? I started painting on aluminium before I moved to London, a friend of mine gave me some to work on because he had tried it. I liked it because I could get different types of marks from the hard reflective surface and the paint moved around in a different way. It also made sense with some of my subject matter which was quite industrial.

Q: What do you like the most about being an artist? Being in control of my own time.

Q: And the least? Being responsible for making myself work, the deadlines, worrying about money.

Q: What does a typical day look like for you? I suppose one on the great things about being an artist is that there is no typical day, at the moment I am at home in my pyjamas answering these questions at 11 am Monday morning and getting ready to go to LA the day after tomorrow, but mostly when I am painting (and this will sound a little dull) I get up at 8 go to the studio, work until lunch time, have lunch with my boyfriend, work a little more, have a cup of tea at 4 and work more until 7 when I go home and make dinner and then go to sleep - nobody said it was going to be glamorous and I donât mind because I love being in the studio by myself, painting and having Conor close by for chats.

Q: Three loves Conor My Family My Friends

Q: Three loathes? Rudeness Social Climbing Mistreating animals

Q: Best show you have seen this year? Chris Ofili at Tate Britain.

Q: Can you explain the title of your show at Corey Helford Gallery? Birdsong and Machine Sounds; its about opposing elements, nature v industry and the coexistence of both.

Q: Plans for the future? I have a show in NY next year with Joshua Liner and thatâs as far ahead as I have planned. More painting, more big paintings!

Q: What advice would you have for young artists and students? Iâm not sure if I would be the right person to come to for advice but I think work hard and be confident of your abilities.

Q: Do you think it's more difficult for female artists than males in todayâs art market? I don't know, having never been a male artist I wouldnât be able to compare but one thing I have noticed with how I see most male artists around me operate; they have an inbuilt career confidence that is a separate entity to the confidence they have with their work, if that makes sense. Its a sense of entitlement to pursue this path as a commercial means and they can be extremely ambitious in pursuing it, where as, much as I have always loved painting and wanting to do it more than anything, I have almost needed to have it proved to me by the world that I can do this as a job. I read something the other day saying that men apply for jobs two years before they are ready and women apply 2 years after they should and it made me laugh.

Pretty in Pink: The Art of Richard Butler

Sun, 10 Oct 2010 08:37:00 +0100

Q: Can you talk briefly about the process of creating one of your pieces? My paintings start from a photograph, usually my daughter or a friend, which I mess around with in Photoshop. This is the basis of my painting. A painting can be photographed and put back into Photoshop several times and virtual changes made to get an idea of what may be done. This is more the case with large paintings. The idea however is not to make a photorealistic painting. I enjoy the qualities of paint and marks.

Q: What makes a good day in the studio? A good day in the studio is one when I don't want to leave.

Q: How do you spend your time when taking a break from painting or making sculpture? There really isn't very much time when I am not making or writing something. I get dreadfully bored if I am not making something

Q: What artists inspire you? I am inspired by a lot of things, not always visual. Old postcards, illustrations you name it.

Q: Can you tell us a little bit about the subject of your pieces? My daughter Maggie is the subject of most of my paintings, I thought that if I used the same figure most of the time that figure might be seen as more of a cypher than a portrait per-se, besides, I enjoy recording her youth in this way.

Q: How is the arts scene in your hometown? I don't take too much notice of the 'art-scene' in this or any other town. Art is a pretty solitary endeavor for the most part.

Q: Do you collect art yourself? No, I don't really have a collection as such, a few pieces here and there, a million books though!!

Q: Who is the most inspiring person of the 21st century? Too soon to tell!

Q: Which living artist would you like your work to be displayed alongside? I think Iâd like my work to be shown alongside some wonderfully baroque sculptor, any ideas?

Q: Three things that you hate? Parties where I don't know anyone, being totally lost while driving, being late to an airport.

Q: Three things that you love? (that I feel like sharing): good food, painting, good conversation

Q: How long do you spend in the studio a week? I have a studio in my house too and work a lot on the computer so 6-10 hours a day?

Q: What kinds of people collect your work? People of exquisite taste of course!! Ha-ha

Q: Do you believe art makes a difference in the world today? Art makes no difference to the big money machinations of government, but a great deal of difference to the quality of our lives.

Q: Do you do commissioned work? No I have never done or for that matter been asked to do a commissioned painting

Q: What do you listen to when working? What I listen to varies from talk radio to Pandora radio (which I think is awesome!) to oldies that I dig up.

Q: What other medium would you like to explore and why? I would like to try sculpture. I have had many ideas but lack the skill to make them.

Q: I saw you once in L.A. back in 1983 at a turning point in my life "Pretty in Pink" was huge. What came first the music or painting? Painting came before music for me. I went to the Epsom Art School before I started the Psychedelic Furs so I'm a painter who sings rather than the opposite. For more info contact info@maugermodern.co.uk

âBlind by Stardomâ by Word to Mother

Tue, 05 Oct 2010 18:59:00 +0100

Why did you move to London? In search of bigger and better things that a small town couldn't offer. âWord to Motherâ, why?It just sort of happened. When I stopped writing graffiti I started studying illustration. When I graduated I started to produce fine art. I was aware that what I was doing was nothing to do with graffiti anymore but still liked the anonymity behind a pseudonym. I'd written Word to Mother next to a load of my graff pieces and it just kind of stuck. Did you study art at college?I studied illustration and animation. Tell about your upcoming show?The show is called âBlind By Stardomâ and the work is largely questioning societies obsession with vacuous celebrity status. As I mentioned in a previous interview, the show is a comment on the superficiality of society and how fame and celebrity status is the main objective of today's youth. With the works in the show, I am encouraging the viewer to look past what is seen on the surface and look beneath what is initially apparent. This is your first show for a couple of years, where have you been?After doing two solo shows last year, both here and in SF, I really felt like I needed some time to drink in some new ideas. It's nice to be offered shows regularly but I think it's irrelevant if you are just repeating yourself all the time. I wanted to take some time out and work on a show that had some succinct ideas and a definite theme. Name a few of your favourite street artists?Barry McGee, Vhils, Mark Jenkins Tell us about your creative process, mediums, panels etc?I try and draw continuously and at the same time keep an eye out for nice looking bits and pieces on my daily travels. I hoard things for years and eventually they will get incorporated into a piece somehow. When I have a few drawings along the same sort of themes I will start to select which images I want to paint and what I want to paint them on. Everything is constructed in the studio. I never buy pre-made stretchers or anything like that. I then go into a hermit phase in the studio and get my paint on. After a while a few pieces will emerge that I think are worth showing to people. What are your main influences?90's hip hop, Decay, Nature, Architecture, My friends...the list is endless Tell us about your life outside of the art scene?I used to love smoking weed. More than most people. Since I let Mary Jane go earlier this year I'm not sure what I do, I seem to have loads more time. I like to draw, see my family, hang out with my girl, eat good food and drink beer. Did we see you in a commercial on TV not so long ago? That wasn't me. That was D*Face. If you werenât an artist what would you be?Horticulturalist. Three loathes?Arrogance Reality TV Lenny Kravitz Three loves?Food Weed Betty Hopes for the future?To continue doing what I'm doing and maybe earn enough loot to buy a house by the beach one day. For more info please contact info@stolenspace.com

Emil Alzamoraâs Big Stories

Sun, 03 Oct 2010 12:32:00 +0100

Q: Can you talk briefly about the process of creating one of your pieces? Many sculptures originate as random sketches in my drawing book. I'll often do hundreds of drawings for every one that ends up in three dimensions. It is an easy place to explore and stumble upon interesting possibilities. Often times the idea/concept of the work will dictate the material used. I work with many different materials (plaster, steel, bronze, ceramic, wood, glass) which inevitably determine the process.Â Plaster is reinforced internally with a welded steel armature, ceramic is often sculpted in plaster then slip cast with the use of moulds. Recently though, I have been exploring more with "drawing" in three dimensions; sculpting the parts first then reassembling them with external armatures, the idea being to bring more of the spontaneity of my sketchbook to the process of sculpting.

Q: What makes a good day in the studio? To wake up and get right to work by 6 or 7 am is an excellent start. Usually a break for lunch then right back to it until dinner time or if some tedious chore needs attending to I will put it off until the latest part of the afternoon. I am useless after the sun goes down. Too many things have accumulated to distract me from any sort of thinking or action that makes sense in the studio. Sleep is the great eraser for me.

Q: How do you spend your time when taking a break from painting or making sculpture? I try to stay up on the cutting edge of technology and science through reading or TED talks. It is amazing what we are coming up with these days. Films are always a great distraction/inspiration. Xbox is a fantastic way to blow off steam. I enjoy dinners, art talk and wine with my girlfriend. Bike rides with my step-daughter and hiking up Mt Beacon every other day with my girlfriend and our dog. Sometimes we travel to see friends or family during the summer.

Q: What artists inspire you? There are so many. Egyptian, Asian, Greek and Roman sculpture is incredibly inspiring in its solidity and beauty. Renaissance, Mannerist as well as Baroque sculptors are more intimate and intense. Rodin and Dali were big influences when I was young (as well as Spiderman and Tin Tin). Antony Gormley, Kiki Smith, Do Ho Suh and Eric Fischl are a few contemporary artists who I am interested in.

Q: Can you tell us a little bit about the subject of your pieces? My subjects spin off in many directions. An underlying theme might be that of asking the great questions, Why and how? Each piece has its own intention and origin that is linked to a certain thought or series of thoughts or emotions.Â To me "Sinker", for example, is about the eternal isolation we all feel when we pair our lives down to its simplest form. The image of a heavy solid iron form sinking indefinitely through a never-ending ocean, it's similar to thinking of our little rock floating about in the cosmos. The "Mother and Child" series explores the possible genetic and behavioural relationships from one generation to another, and how they can impede our own vision or block others from perceiving us as we truly are.

Q: How is the arts scene in your home-town? Beacon, NY is a vibrant little community.Â Just an hour north of New York City and home to one of the largest contemporary art museums on the planet, DIA: Beacon, it attracts many interesting people looking to wind down a bit. Possibly too many artists here though. That can happen you know. Not that we need less, we just need more bank execs and high powered lawyers to balance it out a bit. We live in an isolated part of town with no real neighbours to speak of so I involve myself as much as I want to. It is a great town.

Q: Do you collect art yourself? Yes.Â Very much so.Â In our collection we have Sam Spiczka, Michael Ricardo Andreev, David E Peterson, Richard Butler, Dmitri Kasterine, Richard Barnes among a number of others.Â It is a dangerous habit, I would recommend it to everyone.

Q: Who is the most inspiring person of the 21st century? Donald Ainslie Henderson (born September 7, 1928). He headed, on the front lines, the World Health Organization's Global Smallpox Erradication Campaign from 1966 -1977. Oh, the 21st century? I know this is a little narrow in scope, but the implications are immense: Scott Summit, co-founder of Bespoke Innovations who is pioneering the development of 3-d prosthetics printing.

Q: Which living artist would you like your work to be displayed alongside? Antony Gormley

Q: Three things that you hate? The 8 billion dollars that are unaccounted for during the US occupation of Iraq. The senseless spending of hard earned taxpayer dollars on things like the Bell-Boeing V-22 Osprey (a planned 50+ Billion to keep the program going with over 30 fatalities during test flights so far) People who step on others to secure their wants.

Q: Three things that you love? My family & dog. My studio. And hearing about some crazy new understanding about life.

Q: How long do you spend in the studio a week? Anywhere from 35 to 55 hours a week, not including business stuff (emails website etc).

Q: What kind of people collect your work? Anyone from first time art buyers, to seasoned collectors like Alan Dershowitz. From the buyers I have met, it seems there is a common interest in the beautifully uncomfortable.Â I think that is life in a nutshell, and people who like my work seem to accept it as a package deal.

Q: Do you believe art makes a difference in the world today? Not like it once did. I think the visual arts have to share a very crowded stage with film and television and all sorts of media. They are little, subtle, quiet and easily overshadowed by the others. The new role of visual art is to explore the minutia of the individual and how that ties us all together in the end. It also serves to inform the media and many other aspects of contemporary life both aesthetically and philosophically. Visual art can also enrich the lives of those who are fortunate enough to be able to afford it and live with it, a sort of spiritual support mechanism. Ultimately, this is a good thing in that it has been liberated from the confines of its historical niches (the church, the state etc)

Q: Do you do commissioned work? Iâm pretty selective about the commissions I take on.Â It has to be really basic, like a two times enlargement of a sculpture I have already made. I donât make work to order, though I do like to see a space and present ideas that seem relevant. Clients have to be OK with me presenting ideas that could work. Usually it all comes together because there is a general feel they are looking for and they are up for the exploration of it all.

Q: What do you listen to when working? The local National Public Radio is always a default, if I donât have the laptop tuned into some sort of radiolab (wnyc/ HIGHLY recommend it) or science podcasts. As for music, I love music and listen to all sorts of things. Lambchop, Nick Cave, TVOTR, Grizzly Bear, Thom York, and a bunch of others I cant remember.

Q: What kind of legacy would you like to leave? I hope to leave behind a body of work that can inspire students and grownups alike into thinking about life in the first-person. I find too many people waste too much time worrying about what other people are thinking about. I'd like my work to encourage people to turn around and see what is on the inside of both themselves and others. We have learned so much about the natural world, and there is still so much to be discovered, but I think the greatest frontier is not space, it is the map of our brains and how we develop and restructure them according to our experiences, our will and our intentions. If my work can contribute to a greater understanding of the brain's capacity to create, not just things as I am doing, but itself and the world around us I will be a happy man.

Q: What other medium would you like to explore and why? Digital scanning and printing.Â Amazing technology. Not as a replacement to my hands-on approach, but as an enhancement. Like adding a new colour to the pallet. I think this is a major breakthrough. The world will certainly be a changed one when the digital can shape not just pictures and films, but the actual construction of walls and automobiles. Get ready, it's coming.

Q: Please tell me about the mythology of some of your pieces almost from another time As a kid, I spent many months, years even, in the Mediterranean, both in Majorca and on a sailboat bumping around the Greek Islands, Turkey and Italy. My mother, an artist as well, was always very keen on showing us the ruins and the ancient world. These images burned into me and stayed there all the way through college where I studied them in art history classes. It all snapped together, my drawing ability inspired by comic books, the old world shown to me by my family, and what was being done currently in the arts (not too much of which inspired me). I think mythology is everywhere around us today. 500 years from now humans will be talking about the moon walkers and their computers far less powerful than today's answering machines. It is a human need to create big stories that only get bigger with the passing of time. I guess my work focuses on some of the big stories not just of our time but of any time. Specifically though, Voluptuary for example, the staggering proportions of human consumption are not just of our time, they have spanned and will span the horizon of human activity. A sculpture like that just seeks to reveal both the horror and the appeal of it. For more information on Emil's work contact info@maugermodern.com

Three points of view

Sat, 25 Sep 2010 22:19:00 +0100

[caption id="attachment_1155" align="aligncenter" width="500" caption="Korin Faught"][/caption]

Q: What/who inspires you and your work? Korin: Great painters, photographers and illustrators light my fire and challenge me to be a better artist. Krista: I find nature inspiring, as well as archetypes, especially feminine ones.Â I love folk art, storybooks from the 1950s, old Disney concept art, 70s kitsch, and classic illustrators like Arthur Rackham. My all-time favourite painter is John William Waterhouse, we had his exhibit in Montreal last year and it was absolutely amazing. Mia: I hate to use a clichÃ©d answer, but it's literally everything and anything. I think the short answer is that inspiration comes from the way that I interpret my daily observations, thoughts, and ideas about the world, so whatever seems worth telling a story about at the present, will surely explode into a painting in the near-future. [caption id="attachment_1148" align="aligncenter" width="500" caption="Krista Huot"][/caption]

Q: Where do you work? Korin: I live where I work. I have future aspirations of turning my whole house into a working studio and living in a shack in my back yard. Krista: I have a little room I paint in.Â My cats aren't allowed inside, so they scratch at the door sometimes to let me know they are unimpressed. My neighbourâs cat often supervises from outside on the window ledge. Mia: In my studio at home (in Los Angeles, CA). [caption id="attachment_1144" align="aligncenter" width="427" caption="Mia"][/caption]

Q: Did you go to art school? Korin: Yes, I went to the Art Centre College of Design in Passadena. Krista: Yes, and I'm glad I did.Â I have a fine arts diploma from Thompson Rivers University and a 2D animation diploma from Capilano University.Â Both schools are in British Columbia. Mia: Yes! I attended Otis College of Art and Design and graduated in the year 2007. But that was only the beginning of my art education. I think an art education is imperative, but I don't necessarily think you need to attend an institution (it's not for everyone). There are online resources now so that artists can easily gravitate towards quality instruction in many forms. The important thing is to learn as much as you can about different forms of art-making and about the world as possible, because that's what will provide the tools and the seed of content for your work. [caption id="attachment_1154" align="aligncenter" width="500" caption="Korin Faught"][/caption]

Q: Favourite female artist? Korin: Jenny Saville and Julie Heffernan Krista: Emily Carr Mia: At this moment, I have a three-way tie: Femke Hiemstra, Claire Wendling, and Matsui Fuyuko. [caption id="attachment_1150" align="aligncenter" width="477" caption="Krista Huot"][/caption]

Q: Plans for the future? Korin: I'll be painting, painting, painting. Every new show I challenge myself and try to paint beyond my ability. Krista: I plan to keep pushing my painting. I want to eventually move back to the forest, because I'd like to do more plein air painting, and I need to fall asleep to crickets and frogs again. Mia: To keep drawing, painting, and trying to come up with ways to push my work in new directions. And I'd like many more years with which to do all of this! [caption id="attachment_1143" align="aligncenter" width="480" caption="Mia at work"][/caption]

Q: Do you think the artist's gender makes a difference in the art world? Korin: Yes but I donât know why it does. Krista: I think gender still makes a difference in the world in general sometimes, but I haven't had negative experiences in the art world due to being female. Mia: Gender has nothing to do with one's art-making ability, so I don't think it should! [caption id="attachment_1153" align="aligncenter" width="500" caption="Korin Faught"][/caption]

Q: Why do we not see more male figurative work in Galleries? Korin: Not sure. I would like to paint more male figures in the future, but right now I am focused primarily on the female form. Krista: The subjects in the paintings really depend on the idea I'm trying to convey.Â A lot of the paintings from my first couple of shows were about things I was feeling, so it felt right for me to paint female figures.Â My show last January was about the fallen woman archetype with the forbidden fruit and deep sleep that's found throughout so many stories (many of them my favourites).Â I'm naturally very interested in feminine ideas.Â But now that I'm starting to paint more about environmental subjects, male characters have started sneaking back in ;) Mia: I'm not quite sure, because personally I find the male figure to be just as beautiful as the female figure (that's one of the reasons why I like Ruebens and Caravaggio so much). I can't speak for other artists on why they do or don't, but I find the male figure rather difficult to portray at times. Perhaps it's also natural for me to gravitate towards painting women, but I'm actually rather interested in trying my hand at more male figures in my work. [caption id="attachment_1147" align="aligncenter" width="500" caption="Krista at work"][/caption]

Q: Please tell us about your new work? Korin: Its dark, moody and painterly. Krista: These latest paintings depict fairies, which I've been obsessed with my whole life and wanted to paint more of.Â Fey creatures like pixies, mermaids, dryads, naiads and apple tree men represent our connection with the environment, and our respect for it.Â Blackwater was the first painting I made for this show; I was working on it while the Gulf of Mexico oil disaster was unfolding. I decided to start painting with walnut oil to reduce the plastic I was using, just to make some kind of change to my own life, no matter how small.Â To me there is a sense of sadness, but there is also a renewed resolve, and hope for the future. Mia: I'm fascinated with the fact that humans are visually dependent creatures, but that most of the powerful forces in the universe that affect our lives are invisible. Emotions, personal histories, thoughts, and ideas, for example, are all intangible and invisible to our physical eyes, but we cannot deny their reality. That is the idea behind all of the complexity and detail in my work - if everything that is invisible in the world could suddenly take a physical shape, then we would see so much more about who we really are as individuals. With each piece in this show, I've focused on darkness and light, 'seeing' with our other senses, and the interplay between what is visible and invisible. For further info contact jch@coreyhelfordgallery.com

Herakut: âVariety is what keeps things freshâ

Sun, 19 Sep 2010 19:11:00 +0100

Q: Where do you live? We live in work in Germany but there is no specific city we are based in. We travel quite a lot. Our cars have become our mobile studios.

Q: What was the first piece you put on the street? AkutÂ´s first graffiti, back a hundred years ago, was a dog. Mine was a kid. When we first met at a graffiti event in Sevilla, Spain, in 2004, we painted a huge girl holding on to her mask.

Q: What do you think art can do for the world? Creating a piece of art is like watching time lapse of Creation in general. DonÂ´t think we see ourselves as Gods in any way â definitely not. But there is something that cannot be put in words, when you watch a few ingredients being put together and something comes to life where there was nothing before. It makes people realize that what we have now is not the end of what is possible.

Q: How do you see the state the world is in today? Could be better, and should be too. People are too demanding, too little willing to pay respect to other peopleÂ´s needs or respect of life itself. Too much ego wherever you are looking.

Q: As a graffiti artist did you have trouble finding the right gallery? No. We are happy :)

Q: Have you done any commissions? Sure, we do commissions all the time. It really does not matter where you are getting your input. Taking in ideas from clients is just like listening to music, watching an inspiring movie or talking to friends etc. Of course, the best commissions are those with great wall space, scaffolding and as much time as possible.

Q: What is your Favorite medium? The more options the better. Nice flat wall surface along with nice weather and nice people around will do for us. But the best way, really, is to jump from one medium to the other with ever project you are doing. Variety is what keeps things fresh.

Q: Have you thought about doing 3D sculpture work? We do sculptural work. It is a logical step when you sketch and paint figures. Make them move out of the 2dimensional surface. At our last show with the Springmann gallery this summer, we showed five sculptures, and for this show we brought along one called âHopeÂ´s Reply.â She will be waiting for you right at the entrance.

Q: What are your hopes for the future? We hope to become the better version of us. Meaning that we are still not happy about how we sometimes have hard times balancing art world and real world. We sometimes do not make sense to everyone. Regarding our work life, we hope to stay as close as we are now, because it is our friendship that keeps us working, really.

Q: What do you listen to when you are working? Right now, there is a lot of David Bowie, The Smith and The Cure, stuff on our playlist, but also a French band called Nouvelle Vague, and some Scandinavian music, too, but it always depends on where we paint. When we paint outdoors we want to listen to something to keep the speed up, whereas painting inside requires some more quiet atmosphere. You need quiet music to develop some focus.

Q: What other artist influences you? We love Egon SchieleÂ´s work and a bunch of those old genius artists who where pioneers of their times, declaring sketches as proper paintings and really breaking the ice there. Our favorite artists are childrenÂ´s books illustrators. Children are the best audience, too.

Q: Greatest Joy? Maybe not the greatest but indeed GREAT joy: watching animals when they are being their unpretentious, honest selves. That reminds us to shake off attitudes in a minute. Getting in touch with nature, with something pure, that probably is the greatest joy.

Q: Greatest Sadness? Addressing love without response.

Q: If you were not an artists then what would you be? Never thought of that. Something useful, hopefully.

Q: Any upcoming shows we should look out for? Apart from âHopeÂ´s Replyâ, the one that we are opening tomorrow night at Le Basse Projects in Culver City, we will be showing and performing at the Moniker International Art Fair in London in the middle of October. That should be interesting. We are always excited about our shows and installations. No matter how often we paint and exhibit, we make sure that there is never a routine to it. Otherwise it would not be any fun and â¦ what would be the point of that? Find out more at http://www.lebasseprojects.com/

Weaving a good story with Kevin Titzer

Sat, 11 Sep 2010 00:31:00 +0100

Q: Where do you live?Iâm from Indiana. I spent most of my life there, but I recently relocated to Quebec, Canada.

Q: Did you go to art college? I attended the University of Southern Indiana. Itâs a liberal arts University, so I had to take humanities along with my art courses. My degree is actually a Bachelor of Science. When I was younger I was always bitter that I never went to a proper art school. Now I feel it was a bit of a gift. Attending classes outside of the art department really help widened my perspective. If I would have buried my nose in the studio the whole time I was in school I donât know if Iâd still be making art today.

Q: Why sculpture? My whole family work with their hands. My Dad was a bricklayer, and lotâs of tools were around when I was growing up. When I was a kid I thought everyoneâs Dad fixed their own car, built additions on to their house, and welded steel. It was kind of a shock when I found out otherwise. So it didnât take long for me to start banging around on stuff. The thing is, Iâve never been very good at cutting straight lines or being very precise with tools. Building things that were functional or useful in any way never really worked out. Also, Iâve always had an appreciation for great storytellers. It didnât matter where I found them. Could be at the movies, on my record player, or just listening to my drunk Uncle at Christmas. I love listening to people weave a good story. So for me, when you mix a lack of ability with a desire to express a narrative, you get sculpture.

Q: What inspires you? The City Museum in St. Louis. Itâs basically a ten stories, city block long, ever growing found object sculpture made out of an old shoe factory. Wonderful place.Â http://www.citymuseum.org/home.asp Journalistic photography. When itâs done well, it conveys complex ideas and emotions so beautifully. The field recordings of Tony Schwartz. Mr. Schwartz is an audio documentarian. Because of his acute agoraphobia, he only makes recording within his postal code in New York City. Heâs been doing this since the 1950âs and has captured so many truly amazing things on tape. Folkways Records put out a lot of his recordings in the 60âs & 70âs.Â Heâs still doing great stuff today.

Q: Who inspires you? The artist Swoon. The project Swimming Cities of Switchback Sea she started makes me endlessly happy. Her wheat paste street art is also pretty wonderful. The musician Andrew BirdÂ Â He never fails to entertain and surprise me. Royal de Luxe. They are a French street theatre company doing brilliant work. I really want to see some of their machines in person some day.

Q: Tell us briefly how you make your sculptures? I start off by carving everything out of wood. I use acrylic paint for the heads, hands, or feet. Then typically I cover much of the surface with tin or some other found metal. I use tiny nails in this process. The majority of my materials are scavenged or recycled. Before I moved, I got almost all of my wood from the banks of the Ohio river.

Q: How long does it take to complete one of your pieces? Thatâs kind of hard to say. Iâm always working on several pieces at once. Iâd say on average three to for weeks for the larger ones. Although, thatâs if everything goes smoothly.

Q: Do you work from sketches or dive straight into making the sculpture? I do quick doodles on index cards and scrap paper. I donât really consider them sketches. Theyâre more like notes to myself so I donât forget an idea. I always have technical problems which shifts the piece in a way I didnât anticipate, but thatâs the fun part.Â I like to improvise.

Q: Where do you work, home or studio, shared or on your own? Iâm currently still setting up a studio in my new home. Before I moved, I had a studio away from the house on the other side of town. I really liked that at the time. It helped me keep more regular hours and detach from the work. When you live and work in the same place, it can be harder to do that.

Q: How do you spend your time when you are not creating? Since the move, learning French is going to be taking up lotâs of my time.

Q: Your favourite living artist? Iâm a really big fan Chris Ware.

Q: Your alternative career? What would I have done if I hadnât done the art thing? I kind of wish I would have studied Psychology.

Q: Three loves? Rhubarb pie. The wonderful woman in my life. Old stand up comedy LPs. (Not necessarily in that order)

Q: Three loathes? Tail gating in traffic Inconsiderate people Pretentiousness

[caption id="attachment_91" align="aligncenter" width="500" caption="Richard Scarry and Chippy Coates"][/caption]

Angela Lizon: Whatâs Up Pussycat?

Fri, 03 Sep 2010 18:40:00 +0100

Q: Did you go to art school?

I went to art school in Bristol for 3 years and then got a scholarship to study at Krakow Academy of Fine Art in Poland, which had more to do withÂ getting back to my roots than art. Poland was still under Communist rule then so it was a really interesting experience to live there.

Q: How long have you been painting cats?

About 3 years

Q: I hear you used to do abstract work, why did you change direction?

I had been working on a series of abstract paintings for about 15 years which had gradually become more minimal and pale until you could hardly see them. I kind of painted myself in to a corner with nowhere to go. Sometimes there is no way forwards and you have to take a leap in the dark. I have long been a fan of kitsch and painting cats, the epitome of chocolate box kitsch, was a very natural step and one that I'm having a lot of fun with.

Q: What medium do you paint with and why?

I use oil paint as I prefer its slower drying rate - more time for changing and adjusting, mixing and blending.

Q: Tell us about your painting style?

My painting style has been dictated by the subject matter as in order for the giant cats to feel disturbing they need to possess a certain realism, although I don't want to get bogged down in a slick finish. The paintings are actually fairly loose and painterly and I use quite large brushes for the fur.

Q: Why do you paint such big canvases?

It is a way of removing the original throwaway image from its mantlepiece scale and transforming it into something quite different and new, far more menacing. I also like the touch of absurdity it brings to the paintings.

Q: How did you react when you found out your submission to the Royal Academy was selected?

I whooped and jumped up and down in a childish fashion.

Q: Was this your first submission to the Royal Academy?

Third year of submitting but the first year I've had a painting accepted.

Q: Has the show created a buzz about your work? It's been a really good thing to be a part of. I've had lots of really good feedback and several commissions. âCowboy Joeâ was given a great hanging spot, framed by doorways and viewable glaring down, from several galleries away. I've been surprised that a cat in a cowboy hat has struck a chord with so many people.

Q: What do you do when you are not painting?

Read and nag my children.

Q: What is the inspiration behind your work?

A number of things but I'm sure I wouldn't have started these paintings without my two daughters and all the pink fluffy stuff of their early years. I also draw inspiration through memories of my own childhood, growing up in the 60s and 70s.

Q: Three things that make you smile?

My children, a sunny morning in the garden with a cup of coffee and a good book, thinking of something stupid to paint on a cat

Q: Three things that donât?

Inequality, freak weather patterns, cats that have been neutered but rediscover the ability to spray and make full use of it.

Q: A word of advice for young artists and graduates?

Don't let anyone try to persuade you you're not a genius.

Q: What next?

Don't know but more of it and better would be good.

Q: Where do you work?

Spike Island Studios in Bristol, a large artists studio group. The light in my studio is beautiful and I love working there. I would hate to work in isolation.

Q: Surprise us?

I had an exhibition cancelled on the day it was due to open because the work was considered pornographic just because it was of male nudes.

Your Guide to Buying Fine Art

Wed, 01 Sep 2010 12:06:00 +0100

Your Guide to Buying Fine Art

If youâre looking to buy a piece of fine art or build a collection for the first time, itâs both an exciting and rewarding journey but the art world can also be quite daunting to a newcomer. The more research you can do, the better so to help you weâve provided a basic guide on how to buy fine art for the first time.

Where to Buy Fine Art

You can purchase fine art from a variety of places but they all come with advantages and disadvantages. Established auction houses and art galleries are a great place to start as the knowledgeable staff can help reassure you on the authenticity of the piece. Whoever you decide to buy fine art from, all reputable dealers should allow for returns, exchanges and guarantees so you know you are protected. Be very careful when buying direct on eBay to ensure you are buying a genuine original or limited edition print. Ask the seller to take photographs of the signature, invoices, and certificate of authenticity etc. if they have not provided that.

How to Check for Authenticity

Fine art collectors should always try to ascertain if the piece they are buying is an original or limited edition. This will almost certainly affect the value and the desirability of the piece if youâre looking to buy fine art as an investment so itâs worth taking the time to check. If itâs a limited edition or an original print for example, it should be signed by the artist and individually numbered (handwritten number) and it should come with a Certification of Authenticity (COA). Â Ask the seller about its provenance and ownership history as well as any documents to support this. If you do purchase artwork be sure to keep all certificates, invoices and receipts relating to your purchase for insurance purposes.

What to Purchase

One of the most important parts of buying fine art is choosing something that you love. Art is a subjective and emotive topic so you should look at art which excites/delights or intrigues and if you feel a connection with it, then itâs the right choice for you. If youâre not sure what you like then do some research - go online and browse online galleries or spend time visiting local art galleries and fairs. Remember to and ask lots of questions when you visit the galleries in person - artists will be only too happy to discuss their work with you and the gallery owners will have a wealth of knowledge to share.

The Cost of Fine Art

Take a look at your finances, consider the reason behind your purchase (whether itâs for investment or enjoyment) and decide on a budget. When youâre starting out, you may not have the budget to build an entire collection of original art so you might want to consider looking at slightly cheaper alternatives.

Unfortunately, the price you buy fine art for varies as much as the subject matter. Art tends not to depreciate in value but if you over spend on a piece then you can expect to lose money if you decide to resell. Look at how much other pieces by your chosen artist have sold for in the past to get a rough estimate and also remember to take into account the condition the piece is in â like any collectible, any damage or fading may also affect the resell value.

Above all else, buying fine art should be an exciting and pleasurable experience so you should follow your heart when it comes to selecting it. Just make sure that whatever you choose to buy is being sold in line with the current market value and you have the necessary documentation.

JT Burke: Perpetuating the Myth of Paradise

Mon, 30 Aug 2010 20:21:00 +0100

Q: Tell us a little about yourself?I'm a former advertising photographer who used to make pictures of food that were mostly beautiful lies. I was quite good at it, but got tired of being a photo monkey. Twenty years ofÂ executing art directors' layouts was enough, so a few years ago my wife and I quit the business and began making our own art. Now I use my digital skills to conjure up visions of a strange Utopia. It's a lot more satisfying than endlessly cranking out perfect Pizza Hut pies for the ad agency.

Q: Tell us about your working method?It's pretty involved. I begin by collecting lots of old and antique jewelry at flea markets and antique sales. Back in my studio I photograph each piece on a white background and add it to a digital database of elements. That's the hard work, then the fun begins. I start each digital composition by selecting one or two of the jewelry elements and bring them into Photoshop and let my imagination wander. Sometimes I know where I'm going with the composition, other times it's complete trial and error. The files can get quite large and take a long time to complete, some as long as six weeks. The problem is knowing when the work is done.

Q: Why photography?It's what I know and do well, but I don't consider the end product to be photography, per se. It's much more like painting, and I'm trying to develop painterly techniques and discipline.

Q: Why jewelry?I began my last series using other elements, like leaves and flowers and odd machine parts. The first time that I used a single piece of jewelry it struck me that blingy pins and baubles offered unique visual opportunities. After I had been working on the series for a while I realized that jewelry, a man-made element of beauty, was the perfect metaphor for Paradise, the ultimate Man-made beauty. It all seemed to fit together. [caption id="attachment_1057" align="aligncenter" width="500" caption="JT Burke talking about his art (Photo by Marten Rostel)"][/caption]

Q: Have you always scanned flea markets, jumble sales and antique shops for pieces of jeweler?I've always been aÂ pack ratÂ andÂ collectorÂ of odd items, but I knew nothing about jewelry before this series. Honestly, I still don't know much about it.

Q: You have just had three shows, one in California, one in Barcelona and one in Bristol UK. How was it co-coordinating these shows?I love showing the work and meeting people, but this tour has been quite a challenging logistical exercise. I have a strong business side to my brain so I get really involved with the planning and the details, but it's kept me away from creative work for a couple of months now. All of which means that I'm eager to get back into the studio and start making some new pics.

Q: Has the art been received differently in these different locations?Actually, I've noticed a pretty universal sense of wonder and awe everywhere that I've shown the work. Most people don't really understand what it is that they're seeing when they first look at the work. "Is it painting or photography?" is the usually the first thing out of their mouths.

Q: The title of your body of work is called âBeautiful Againâ, why?It's about beautiful objects that get old and are abandoned, and then found and reborn in another dimension. Â Sort of like the concept of Paradise.

Q: We heard on the âArt Vineâ that you collect art. What sort of art and which artist do you like/collect?My wife and IÂ onlyÂ collect things that we can live with every day. We gravitate towards more classical and immortal art in our home, like a Salvador Dali print from the Biblia Sacre series and a wonderful Sylvia Ji piece titled "Lady of Guadalupe." In our beach house we prefer more colorful, contemporary works like "The Magnificent Seven" silkscreen by Russell Young and a lot of contemporary art that we've picked up at Corey Helford Gallery. We have a real range of stuff in our studio offices, including works by Hung Lei, Ruud Van Empel, Gary Baseman and Shepard Fairey. We've noticed the sculptures of Laurie Hassold over the past couple of years, and just recently met her. I'm after one of her Alien-esque pieces for my office.

Q: How do you think art makes an impact?It's hard to ignore images that have an emotional draw. When you connect with a piece, and it ends up in your home, it affects your life for years to come. Unlike advertising images that are ephemeral and fleeting, artworks tend to have a lasting impact. At least I hope that mine will.

Q: Do you work in any other mediums?I like to cut wood and arc weld steel, but mostly as a release from hours in front of the computer screen. Otherwise I stick with the digital tools that I know well.

Q: I hear you like English music. Tell us more?I can't tell you how many nights my wife and I have fallen asleep listening to the soulful voice of Portisheadâs Beth Gibbon singing Glory Box, the last tune on the album. One of my favorite all-time groups is Lamb, which never seemed to catch on in the US, but I still listen them a lot while I work. And we just saw Massive Attack at the Wiltern in LA, and are going to see them and Thievery Corporation in Santa Barbara next month.

Q: Surprise us?Uhhh.... For more info on JT Burke click here http://www.jtburke.com/ For purchasing information goto http://www.grantbradleygallery.co.uk/jt.html

[caption id="attachment_1056" align="aligncenter" width="500" caption="Richard, Chippy, JT Burke, Albany and Greg (Photo by Marten Rostel)"] [/caption]

Tom Bagshaw on Yokai Dreams

Wed, 18 Aug 2010 16:01:00 +0100

Q: Tell us a little bit about your childhood? I tended to be the tallest in class which was good and bad in equal measure. We moved around quite a lot, mainly the South of England so I think I ended up going to about 11 schools.

Q: Where do you live? Iâve lived in the Georgian city of Bath in South West England for the last 12 years or so, the longest Iâve lived in any one place.

Q: What made you want to be a professional artist?I really donât remember a time when i wasnât drawing or painting. I have memories of being 4-5 and scribbling on anything I could find. Being able to do something you love for a living is such a rare thing, Iâm not sure I ever really considered that I would get to a point where i would be able to do it myself.

Q: Are you self-taught or did you go to college?I spent a small amount of time at college many moons ago but it just wasnât for me so I left pretty quickly. I chose to do a graphic design as it was the only course that had an element of illustration, it was either that or foundation art or technical illustration, neither of which really appealed to me. Of course I was pretty disappointed to find that the illustration side was pretty thin on the ground and a bit useless so i dropped out and tried to make it on my own, since then Iâve basically picked up stuff along the way. I had a really big turning point when I discovered how much using computers for creative work had progressed about 8 years ago. My only previous experience of computers was at college and their first computer room, 5 Mac classics hooked up to a basic printer and running Photoshop V2. My over-riding thoughts at the time were 'this will never catch on'. Since then of course everything had moved on and when I got my hands on Painter and a Wacom tablet I was hooked. I taught myself Photoshop, a bit of Illustrator, learnt some html and Dreamweaver and landed a web design job which paid the way while I improved my technique and gained more understanding of other software, which allowed me to go out on my own about 6 years ago.

Q: What is the most important source of inspiration for you?Iâm very visually orientated so Iâm more inspired by art, design, illustration, film, fashion, photography, architecture, rather than music or reading as quite a lot of other artists are. The Internet has to be my favourite source of inspiration although it can be pretty overwhelming, so itâs good to unplug from it once in awhile.

Q: What do you do to take a break from creating?If I do manage to get any spare time its usually spent with my family, trying to catch up on some films or sleep, depending on which is more needed at the time!

Q: Your last exhibition was called âYokai Dreamsâ. Can you tell us about these dreams?The show was really my own exploration into some of the incredible Japanese folklore surrounding their creatures of legend, its an amazing subject and extremely rich in terms of individual characters and stories. Many of which are still well known in Japan today, but in the West its a largely unknown curiosity. I wanted to portray some of these stories from my own Western European perspective and create additional narratives to each, some of which make the original story quite ethereal. Yokai Dreams felt like a particularly fitting title once the body of work had come together.

Q: Why digital medium?Like any other medium its just a tool to create a piece of art. Iâve been working digitally for a while now and its a very versatile medium. Unfortunately its still looked down upon by many and its particularly difficult to place within the context of a collectors market. Its a shame that so many still see digital work as 'easier' than traditional work which is by no means the case. I spent many years painting traditionally with acrylic, oil, airbrush, pencil, pretty much anything I could get my hands on, but I really had no direction at that point. Its only the last couple of years whilst Iâve been working digitally, that Iâve started to find a voice. I did do one piece for my show that was created traditionally but I hadnât even held a brush for ten years so I made a complete mess of it! Iâm starting to experiment with combinations of digital and traditional, hopefully the results will help to bridge the gap between the two markets and perceptions of the different mediums!

Q: How long do you spend creating a piece?Some simpler pieces can take a couple of days whilst the more complex ones can take between 1-2 weeks, at least to the point where I have to let it go or risk working it to death. Digital means that pretty much everything you see has been considered, unlike traditional media, there are few happy accidents. If I want a distressed paint effect or paint runs they have to be created quite laboriously, on occasion digital is actually more problematic than traditional.

Q: What kit do you use for your creative process?I use a custom built machine, its 5 years old now and still going strong. Dual screen monitors and an Intuos 2 Wacom tablet which allows me to draw or paint digitally in an intuitive manner. In terms of software I use Painter IX.5 which is an amazing application, specifically designed for painting in a manner that anyone thatâs used a paintbrush can get to grips with. I can simulate any traditional media I like from oils to chalk, ink to watercolour and control how the 'paint' responds on different types of surface like linen canvas, hot press or even rice paper. Of course it takes getting used to but as I said before, its just a tool to do the job. I also use Photoshop (mainly for colour correction and compositing painted elements), Illustrator, a small app called Artrage and sometimes dabble with a bit of 3D.

Q: Your work is dark with quirky humorous elements. Would you say that reflects your personalities?Without a doubt.

Q: I know you are a big fan of Facebook, what can social networking do for artists in an extremely competitive market?Not sure I would say Iâm a big fan of Facebook, in fact it can be a real pain in the ass in terms of usability! But yeah I like the way that social networking sites such as Facebook and Twitter can put your work in front of a lot of people. Thereâs a whole generation growing up who have no idea what it was like before the advent of the web and how difficult it was to get your work shown to people who would buy/commission you. The web can help artists in so many ways, from being able to have a web folio that anyone can access or showing off your creative process and for commercial illustration and digital artists it means that delivery of artwork can be a simple thing. Of course it does mean that now the whole world and his wife is an 'artist' so there are some drawbacks too.

Q: What plans do you have for your next show?Aside from some group shows Iâm hoping to explore a little more of the Yokai Mythology but no concrete plans for a new show yet.

Q: Three loves?My family, Art, Anything or anyone that makes me smile.

Q: Three loathes? Rude people, Mac Vs PC debates (donât ever get me started), childrenâs TV presenters (we have a 2yr old and end up watching quite a lot of crap with her.)

Q: Surprise us?I have an unhealthy fondness for jelly beans.

The Glitter Clad World of Natalia Fabia

Thu, 12 Aug 2010 23:02:00 +0100

Q: Please tell us about your personal collections of toys? My collection of toys has grown a lot recently. It mainly consists of toys from Poland many made/carved from wood. My father, who is an artist, was a wood carver and wood worker so he would make my brother and I doll furniture and fun wooden things. Polish traditional boxes. Many are dolls; I love dolls, especially vintage ones and dolls in Traditional Polish costumes. I also love vintage toys and porcelain. I do not have an abundant collection but I have always loved them. Within the last few years I have fallen in love with Japanese toys and characters. For example Domo and Rilakkuma, hello kitty I have all different kinds of toys of them. (Like my Domo doll in this painting) and, I can honestly say my toy collection is quickly growing!

Q: Love the glitter, what else can we find in your work? Well, I used to paint over collages I would make, with wallpaper, different papers, flyers, and objects I collected. Sometimes I would allow these collages to show through or sometimes disguising them but I don't really do that anymore. Lately I have noticed that instead of collaging with found items, I painting objects in my compositions and add more details. Now you'll just find cat hair and oil in my paintings!

Q: Your favorite living and deceased artists? Toulouse Lautrec, John Singer Sergeant, Lawrence Alma Tadema, William Bouguereau, Mucha, Manet, Rebecca Campbell, Julie Heffernan, Yoshitomo Nara, Mary Blair, and Hilary Harkness... the list goes on and on. I am inspired by so many artists and people but what is most excellent is that I am surrounded by and some of the best most amazing artists and friends! My Corey Helford Gallery family is the bestestesteestetstestestesteest! We all inspire and motivate each other.

Q: Tell me something I would not know about you? Hmmmm...I guess that Yoga is my LIFE! I would die if I didn't have it in my life. It is good for my mind body and spirit, plus I love all of my yogi friends!

Q: I see many pop references in your work, are you a pop artist? I don't think I'm a pop artist. Or am I? I have no clue! I paint mostly what is current and what is going on in my life or the world (around me). I am inspired by pop culture and vintage things and I usually combine them. My technique is traditional oil painterly. I do not try to make ironic or kitschy paintings. They may come out that way but that is not my goal.

Q: Favorite color? Pink!!!!!!!!! Pink glitter to be exact. I would get glitter tattooed if I could!

Q: This is a little nerdy but tell us about your cat? NOT NERDY!!!! My kitty, Toulouse Lautrec, nicknamed T-Lo, Louse, Lucifer, Buttloose (my boyfriend's son calls him that one). He is the love of my life! He has 6 toes on his two front paws. He sits by my when I am painting, usually on my lap. He LOVES to eat, sleep, and run really fast for no reason and then stop. He is just cute! My cat is amazing!! Everyone says that about their cat, but this is true about mine! [caption id="attachment_951" align="aligncenter" width="500" caption="Natalia and Toulouse"][/caption]

Q: What do you dream about? My dreams are always very different. I don't remember every night, I wish I did and unfortunately never any sexytime dreams. They are usually me or someone I know in a very peculiar situation and trying to get out of it. Usually waking up before there is a resolve or end. Oh I do have frequent dreams of the ocean, especially waves and huge tidal waves. They scare the SHIT out of me! I wonder what that means.

Q: Have you ever thought of publishing all of your photo shoots with the models for your work? Yes! I have fantasized about having a large coffee table book including photos of my inspiration, photo shoot references, behind the scenes photos of my friends and I, trips, parties, drawings, and of course paintings. I would want to make it a really fun but an honest book. I think it would be really cool to show the life and thought behind the artwork. Also, I love designing and I collect so much imagery, I would love design the book myself.

Q: Three things you could not live without My crackberry, Kombucha, Howard Stern pod cast

Q: What do you listen to when painting? Howard stern radio shows pod casts! All day long. I love it, it is hilarious and interesting and I can paint for hours and hours and not get bored or tired. Adam Carolla too and sometimes my itunes.

Q: Can you tell us a little about your working method? My work method for the paintings is typically the same. I have an initial idea for a painting; it can be inspired by something I saw like clothing, jewelry, and colors or by a model and their personality, an old photo. Then I plan a photo shoot; arrange the models, location, props etc. I mainly photograph my models but I also get some help from my amazing photographer friends (Kristin Burns, Julie Klima and Jack Speciez), whom I paint sometimes as well. I chose one or a few photos and I use the photos as reference, not exactly duplicating the photo and I add in my own twists. Some of my paintings are completely planned out; others evolve over time on their own, during the painting process.

Q: What inspires you to paint hookers? They are bright and shiny! No but really my hookers are all my best friends, really cool, strong, talented, independent chicks. I am lucky to know so many of them and lucky to have them model for me. I love their style, how they sparkle and their individual personalities.

Q: Did you go to art school? Yes I went top Art Center in Pasadena. It was the best experience ever. I was taught by great teachers and I have friends and contacts from going there that I will keep forever!

Q: What draws you to figurative painting? I just love the human form, itâs so beautiful. I love anatomy, skin, and eyeballs. I love nature too but there is just something about figures I cannot get away from. It is also easy to relate to and I feel you can tell interesting stories by the people and personalities you capture.

Q: How did you feel when you found out you were one of LA Weekly's 2010 People? I was ecstatic! I have grown up with the LA Weekly! I can remember waiting for Thursday to come so I can pick it up. My friends and I would go through the whole thing and plan our weekends and what punk shows and art shows we went to accordingly. It is one of the best publications! It was truly an honor, and one of the only occurrence s my friends were impressed by!

Q: Any advice for young artists? Paint paint paint paint as much as possible! Or whatever medium you are interested in. That is the only way to get good and to find your voice.

Q: Tell us a little bit about your childhood? I grew up in the San Fernando Valley. Both of my parents are from Poland. Polish was my first language. I actually didn't speak a word of English till Kindergarten. My parents were both very artistic, they were always drawing and painting and designing. My father was a wood worker and wood carver and painted in watercolors. I have a brother who is 2 years younger than me, Albert. He paints and draws as well. In our neighborhood, I was the always the one organizing a inventing games to play. I especially liked playing school. I of course was the teacher. I loved correcting tests the most. My mom passed away when I was 11, from breast cancer. My dad is my everything and I do everything for him. He's the best!

Q: Can you tell us why your latest show at Corey Helford Gallery is called 'Fashionable Aftertaste Without Endâ? Almost every painting in my show was titled after a product label or phrase I found in Japan. They were all English translated from Japanese. I felt that they made more sense than the correct English versions. The innocence and sweetness come through the translations and I feel they are very honest and literal. My show title, "Fashionable Aftertaste Without End", I felt summed up the entire body of work. It is a lot of things and thoughts jumbled together, which is what each painting is.

Q: What next after this show? After the show I plan on relaxing a bit, and actually sleeping! HahahaÂ Months before my show I was painting 20 hours a day. I was going a little nutso. Traveling a little bit is a must, I need to clear my brain, think and not think, soak everything in and get inspired.Â I will be back to painting very very soon though! Also, I hope to go to tons of ala prima figure/head painting workshops. I have a few projects I will be working on this year/next year. Then my next solo show will be December 2011 at Jonathan Levine gallery in NY.

The Domestication of Eric Joynerâs Robots

Wed, 04 Aug 2010 13:48:00 +0100

[caption id="attachment_932" align="aligncenter" width="500" caption="Eric Joyner"][/caption]

Q: Why Robots and Donuts? After years of working as a commercial illustrator, and getting nowhere just painting other peopleâs ideas, I made the decision to become a gallery artist. My first rule was to only paint things I like. I started with robots in 1999 & added the donuts in 2002. [caption id="attachment_923" align="aligncenter" width="500" caption="'Little Genius'"][/caption]

Q: Where do you live and work? I live in a condo, in San Francisco, CA. my studio is in an old warehouse thatâs about 5 minutes away.

Q: Tell us a little about your working method? I draw with 4B pencils on wood panels that have been painted with gesso. The pencil is fixed & I then use oil paint for color. When the painting is done, I spray retouch varnish on top. Though I have traditional training in painting & drawing, I do use Photoshop to compose my ideas.

Q: Who or what inspires you? I am inspired by mostly by deceased illustrators, like N.C. Wyeth, the impressionists, nature, the universe, great comedians & thinkers, history, space travel & certain baked goods. [caption id="attachment_921" align="aligncenter" width="500" caption="'Line Up'"][/caption]

Q: Do you have a robot collection? Oh yeah, maybe 50 or 60 robots & a few tin spaceshipsâ¦some of them are old & some of them are newâ¦

Q: Best film starring a robot? That would have to be Blade Runner or The Empire Strikes back:). Forbidden Planet is third. [caption id="attachment_926" align="aligncenter" width="318" caption=""SBNR2 500""][/caption]

Q: Favorite living artist? Jeffrey Catherine Jones, or Wayne Thiebaud

Q: Do you eat many donuts? No, not reallyâ¦though I do like them quite a lot. Glazed & old fashioned chocolate are my favoritesâ¦there is a great place here in SF called Dynamo donuts, in the Mission. These are the best. [caption id="attachment_922" align="aligncenter" width="500" caption="'Life Goes On'"][/caption]

Q: Tell us about your new body of work? I will be exploring the idea of more domesticated robots, female robots, robots with tattoos, children, spirituality and other things, like a cupcake purgatory.

Q: Something we donât know about you? I make great blueberry pancakes. [caption id="attachment_930" align="aligncenter" width="500" caption="Work in progress"][/caption]

Q: Tell us about your childhood? I came from a blue collar familyâ¦the neighborhood was a mix of all types of people in San Mateo, CA. It was fun for the most part; got into some trouble, played sports for awhile but always painted & drew. I knew by the 4^th grade Iâd be a painter one day. My dad was really old & broke down, so I ran wild.

Q: We love the piece you did for the Bristol Museum show, are you a Dr Who fan? Iâm sure I would be, if I had the time to watch. However I do know this much - the Dalek is pure evil, so I thought it would be fun to show one as submissive - a pet on a leash. [caption id="attachment_931" align="aligncenter" width="500" caption="'Disrupted'"][/caption]

Q: Three loves? Pizza, the ocean & friends.

Q: Three loathes? Gridlock, politics, gum on my pants (from under a table).

Q: Do you do commercial work as well as paintings? Rarely, But, everyone has their priceâ¦

Q: Hopes and dreams? I want to paint large paintings, take my career to the next level and meet someone to settle down with. [caption id="attachment_929" align="aligncenter" width="500" caption="'September'"][/caption]

Q: What would you do if you werenât an artist? An entrepreneur & world traveler or spaceship designer/engineer. [caption id="attachment_937" align="aligncenter" width="500" caption="Richard and Chippy in Bodrum Bay"][/caption] Thanks to Eric and Photographer Kevin Knight http://www.theshutterclick.com for portrait shots. Anyone intersted in purchasing any works please contact jch@coreyhelfordgallery.com

Buy Fine Art

Mon, 02 Aug 2010 17:50:00 +0100

Why buy fine art?

Whether you are an established collector or newcomer, looking to acquire a single work or build a collection, to buy fine art is always exciting, engaging and rewarding. Collecting both as a pastime and in support of artists and the visual arts locally, nationally and internationally can rapidly become a passion, which extends beyond simply acquiring wonderful pieces of art. Â In addition to the considerable pleasure one can derive from the artworks an interest in fine art can lead to lots of art-related activities; meeting and engaging with artists, curators, and gallerists, as well as other collectors, from around the world. When you buy fine art it is also fun, as anyone who has attended a riotous opening night will attest to; it is also a journey of discovery and education, both in terms of evolving personal taste, confidence, and exposure to different artists and art forms.

Original fine art, encompassing original works, editioned prints, photographs, video, sculpture, ephemera, artistâs books, exhibition posters, and signed catalogues (to name a few), offers something for everyone in terms of taste and budget, whether you are looking to buy a single picture or build a collection. If you are looking to buy fine art from a gallery or online, the key is to get involved, make contacts, build relationships and, above all, look, look, look - go to shows, visit art fairs, galleries and open studios, attend openings, get on mailing lists, peruse auction catalogues and books, you canât see enough art!

If you'd like more advice on buying fine art, you can find it here - Your Guide to Buying Fine Art

Brandi Milneâs heart shall not fear

Thu, 17 Jun 2010 20:42:00 +0100

Q: What do you do when you are not painting or drawing? I've found myself reading a lot since my trip to Bristol. Maybe that 10 hour plane ride really bucked me up! :) Otherwise, I love eating fries (chips to you guys!) and going to thrift stores searching for childhood baubles! [caption id="attachment_904" align="aligncenter" width="500" caption="A very smiley Brandi Milne"][/caption]

Q: I know you have written a children's book; So Good For Little Bunnies, please tell us about the process? It was a long and hard process, but worth every minute. I want to do so much more, I'm exhausted just thinking about it!!

Q: Why is the wood so important to your work? For me, the wood itself is warm and embracing. I love it because it's almost like a piece of furniture somehow, and it allows me to use ink to line the work rather than lining with black paint. My hands are so ridiculously unsteady, it would be a nightmare to have to line with a brush!!

Q: How do you know when a painting is complete? I know when it has great balance and narration, and when the paint is tight enough (my paint is very sloppy) to start the final ink process. I try to look at each piece when it's done, and see if it needs anything else. This is probably one of the only times when there's a right and a wrong answer.

Q: Please tell us a little about this otherworldly place your work takes us to? This world doesn't exist in real life. It's the world I used to play in when I was little, in my mind. I know it's directly inspired by Alice In Wonderland - where the grass is 10 feet tall, the scale is a bit loppy and everything around you is kind of threatening in a way. I would like to live there, if everything wasn't so creepy.

Q: How personal is your work? My work is very personal. It directly reflects my life at the time, my emotions and feelings. I think of it as a diary of sorts, I can look back at the work and see exactly where I was in my life.

Q: Any advice for young up new up and coming artists? Love what you do. If you fake it, we can see it.

Q: What kind of legacy would you like to leave? An honest one.

[caption id="attachment_905" align="aligncenter" width="500" caption="Jan Corey Helford and Brandi"][/caption]

Q: Three essential items that get you through the day? Hmmm...music...drawing...laughingfamilyandfood!!

Q: Something we would not know about you and should know? You might not know that my second toe(s) is so much longer than my big toe(s) that my dad asked my mom "will she ever be able to walk?" when I was a baby - and maybe you should know. I AM able to walk, dad, even with this toe(s).

Q: Tell us a little about your childhood? My childhood was happy. Very happy and content. I'm the youngest of four kids, we grew up in Anaheim in the same house my mom lived in when she was wee. We were a very close family with my mom and dad - my mom being the center of the family. We had everything we needed, each other, good times and lot's of laughter.Â I grew up safe and secure, protected and naive with little fear.

Q: Did you go to art school? I didn't go to art school, I only took a couple art classes in junior college that were pretty bunk. I drew at home, whatever I wanted - and over the years, taught myself what I know now.

Q: Who/what are your main influences? My main influences are my childhood, my life and personal journey day to day. Artists' work I look to for guidance and inspiration to better help me narrate my stories are Camille Rose Garcia, Todd Schorr, Daniel Peacock, Bob Dob, and Femke Heimstra to name a few.

Q: Briefly talk us through your working method? I enjoy the drawing and inking process the very best. Out of my work, I need control and that's where I have it the most. My painting process is very loose and sloppy and aggravating at times - I enjoy it, but that need for control is a struggle. That's why I love the inking (outlining) at the very end, because it ties it all back together and makes it look tight again.

Q: How was your trip to Bristol, we heard you had a good time? You HEARD? You both saw my BEAMING FACE in love with Bristol!!! I had an unbelievable time in a land so beautiful and inviting and important. I loved it. I'll love it forever....and I'll be back!! (and I'm staying with you two!!)

Q: The title of your upcoming show at the Corey Helford Gallery is called 'My Heart Shall Not Fear', why have you chosen this title for your show? This is a very important title - not only for how I would like to approach my work, but how I would like to approach this life. I don't want to be fearful anymore.

Q: Any plans for the future? More books. Exploring and expanding my work. More laughter and more cupcakes too.

Q: Three loves? Three loves? Halloween. Music. Children's books. Carousels. Christmas....candy...ridiculous laughter...a good story...my desk. So what you said three. :)

Q: Three loathes? Only three, yipes! Seafood. Rude idiots. And Summer. Thanks Brandi, good luck with the show! For further info on Brandi's upcoming show contact jch@coreyhelfordgallery.com

Making Pluto a planet again with Ian Francis

Wed, 02 Jun 2010 22:48:00 +0100

[caption id="attachment_869" align="aligncenter" width="500" caption="Ian Francis"][/caption]

Q: Can you tell us a little bit about your background?I was born in Bristol, England, and I've lived here pretty much my whole life. I graduated from the University of the West of England in 2001 with a degree in Illustration, although it'd be a stretch to call what I actually did on the course "illustration". I spent a few years after graduating doing part time jobs to support myself while I tried to develop my work in my spare time, and since 2006 I've been fortunate enough to be showing work with some great galleries in the US, UK and Australia.

Q: Who and what are your main influences? When I was at university my work was mainly influenced by Stanley Donwood, Dave McKean and Reggie Pedro. Nowadays there are a lot of artists and photographers whose work I really like, but the strongest influence on my work is just the sheer range of imagery I see on a daily basis. I spend hours on the internet following links about everything from popular culture to apocalyptic disasters and saving thousands of images that interest me. I'm fascinated by the way ideas link together and recur in different places. My work is a way for me to try and make sense of the disparate things I see and the way they relate to each other in my head.

Q: Can you talk briefly about your working method? At the moment I usually start by making lists of elements of ideas that strike me as interesting, and think about how they connect with each other. I sketch out ideas, sometimes in a notebook or on scraps of paper, or frequently in photoshop. Once I have a rough, I start working it up on canvas - sometimes the finished painting looks a lot like the rough, sometimes it changes a lot in the process of painting it. I switch between different media a lot as I'm working, and build paintings up in layers. I like to try out new techniques and media as I'm painting, I enjoy experimenting with things and trying to learn how they work together or against each other.

Q: How long does it take to paint one of your larger paintings? I tend to work on several paintings at the same time, as some of the media I use take a long time to dry, especially oil paint. The largest paintings I did for my last show at Lazarides I worked on for close to a year, but generally most paintings take me about 3 - 5 months. Occasionally things come together quicker than that. I've never really worked out how many hours I actually spend on a specific painting, in a way it would be interesting to know but I don't generally worry about things like that too much. They take as long as they take.

Q: What makes a good day in the studio? They're all good days really, I'm incredibly fortunate to get to do what I do for a living. A really good day is when things come together and start to look like I picture them in my head. I'm still really bad at estimating how much I can get done in a day, so a good day would also be when I actually get done something like the amount of work I plan to.

Q: Have you ever done 3D work or used other mediums apart from paint? I made a clay owl once. It was basically just a lump of clay with some patterns pushed into it, but I liked it. Unfortunately it shattered in the kiln, which has kind of put me off sculpture for the last 24 years or so. I'd quite like to try working with other people in film/video at some point, but I've not done anything like that yet.

Q: How do you spend your time when taking a break from painting? Reading, watching films, trying to catch up on sleep.

Q: Three things you couldnât be without? Painting, reading. Probably the internet/computers, although sometimes I think it could be a good thing to try giving up for a few months.

Q: If you didn't paint for a living what would you do? I'd like to try writing. I'd probably be a really bad writer. Maybe either the kind of really bad erotic fiction you get in airports, or novelisationâs of Films/TV series etc.

Q: Greatest joy Painting.

Q: Greatest sadness? Screwing up paintings.

Q: If you could be an ambassador for a good cause what would it be? Pluto, let's make it a planet again. There are a million better causes out there, but I'd like the title of Ambassador for Pluto.

Q: Advice for young or not so young emerging artists? I don't know if I'm a good person to give advice, it took me a long time to get anywhere after I graduated. The main thing I would suggest is to concentrate on putting together a good body of work, rather than promoting yourself. Self promotion is neccessary, especially early on, but blitzing every gallery and magazine with work that isn't your best is soul draining and won't really get you anywhere. Take your time to put together the best work you can do at the time, and send it off to people you think your work is suited to, ideally people who are looking for submissions. If your work is good people will want to show it. Also, try and make sure you take influences from a wide range of artists - picking 2 or 3 similar artists whose work you really like and trying to produce work like theirs tends to mean your work is going to look very derivative and uninspired. Having people whose work you find inspiring and want to emulate is a natural thing, especially early on, but try to bring something new to it from other places.

Q: If you could be anywhere right now where would it be? I'm enjoying myself here at the moment, but anywhere... probably New York.

Q: A few of your favourite artists dead or alive? Anna Conway, Alex Kanevsky, Ricky Allman, Yang Shaobin, Kristine Moran, Hung Liu, Rosson Crow, Bruno Dayan, Cai Guo-Qiang, Julia Fullerton-Batten, Fuyuko Matsui.

Q: Tell us a little about Bristolâs art scene? I'm probably the last person to ask about this, I really don't have a clue. I keep meaning to try and find out more about local galleries and shows, I never really know what's going on here.

Q: How was it assisting Mike Stilkey with his installation for the âArt From the New World Showâ? I thought Mike did a really good job on the installation, especially in such a short space of time. It was an honour to get coffee for the great man, and wash his brushes. It was really strange actually seeing lots of people from L.A. in Bristol, I'm much more used to being the English guy in the U.S.

Q: Do you have any shows or surprises coming up we should look out for? Yes, but I'm not completely sure if I'm supposed to be talking about them yet. I'm currently back in the studio working. Nothing for the next few months. [caption id="attachment_873" align="aligncenter" width="427" caption="Ian Francis and Chippy Coates"][/caption]

A friendly invasion with Mike Stilkey

Mon, 17 May 2010 20:52:00 +0100

[caption id="attachment_848" align="aligncenter" width="480" caption="Elizabeth Johnston and Mike Stilkey"][/caption] Mike Stilkey's installation at 'Art from the New World' at the Bristol City Museum and Art Gallery has pride of place at the main entrance. Before talking to Mike about his work we thought we would ask Tim Corum (Deputy Director of the Museum) a few questions about his passion for Mike's work. [caption id="attachment_849" align="aligncenter" width="480" caption="The view from outside"] [/caption]

Q: Why did you select Mike to do an installation piece to go in the main entrance of your impressive museum?From the outset we wanted the show to take over the building, we imagined it like a friendly invasion, a bit like when a group of friends come back to your house after a night out. We wanted something extraordinary in the porte cochere, a work that filled the space but was also able to project its character outside onto the street. Mike's work was perfect for this. [caption id="attachment_850" align="aligncenter" width="480" caption="Jan Corey Helford"][/caption]

Q: What do you think the museum and Bristol will gain from displaying Mike's installation?Mike's work sets the tone of the show - quite a responsibility - and does a great job of leading people into the wholeÂ experience. What I take from it is a gentle iconoclasm - painting onto a library of books - or perhaps revealing the stories inside the covers.Â I can't wait to see what our visitors think but hope that, like me, they find theÂ piece a startling and thought provoking work in its own right as well as great starting point for the show. [caption id="attachment_852" align="aligncenter" width="500" caption="'Ian Francis assisting Mike Stilkey'"][/caption]

Q: What do you think of the installation now it is finished?I love the ambition of the piece and technical skill as much as the spectacle now it is finished, but like a lot of our visitors of the last week, was transfixed with the process and seeing the work emerge. It is clear that seeing Mike create the artwork captured the imagination of our visitors. I can't wait to see their reactions when they return to see the completed work on Saturday. So onto the artist himself.... [caption id="attachment_834" align="aligncenter" width="445" caption="'Dry All My Tears'"] [/caption]

Q: Tell us a little about yourself?I was born and raised in the Los Angeles area.Â My family moved frequently so I attended a different school almost every year.Â When I was about 10 years old, I started skateboarding and skated every day until I was in my early 20s.Â During that time, I forgot that I was supposed to be planning my future and a possible career.Â In my early 20s I began doing photography; this eventually led me to drawing and painting.Â Now I do art full-time, I'm married and own a house in Altadena, CA; [caption id="attachment_845" align="aligncenter" width="500" caption="'Unheard of'"][/caption]

Q: Did you go to art school?No.Â I bounced around community colleges throughout the Los Angeles vicinity for a few years, but never settled into a particular program.Â I studied photography for a while but when film transitioned to a digital format, I lost interest.Â I decided to paint and draw instead.Â I learned by experimenting with various mediums, such as paint, ink, pencil, charcoal, etc.Â I had this overwhelming urge to draw whatever I saw. [caption id="attachment_844" align="aligncenter" width="305" caption="'Time and Time Again'"][/caption]

Q: What gave you the idea of drawing and painting on books?I hate drawing on anything that is white, like a piece of drawing paper or a canvas.Â It gives me anxiety because I feel like I'm going to ruin it.Â I became attracted to drawing on old or weathered paper because it's not white.Â Â About five or six years ago, I made a book titled "One Hundred Portraits" which featured one hundred drawings I'd done on old book pages.Â Then I started painting on the book covers and all over the books, and eventually began stacking the books on each other and painting the spines.Â This allowed me to make bigger pieces.Â After some of my first book sculptures were displayed at BLK/MRKT Gallery in Culver City, CA, I was approached by the director of Rice Gallery in Houston, TX.Â She asked me to create a larger scale installation.Â To date, that is the largest installation I've created; it consisted of over 5,000 books. [caption id="attachment_843" align="aligncenter" width="333" caption="'The Waiter and The Elephant'"][/caption]

Q: Where do you get all your books from?My intent is to reuse books that have been discarded or that are going to be destroyed so I can give those books a second life in my art.Â This has led me to partner with local libraries and bookstores; they frequently donate large numbers of books they are getting rid of.Â They are happy to know that the books are going to be reincarnated as a piece of art.

Q: Can you tell us briefly how you create one of your pieces? For the smaller book sculptures, I do not connect the books, I just stack them and put them on a shelf. For the larger ones, I connect the books together using screws, making it one massive and incredibly heavy piece. I select books based on the colour of the covers, type of material, and a lot of times the title of the book either because it's funny or somehow relates to the piece I'm working on. [caption id="attachment_833" align="aligncenter" width="500" caption="'Cats Audition Band'"][/caption]

Q: Who/What inspires your work? My main sources of inspiration are daily activities and day to day life.Â This is where the important things happen.Â For example, I did a book sculpture piece titled "Enemy in the House" that shows a man trying to push a cat off a chair.Â This was directly influenced by my daily life; every time I get out of my chair one of our cats steals it.Â I'm also really inspired by vintage or used objects: records, books, anything that has a history.Â I like imagining the story behind these things.Â A lot of times I'm also inspired by music.Â I can often listen to a song and visualize the painting that could accompany it. [caption id="attachment_836" align="aligncenter" width="336" caption="'Enemy in the House'"][/caption]

Q: Have you always made a living from your art?Unfortunately, this has not always been the case.Â About six or seven years ago, I decided to quit my job and never work for anyone else again.Â I donated my car (which was a really bad idea, by the way) to a charity organization and used my bicycle as my primary form of transportation.Â I was preparing for homelessness.Â That very week, I met a Swiss guy named Markus who owned a gallery in Beverly Hills.Â I came to one of his shows, had a beer, and chatted with him.Â He asked me what I was doing with my life and I told him that I'd quit my job and donated my car: he got a real kick out of this.Â He invited me to come to the gallery and do whatever I wanted: make art, hang out, etc.Â That's when I really got serious about creating art.Â We became business partners and were fairly successful for the next few years.Â This allowed me to make art almost all of the time.Â Eventually, our landlord tripled our rent and we decided to close the business and part ways.Â For the past two and a half years since that happened, I've been supporting myself by making art.Â Markus now owns a boat and officiated my wedding in 2009.Â Thanks, Markus! [caption id="attachment_832" align="aligncenter" width="485" caption="'An Obvious Suspect'"][/caption]

Q: Tell us a little about the installation piece for 'Art from the New World'?The piece, "An Unusual Evening", is a double-sided installation consisting of about 2,300 books.Â It measures approximately seven foot wide by eight feet tall on both sides.Â On the side that is viewed from the port cochere of the museum's entrance, I painted a couple.Â The man is sitting in a chair and a woman is standing next to him.Â I wanted to capture a moment in time between two people.Â The side facing the street depicts a woman's face.Â I wanted to do something that could be seen from far away that would have a strong visual impact. [caption id="attachment_835" align="aligncenter" width="256" caption="'End of the Search'"][/caption]

Q: How is your visit to Bristol, UK?It's been quite amazing, actually.Â I've learned how to properly pronounce "risotto" and "tomato", and am now quite familiar with Sir Terry Wogan.Â Everyone here is incredibly friendly and I've had nothing but good experiences while exploring the city.Â Richard and Chippy have been excellent and very hospitable tour guides.Â Thanks, guys! [caption id="attachment_841" align="aligncenter" width="344" caption="'The Green One'"][/caption]

Q: What do you do when you are not creating? Billiards and more billiards.Â This helps me decompress mentally and takes my mind off of everything else that is going on.Â It's the perfect way to step away from the studio and clear my head. [caption id="attachment_840" align="aligncenter" width="485" caption="'Stringing You Along'"][/caption]

Q: What is the most challenging work you have done?To be completely honest, I would say that it is the installation I just created in Bristol.Â We lost some time due to that volcano and other time restrictions.Â I only had three days to paint both sides of the wall, but the staff at the Bristol City Museum and from the Corey Helford Gallery were very supportive and in the end, it all worked out. [caption id="attachment_842" align="aligncenter" width="470" caption="'The Pipe'"][/caption]

Q: Three things you love?My wife, my cats, and billiards.Â Burritos are a runner-up for this list.

Q: Three things you loathe?Traffic, peas, and people who refer to themselves in the third person. [caption id="attachment_831" align="aligncenter" width="462" caption="'Agree to Disagree'"][/caption]

Q: Tell us a few of your favorite living artists?One person that stands out to me is Mark Jenkins. I like that he doesn't necessarily create a product or a piece of art that can be sold and displayed on a wall, it's more about making people question their surroundings and reality whether they like it or not.Â I also really like David Ellis.Â I love his multimedia pieces that incorporate music and musical instruments.Â I think that the combination of visual art and music speaks to me because music is one of my biggest inspirations.Â I have a lot of admiration for Dave Kinsey and his work, as well as Francis Bacon, Heinrich Kley, Raymond Pettibon, Ian Francis, Josh Keyes, and many more... Richard and Chippy, thank you for everything it couldn't have been better! [caption id="attachment_838" align="aligncenter" width="500" caption="Mike Stilkey, Richard Scarry and Chippy Coates"][/caption]

Jason Shawn Alexander's 'Mourners'

Wed, 05 May 2010 21:03:00 +0100

Q: Tell us about your paintings? I'm horrible with that. I'd have to take the standard response of, "What do you think?"

Q: What comes first for you, colour or form? Subject matter. Then form. I'm not much for colour in my own work. It accentuates, but isn't necessary in the work I do. I like muted tones. The main goal is subject and how far I'm going to take it. Colour comes in as a second sense.

Q: I see struggle in your pieces, is that true?In the subject? I'm sure you see some. Even with single figure pieces the subject is battling with something. Maybe because I rarely have a second to myself where I'm not constantly struggling or trying to figure some problem out. It's all I know or at least all that interests me in my painting.

Q: Where are you from?Portland, Tennessee.

Q: Did you go to art school?No. Though I did work along side of a few older, more experienced artists in my twenties and that taught me a lot.

Q: What do you think art can do for the world?What it's always done. Provide a visual history and an escape from reality. Art will always exist. We, even as human beings, have always needed something more than survival and procreation. We've always taken a moment to notice or do something beautiful. I just want to be a big part of that.

Q: How do you see the state the world is in today?Based on my last answer, the current state of the world is that it needs more art, especially in the US. There's so much subconscious hatred and prejudice bubbling to the surface right now. People are marching against their own best interests out of fear and propaganda. The world is angry and scared right now. Everyone needs to take a step back and breathe.

Q: What is your Favourite medium?Pen and ink. It's direct and it's bold. For me itâs a little more than painting and definitely more than pencil drawing. There is something to that organic black line. It allows for the crispness of an image while still letting you flow.

Q: Favourite place you have travelled to and why?Italy, because...... it's Italy.

Q: What are your hopes for the future? To keep pushing myself.

Q: What do you listen to when you are working?Mostly old Mississippi Delta Blues, nothing sets my mood better. A lot of Tom Waits and Billy Holiday as well, but also Beethoven and the band, Tool. Whatever makes me feel something genuine.

Q: What other artist influence you?All of them really. My studio and house are full of books from all walks of life. Norman Rockwell to Cy Twombly. Will Eisner to Rodin. I can't say it enough. I. Just. Love . Art.

Q: Favourite living and deceased artist?I like artists that pushed buttons, Kaethe Kollwitz and Francis Bacon. As far as living, Cy Twombly still gets me excited and I enjoy seeing new work by John Bellany.

Q: Do you go to Museums?I love museums. The Tate Modern and The Metropolitan Museum of Art are amongst my favourites.

Q: Greatest Joy?Being able to take a step back and see the good around me. Achieving real work. Something substantial... and a nice single malt scotch.

Q: Greatest Sadness?Seeing unchangeable ignorance.

Q: Does Jason have a dark side?You more than likely see it in the paintings. That's really what they are. I'm a happy man, for the most part, and that's primarily because I try my damndest to put everything else in my work. Work is therapy for me. I can't explain how that is, but I'm changed every time I finish a piece or have a full day of painting.

Q: What would you do if you could not paint?Drink. I kid.... a little bit. I could see myself writing or directing film. I'm a visual person. If I couldn't tell a story through images in my life, I'd probably be done with it.

Q: Any upcoming shows we should look out for? I've my first solo exhibition on the west coast at the Corey-Helford Gallery in Culver City. The show correlates with the "Mourners series". Around 20 new pieces including some of the largest canvases I've ever worked on and easily some of the most personal work I've done. [caption id="attachment_803" align="aligncenter" width="500" caption="Jason with Corey Helford Gallery's Jan and Bruce Helford"][/caption]

Q: Do you have prints available of your work?Later this year. The fall of 2010 should produce prints of three of my paintings.

Q: When did you first start collecting?I don't really collect. My collection is primarily through trading works with artists I admire. Though, if I could get my hands on a Leonard Baskin drawing, I'd be in heaven.

Q: How do you feel art could or should impact our world?I believe it already does, always has. I believe a large mount of people do not recognize that fact, but everyone is affected by art. I wish more would give fine art a chance, but music and film impact the world more than we could imagine even in down economies, theatres don't go out of business. Art is an escape and a journey we all need.

Q: Tell be about the Mourners? The Mourners have opened up the next chapter in my work. It's the chance I've wanted to figure out and take for a few years now. Larger drawing with only specific elements brought up with painting. They will have changed a lot for me in how I work in the future. These pieces are the ones that have come the most natural to me. Expressive, dark, figures. I couldn't have done them in just paint or line. The combination is what makes them what they are. The rawest, truest expression of sadness and strength I've been able to accomplish to date.

Q: Do you get time to browse galleries when travelling?Not often.

Q: Biggest fear?Never producing, what I believe down deep, I'm really capable of. Being scared to push a piece into something great out of fear of failure.

Q: If your place was on fire or earthquake what would be the one thing you would take from the building?I want to say the portrait I painted of my father, but he would smirk and say, "not your computer or a handful of clothes? You can paint another, don't lose all that work and stand there naked."

Q: Last, what kind of experience would you like people to have in your space with your work? I want, more than anything, for someone to feel, to be engrossed around my work. I don't care if they don't care for the subject matter, or technique or composition. What matters most is that they see something in the work that makes them stop, even if just for a moment. I want my work to be LIVED with, not just dusted off and passed by on the way out the door.

Q: So as we know you have done a piece for the "Art from the New World " CHG Bristol Museum show, can you tell our readers about this particular painting? The Diving Bell. It began as another painting for a show in Berlin, Germany. Once I got it back, I saw I had something but I'd completely taken it the wrong direction. I began to rework it and watched it transform exponentially. It's the painting, now, that it was meant to be. A lonely wet figure diving into the abyss.

Q: You are still so young but I will ask anyway what would you like to be remembered for? I would like to create my own non kitsch way of doing figurative, narrative work that's never been done before and rips your heart out. Thanks Jason, Good luck with the show. Richard and Chippy For sales information please contact jch@coreyhelfordgallery.com

Daydreaming with Hayley Murphy

Sun, 02 May 2010 10:47:00 +0100

Q: Where do you live?Originally from Lowell, MI and residing in Chicago for 12 years. I currently live in Venice, CA.

Q: Why photography?I knew I was good at art and picked photography out of the college catalog.Â There were so many options after you learned how to do it that I felt like I wouldn't have to make up my mind which way to go with it right away. Â That way I could discover what I was naturally drawn to organically.

Q: Can you tell us about your working process?I daydream. Â When I see an image in my mind that I think would look good as a photo, I re-create it.

Q: Your first camera?Pentax K1000

Q: What kind of camera do you use?I use a lot of different cameras because I like to have all the tools at my disposal. Â I own a Canon 5D, Canon AE1 Program, and a Canon G11.

Q: Are you self-taught or a college graduate?I'm a college grad. Â First I went to school at a community college in Grand Rapids, MI and then to Western Michigan to study interior design. Â Perspective drawing really blew my mind (in a bad way) and I got out of it. Â I really wanted to graduate from college and found myself wanting to go to Columbia College. Â LOL- someone at a rave told me I should go there:-) So I did. Â That's when I picked photography out of the college catalog.

Q: You have a bold control of colour in your work, how did this evolve?I remember wanting to get into interior design because I wanted to put colors and textures together. Â Interior design students study a lot of color theory, maybe it evolved from there. Â I also remember finding a color book in a warehouse I used to hang out at. Â It's always interested me, not only which colors go together but also how they make you feel. Â I just naturally love making sure everything goes together, that it's pleasing to the eye, or that it's purposefully not pleasing. Â I notice it.

Q: Where do you get you inspiration?The everyday. Â I have an active imagination. Â Anything can set me off. Â Pain, weirdness, animals, people who stand out, colors, peeling paint, rust, stores that only sell stuffed animal tigers, metal detector people, space aliens, elaborately decorated food, ultimate artists, environments that make my insides hurt or feel good, people having intense emotions in front of me.

Q: A few of your favourite photographers, dead or alive? Eugene Atget, Man Ray, Helmut Newton, Joel Peter Witkin, Walker Evans, Hans Bellmer, Arnold Newman, Robert Frank, and Saverio Truglia

Q: Your goals?Make pictures I love.

Q: How long does it take to do an average shoot? Most of the time is in the planning. Â It really depends on what I need and what the budget is. Â Right now I'm looking to do a shoot with a goat in it and there is no budget. Â Trying to find a goat in Los Angeles for free is nearly impossible. Â Once everything comes together, it doesn't usually take long. Â I set it up the way I see it, light it, and let go. Â If I try to stick to exactly what I see in my head,I could be disappointed, but if I let go and discover what's there, it always turns out good. Â Lately I've been thinking about the memories that I have of the places that I envisioned before I ever saw them. Â For instance, when I thought about what it might look like to be in Jamaica before I had ever been there is a totally different memory then what I remember actually seeing when I got there. Â That's off the subject, but isn't it cool to think of all the places you've been that never existed.

Q: Travel?Ever since I moved to Los Angeles, my travel bug has sort of gone away. Â I do get back to Chicago and Michigan quite often, with some trips to New York thrown in as well. Â When I first got into photography, I thought I was going to be a travel photographer. Â I'm not really into photographing people that aren't up for it though, and when you're shooting photo journalism style you're just stealing the shot and explaining later. Â I like my subjects to be open to being photographed and know that I'm doing it.

Q: Do you have any assistants to help you source and put together some of your amazing backdrops? Not really. Â Most everything I do comes from my subjects. Â I figured out that every person has access to at least one amazing and unique space so just a conversation with them usually opens the door to figuring out what it could be. Â Plus, I like finding the places myself. Â If I'm super busy though, I'll get someone else to location scout. Â But I really like doing it myself.

Q: Do you make film? I'm interested in it and make some personal movies of my friends for fun. Â Honestly, I think that the photograph is almost more important than film these days and I don't want to spread myself in too many directions. Â People are so inundated with information that catching someone's eye with a photograph seems just as important as keeping them there with a film. Â If I'm going to get distracted with another hobby, I like painting and junk collage a lot.

Q: Where do you get your models from? I find them all over. Â I really don't like using professional models. Â They're so boring!! Â They have all these poses you've seen a million times before. Â My latest muse I found holding a possum outside of a gallery opening in Echo Park. Â A couple of weeks ago I went looking for a transvestite at a gay club in Hollywood. Â I guess I find my models by coincidence or by the idea of the image pointing me in a direction to go somewhere to look for them.

Q: Do you have any tips for young photographers wanting to get a break? Don't use credit cards. Â Find a photographer that you respect and hang out for a while. Â Don't look at photography to get ideas about photography. Â Never give up, and when you do, never give up again later.

Q: 3 things that make you smile? My sexy man's humor, hair, and music Â http://www.myspace.com/detanglermusic, small, awesome rock shows atÂ http://www.echocurio.com/, and chocolate ice cream.

Q: 3 things that make you cross? Paying bills, people that aren't authentic or have integrity, poop on my shoe.

Q: What are your passions, apart from photography of-course? Art, coffee, writing, the ocean, love, oddities, relationships, camping, biking, hiking, tennis, walking, and keeping up the art house/studio I live in with others.

Q: Do you have any hidden talents we do not know about? I can flip my eyelids inside out. Wow! Thanks Hayley. Chippy and Richard

The amazing wood creations of AJ Fossik

Fri, 30 Apr 2010 21:17:00 +0100

Q: Can you tell us a bit about your childhood? I was a lot shorter and I was convinced that adults were actually smart. Boy was I wrong.

Q: Where do you live? Philadelphia PA...for now.

Q: Did you go to art school? Yes, a couple of times, until it stuck.

Q: How long does it take to create one of your large pieces? Generally two weeks to a month, it's a fairly labour intensive process.

Q: Can you tell us briefly about your working method? 2x4s and framing nails for the skeleton. CDX and finishing nails for the sinew and muscle. Birch faced luan and pin nails make the skin and hair

Q: What materials do you use in your work? Wood, Paint, Nails.

Q: Where do you source your materials? Lumber yard, Art Supply Store, Hardware Store

Q: What are your main influences and inspirations? My main influences are anything that celebrates the innate goodness and unlimited potential of the human monkey.Â We are the universe trying to figure itself out.

Q: Did you always want to be an artist? I always wanted to create. I really became an artist by default; I just couldn't do anything else.

Q: 3 things that make you smile? Trans Humanism, Vintage Motorcycles, The Paradox of the Absurd.

Q: 3 things that donât? Anti-intellectualism, Religion, Hot Pockets.

Q: I hear you have a piece in the âArt from the New Worldâ show in Bristol, can we get a sneak peak at your submission for the show? Sure. (see below)

Q: What do you do to take time out? Drink to excess.

Q: Can you name a few of your favourite artists, dead or alive? Basil Wolverton, Jon Carpenter, Ron van der Ende.

Q: If you werenât an artist what would you do? Walk up to mountains and chop em down with the edge of my hand.

Q: Most important political issue for you? Corporate personhood.

Q: Do you collect art? No, it's very expensive.

Q: Do you have any hidden talents we donât know about? I'm really good at woodworking.

Q: 3 things you couldnât be without? Mindfulness, Table Saw, T-n-T.. & K.

Q: Any plans for the future in work or life? Fulfillment through saw dust. Thanks AJ, Richard and Chippy

The luminous works of Joe Sorren

Mon, 19 Apr 2010 19:25:00 +0100

[caption id="attachment_686" align="aligncenter" width="500" caption="'Because of Toast'"][/caption]

Q: Can you tell us about your background? Well, I was always one of those kids that saw characters and compositions in stucco and wallpaper. I drew incessantly growing up but always felt a bit intimidated by paint until college. I fell in love with the medium right away and have been exploring ever since.

Q: What materials do you use and why?I worked exclusively in acrylics until 2003 when I started to play in oil.

Q: What do you get up to when you are not working?All sorts of things. I love to learn musical instruments so I'm always goofing around on upright bass or ukulele. Lately starting to screech the violin and honk the accordion. [caption id="attachment_687" align="aligncenter" width="500" caption="'Bump'"][/caption]

Q: Where do you get your ideas and inspiration for your work?From my relationships in life.

Q: There is a strong sense of narrative in your work, do you write or create using story-boards? Never. Itâs more about trying to suggest a situation with its dynamics and it's back-story, without directly pointing at them.

Q: Can you tell us about creating one of your pieces from ideas to fruition of the finished piece? On my website I have a 'painting in progress no. 1â section, that takes you through the process I use. Hereâs the link if you want to check it out: http://joesorren.com/wordpress/ [caption id="attachment_689" align="aligncenter" width="500" caption="'Filling Little Thoughts With Little Ears'"][/caption]

Q: Who are you favourite artists? Copely, Durer,Â Botticelli, Jaffee, Jim Henson, loads and loads really. It's always changing from different schools of thought and approaches to art.

Q: If 'Coates and Scarry' granted you a wish what would it be? Well, there are two answers. The cool/non-corny thing to say would be something like superpowers or a pet orangutan who could make the perfect oatmeal. In truth I would wish for a worldwide increase in our human willingness and capacity for empathy. [caption id="attachment_692" align="aligncenter" width="500" caption="'Punch'"][/caption]

Q: 3 LovesMy family, art and music

Q: 3 LoathesThe comedy team," fish and loathesâ. Those guys are horrible, and if they are going to charge so much for admission, then they should pay their behind-the-scene workers more!

Q: If you didn't paint for a living what would you do?Go back to being the stage manager for "Fish and Loathesâ. [caption id="attachment_691" align="aligncenter" width="480" caption="'Overture'"][/caption]

Q: Do you work in a shared space or at home?A separate studio.

Q: What makes a good day in the studio?A feeling like the itch on my insides has been scratched.

Q: Your most prized possession? Milk.

Q: Have you ever worked in animation or film?Not yet, but would love to! [caption id="attachment_690" align="aligncenter" width="500" caption="Joe Sorren"][/caption]

Q: Have you done any sculpture?Yes, a few times :)

Q: What sort of things do you read?Mostly words.

Q: Top tune of the moment?'Unbreakable' by Ingrid Michaelson

Q: Advice for young aspiring artist?Stay young and aspired. [caption id="attachment_688" align="aligncenter" width="500" caption="'At Tea With Roeshi'"][/caption]

Q: We have seen the piece you are doing for 'Art from the New World', can you tell us more about it?'At tea with Roeshiâ is about the quiet agreements we make with ourselves and others everyday.

Q: What would you like to be remembered for?Increasing our awareness to 'science'. Thanks Joe, Richard and Chippy [caption id="attachment_642" align="aligncenter" width="500" caption="Richard Scarry and Chippy Coates'"][/caption]

Joshua Petker and the colours of beauty, city living and tribal war paint.

Sat, 10 Apr 2010 12:20:00 +0100

[caption id="attachment_655" align="aligncenter" width="500" caption="Joshua Petker"][/caption] Â Â

Q: Can you tell us a little bit about your background? I was born in Los Angeles in 1979. My parents were together until I was about 18. We moved a lot growing up mostly between Los Angeles and San Francisco. After High School I moved to Washington state and attended The Evergreen State College where I pursued a History degree. While in college I continued a hobby I had picked up in high school of painting graffiti, mostly on trains, but around some cities too. Right as I graduated college my interest in graffiti and art collided with my interest in History. I painted some old master paintings for fun. Then I felt like I wanted to paint something original. I sold it. I painted a few more and eventually sold another one. It's been 8 years since I graduated college and now I make art for a living.Â Â

Q: What came first, graffiti, designing or painting? For me, graffiti. I didn't paint my first canvas until I was 22 years old. I started graffiti at 15.Â Â Â Â

Q: Who and what are your main influences? A lot of dead artists, authors, and poets mostly. I like people that push things to the limit. Van Gogh, Neal Cassady, Cy Twombly, Mark Rothko, J.M.W. Turner, and Andy Warhol. Jim Morrison, Darby Crash, Arthur Rimbaud, and Djuna Barnes. Basically a catalog of rock n' roll intellectualism and art.Â Â

Q: Can you talk briefly about the process of creating one of your paintings? I don't do anything revolutionary. I start with a drawing and just sort of build up around it. Sometimes the drawing changes or disappears completely because my process just sort of unfolds as I paint. I've never drawn a painting out in advance before painting it. And, even if I did, with the way I paint, the end result would be different regardless.Â Â Â Â

Q: Do you always paint women? No not always. I've painted portraits of Franz Kafka and Egon Schiele. I get tired of only painting women. But, I find them an easier starting point for my work. I also paint portrait commissions between shows and have painted a few men that way as well. I enjoy it.Â Â

Q: What makes a good day in the studio? Just feeling accomplished. I work everyday but sometimes I have to go backwards, paint over things I experimented with, or, at other times completely scrap whatever I've been painting for the past 3 days because it isn't working. I feel happiest when I close my studio door at the end of the day knowing I made something great. The entire thing is a process and so the entire process is important. But, I feel best when I feel accomplished.Â Â

Q: How many hours a week do you spend in the studio? I'm in my studio almost all of the time. If not painting I read there. I email there. I feel like everything I do is work in that it is related to me pursuing my vision of things and so, really, there is no other place I'd like to be other than my studio.Â Â Â Â

Q: Have you ever done 3D work or using other mediums apart from paint? I'm not very interested in creating sculpture or installation work, but, I am interested in film and photography. I have yet to explore much of any medium other than acrylic paint but I hope to make art for the rest of my life and assume I'll do much more than paint by the end. I hope so anyway.Â Â

Q: How do you spend your time when taking a break from painting? I like to read. I like going to art shows. I especially like going to shows during the week, after the openings, so you can actually see the art up close without 100 people around you and in front of the art. I live in West Hollywood and I'm close to some great hikes around here. Even right now, as I write this, I just got back from a hike up Laurel Canyon. It's a beautiful historic neighborhood and walking around here always makes me happy if not also inspired.Â Â

Q: Three things you couldnât be without? Books, Conversation, LoveÂ Â Â Â

Q: If you didn't paint for a living what would you do? Travel the country in a struggling rock n' roll band probably.Â Â

Q: You inspire so many people around the globe how does this affect you and your work? I do? That's nice. I guess I don't really think that. I love compliments and people who write and say they love my work, but, I'm never satisfied with myself regardless of compliments. I always feel I haven't done enough. I mean, nothing makes me happier than hearing that I inspired someone or that someone was really moved by a piece of art I created but I feel I have a lot of work ahead of me and so I don't really feel it. Aside from being grateful.Â Â Â Â

Q: Greatest Joy? Freedom to make pretty things.Â Â

Q: Greatest sadness? Stupidity really bothers me.Â Â Â Â

Q: As an artist what message do you carry? I don't believe I really carry a specific message in my work. It's my exploration of beauty and purpose in life. If anything, I hope I make people happy through beauty and perhaps encouraged to keep questioning their own life by watching me question mine.Â Â

Q: Advice for young or not so young emerging artists? I'm self-taught and am paving my own path. There isn't just one way to do anything and there isn't any reason you should ever stop pursuing what you love. I take art and life very seriously and it's pretty much all I think about. Art helps me release. I do think good art should be a lot more than just a personal expression or just a well painted picture. I'm going to cheat and quote Warhol's advice he supposedly gave other artists which was just to keep making art. While people are deciding if they like it or not, make more art. Just keep making art.Â Â Â Â

Q: The paintings for your upcoming show are quite different fromÂ previous shows, tell us about them? I'm using more paint and more colors than I ever have before. I hope people see expansion in my work on many different levels. I've just grown as a person and as an artist. I feel my eyes are more sophisticated and my hands more practiced. My influences have grown not shrunken and so I am pulling from a lot of new places.Â Â

Q: Where did you get the inspiration to use dayglo colors? I don't know. I used to say it came from my time painting graffiti because it was my best guess as to where the interest came from. With spraypaint you really can't mix colors and just use the bold bright colors they provide. I at first approached painting in the same way. Now, I think I find the colors to be otherworldly and magestic. Have you ever seen the photos Nasa posts online of the galaxies? A lot of them are beautiful neon gasses swirling together. When I saw that I realized my attraction to neon really is because it is exciting looking. They are universal, the colors of beauty, the colors of tribal war paint, and the colors of city living. They feel very primitive and utterly contemporary to me. I get excited using colors that clash: blue and red, pink and green, etc. It just makes me smile thinking about it.Â Â Â Â

Q: Do you travel, tell us more? I think traveling is one of the best things a person can do to expand their mind. You really can't even begin to understand a place until you've been there. I love traveling. I traveled a lot as a kid and in my early twenties. The past 5 years I've basically been in Los Angeles but I'm going all over the world this year and I cannot wait.Â Â

Q: Most of the women you paint have dark hair, is there a reason for this? I like to use so many bright colors when painting skin, including yellows and browns, black hair just always seems to be the obvious choice. I have painted blondes and sometimes they are even more beautiful. There isn't any specific reason. Blonds are known for having fun and brunettes are known for... being brooding? I have dark hair and definitely esteem to brunette fun over blond fun if you know what I mean.Â Â Â Â

Q: Favorite medium? Acrylics and inks.Â Â

Q: What kind of art interests you? I'm really only interested in abstract and pop art. Abstract art is main interest. Pop I find interesting because though you could argue that existence is itself an abstract idea, life in America in 2010 is still completely pop if not even more so and in a way worse than in the 60s. And, I feel a part of this time. So, I am also interested in Pop.Â Â

Q: Dead artists? Klimt, Turner, Rothko, and Warhol.Â Â

Q: What do you think about when you first wake up? I look for the clock.Â Â Â Â

Q: Tell us about doing a piece for the "Art from the New World" show at the Bristol Museum and CHG ? I was very happy to have been invited to participate in the exhibition at the Bristol Museum. I was completing work on my solo show in Los Angeles that opens only two weeks before the Bristol exhibition. My piece is sort of an appendage from my LA show. This LA show is my favorite work to date and I think the painting I'm sending to Bristol is a fair example of the kind of art and interests I am focused on now.Â Â

Q: Last are you going to Bristol for the âArt of the new World Showâ? Hell yea! I cannot wait. The opening sounds like a thrilling night. I'm going to stay around Europe for a bit after and visit old friends and old hangouts. I'm really looking forward to the trip.Â Â

Q: Hopes for the future? Just to have a long full life and to make some wonderful art.Â Â Thanks Josh for taking time to share your thoughts and ideas.Â Â For more information on Josh and purchase contact jch@coreyhelfordgallery.comÂ Â Â Â

The Victoriana, Regency-ana and Cocktailiana of Ray Caesar.

Fri, 02 Apr 2010 08:19:00 +0100

[caption id="attachment_614" align="aligncenter" width="500" caption="'From Such Foulness of Root Does Sweetness Grow'"] [/caption]

Q: Tell us a little about your background? I was born in South London in 1958 and was the youngest of rather dangerous family of wolves. I moved to Toronto Canada in 1967 and met my wife when I was 15 and studied architecture in college. I ended up working in a childrens hospital for 17 years in a photographic dept that documented child abuse, surgical reconstruction and animal research. I worked for a several years in the film industry as a computer animator. I made art all my life as a kind of diary or a place to put troubled memories. I began showing it about 8 years ago as I used to keep it in a closet and the closet got too full. [caption id="attachment_615" align="aligncenter" width="288" caption="Ray the youngest of the wolves"][/caption]

Q: Can you talk us through your creative process? I draw automatically..."automatic drawing/modeling/creating". I draw without thinking and let the hand do what the mind hasn't decided on yet. I play like a child without plan and it just seems to end up as something that makes me feel I want to continue. The computer allows me to work in this fluid way as it has no boundaries and lets you change anything on a whim and the work just becomes what it wants to be. Strangely I meditate the same way and as I sit and breathe and instead of "not thinking" in a "Buddhist nothing" ... I just let voices start talking that are my own but not my own ...they have very good advice and answers for troubling questions. I think everyone can do this and it's a way of working that musicians writers and actors and mathematicians work...decide on that the work is finished in some place and time and just freely work towards it.

Q: Tell us about Toronto, likes, dislikes etc? It's a nice place. It's cold in winter but actually quite warm for a Canadian city. It's very cosmopolitan and with many cultures that all get on quite well. It's a peaceful as cities go and even if you get robbed its done with a certain kind of Canadian politeness and if someone gives you the finger you know deep down they don't mean it. I think a lot of people come here from very difficult places in the world and I kind of feel their "relief" in finally finding a gentle quiet place to live..... the only dislike I have are the pigeons ...they have no accuracy and no grace and there are far too many ledges for them to congregate on in rowdy gangs...one wishes they would migrate at times. [caption id="attachment_617" align="aligncenter" width="500" caption="'Returns of the Day'"][/caption]

Q: I hear you are doing a piece for the Corey Helford/Bristol City Museum and Art Gallery's, 'Art from the New World' show, can we get a sneak peek? I have finished two pieces that basically are self portraits of the diverse parts of myself. The first is a Femme Fetal that has dismembered her lover and placed parts of him in drawers. It's always good to know where your man is and have place for everything. The second piece 'Love Letter's' is more about thinking on Bristol and the idea of tying things down on deck 'Bristol Fashion' when the ships would tilt with the outgoing tide. The girl is losing her love letters as love is a fleeting and gentle thing you can never tie down...it will always keep you upside down and grasping for moments as if they were flying out of your hands. [caption id="attachment_624" align="aligncenter" width="480" caption="'Silent Partner'"][/caption]

Q: Three things you love? Kindness Gentleness Happiness Chocolate ( I borrowed an extra love and gave up a loathe if you don't mind )

Q: Three things you loathe? 1. I loathe cruel thoughtless unkind men who use anything smaller and weaker than themselves as a product for their own selfish satisfaction. 2. I can honestly say I loathe brussle sprouts even though they are rumored to be a good source of fibre. 3. I don't have third loathing as I like to keep my loathing under control and number one is enough loathing for two loathing things and I would really rather have the fourth love than the third loathe....if you please ...sir. [caption id="attachment_619" align="aligncenter" width="500" caption="'Santa Maria 2007'"][/caption]

Q: Do you work with other mediums apart from digital? I am 51 and I have worked in most mediums over the years and it all begins with drawing in pen for me. I don't really think of digital as the medium as I tend to think of my medium as ink on paper and the computer as my tool. I see the computer as an extension of my mind in some ways.. a doorway that allows me to put my thoughts down on paper with ink. Before the ink gets there it goes through this strange virtual 3D space that I build all the toys and dolls I ever wanted as a child. It's the same with a director who makes a movie ... today he or she he uses digital tools to create what people have made for centuries, a play with actors that tells a story. I use a variety of tools to make a picture.

Q: What are your sources of inspiration? I try to look twice at the things people don't notice. Sometimes on a noisy and busy downtown street I see things that people walk past. An old bookstore with a radiator from the 1890s, the floor from the 1970s in an old rundown hair salon, an old doorway to a rooming house, and I see the past in that doorway and feel all the people who have walked inside and out. I am reminded that doorway will soon be gone without a single person noticing and a Fido cell phone store will be put in its place...so I like to notice those things. I find a lot going on behind the main event....like turning a rock upside down in a garden and seeing the city of life that lives underneath.

Q: Your work contains exquisite detail, how long do you take to produce a piece of work? I wish it wouldn't take as long as it does but on average it's about three weeks. If it goes longer then I lose interest and start wasting time and playing around with my dog and get bored easily...so I really push myself to finish a piece in three weeks...I wish I could do it in two as that would be good but three is what it has to be....everything works in threes. [caption id="attachment_621" align="aligncenter" width="320" caption="'Ecstasy"][/caption]

Q: What would you change about the world should 'Coates and Scarry' grant you one wish? That our species would agree upon one single simple common goal that is of importance to us all Worldwide. A direction that could lead us into the future and make war and cruelty and misdirection a thing of the past. We would still have problems and many things to work out but this golden goal would give us all a chance to examine who and what we are as a species and where we should be going. I see it as something very simple but very grand that anyone could devote their lives to and feel of worth and think of ourselves as a single culture of diverse people. I think it would do us good to have that common goal and might keep us out of trouble. I think you see it sometimes when there is a disaster and we all come together and help in whatever way we can...I often think you see the best in people when the time is at its worst. If I couldn't have that wish I would settle for a world that let dogs into restaurants. [caption id="attachment_622" align="aligncenter" width="500" caption="'Burden of Her Memories'"][/caption]

Q: Do you work alone or in a shared space? Thats a bit funny as I have Dissociative Identity Disorder ...I have had quite a bit of therapy for it so I can laugh at it a bit ... I work alone and yet at times it feels like a shared space....if you know what I mean. Art is good for me as all the aspects of my personality come together as Art is so hard we/me need us all in order to make it.

Q: What do you do when you are not doing art? He is restless and cannot relax and he has agoraphobia and panic attacks and is very hard on himself ..more than a bit of a masochist. He has a condition called sleep paralysis and is an avid lucid dreamer. He is a good husband and loves dogs and is very polite and gentle to others. He opens doors for little old ladies who look at him questionably and takes his hat of when he is inside and gives up his seat on the subway even if people don't want it. He doesn't know how to drive a car and he doesn't t know limits in anything...for example ...if fibre is good he will probably eat too much of it. [caption id="attachment_623" align="aligncenter" width="500" caption="'Kitten'"][/caption]

Q: Your alternative career of choice if not an artist? I don't think of Art as a career... Art is what I love to do with my spare time and I have a lot of spare time. If I couldn't do art I am not sure I would like to contemplate what kind of human being I would be or what I would do ...but I am certain it wouldn't be a career..I honestly think I would be in a high security prison with a thick plastic wall on my cell. I think its best for all concerned I get to make pictures.

Q: Three favorite artist dead or alive? Antoine Wattaeu as he was a very sickly man who always knew he would die young and he lived his life and made his work with a kind of gentle patience. When I look at his work I feel what he was feeling. Thats a hard thing to put into paint. Dali as he was my first love and I used to keep a small book of his work under my pillow as a child. Whenever I feel lost I open a book of his work and I feel its like a compass. Mathew Barney I love everything about his films ...except the music. [caption id="attachment_618" align="aligncenter" width="500" caption="'Arabesque'"][/caption]

Q: Have you ever done sculpture? Yes ... many years ago I was quite avid at making moulds and casting in cement fondu and used other forms of clay and often built constructions out of wood and rope, found objects and tissue paper soaked in gel medium. I loved painting them with an airbrush. My neighbors used to complain when I set them on fire at night in my backyard....but they never called the police because they also did strange things and would have had a lot of explaining to do themselves.

Q: Your work has strong elements of feminine Victoriana, tell us more about this? Well! lets say bit of Victoriana...and bits of Regency-iana and 1950s cocktailiana... anytime from the Golden age of Loix the 15 up untill the mid 1960s ... I think of as "my time". The feminine part is smack on and it comes from my childhood when I used to dress up as a girl and carry knives and play with fire...I was a bit of a handful back then. I used to look at myself in the mirror and would often say to myself that one day I would make a picture of that. It's hard to explain actually as it was mostly a reaction to a very difficult childhood and various disorders have I have had to deal with in life. Art is very good for all that as it s gives me a space I can store things that can be at times quite overwhelming. I like old things and value the feminine side of the human soul more than the masculine...even though some of my girls are boys under those dresses and some are the mix of both....I just like making dresses so I put them all in dresses. [caption id="attachment_628" align="aligncenter" width="500" caption="Ray"][/caption]

Q: Your website is fantastic, did you design it yourself? It was a collaborative effort with my friends Ian Mcfaddin and his friend Jesse Knowles who is a smarty pants in web stuff..something called Ajax?...apaprently nothing to do with the cleaning powder. It was fun and also a bit aggravating as I prefer to cook alone ... I not the kind of chef that likes others in the kitchen. But it all worked out well and is still unfinished which I think is a good thing as I can add to it over the years...I hope to add strange little secret rooms and cupboards that people can look inside and boxes of love letters that can be opened if you find the key. [caption id="attachment_627" align="aligncenter" width="500" caption="'French Kiss"][/caption]

Q: A place in the world you haven't visited and would like to? I would like to go back in time in the world to the 1920s and visit Monaco and stay in the Ritz Hotel. I would dress in a Tuxedo, have pomade in my hair and stand on a veranda in the evening overlooking the Mediterranean sipping a martini. I would open a little silver cigarette box with one hand and light up a thin wine dipped cigarillo ...then I would cough as I don't smoke. I would still like to visit Monaco today but feel it was probably better back then...too bad we can't time travel as the delays at airports would be a thing of the past....or the future.

Q: A piece of advice for a young art grad? Take all the compliments and criticisms and put it in a bag with a screaming cat ...go to a river....take the cat out and cuddle it and throw the bag in the river. Start work ...work...finish work!. If you are afraid to do something artistically that's a good enough reason to try it. Make what you love as that's the best way to know if someone else will love it. Forget what it "means" ...it's all about how it "feels"..Don't do it as a career ...do it in your spare time and make sure all your time is spare....make sure you get enough fibre. [caption id="attachment_626" align="aligncenter" width="499" caption="'Side Saddle'"][/caption]

Q: Talk us through a typical day in the Caesar household? I begins with my wife singing as she washes her hair and my dog barking at god knows what and me sitting bolt upright in bed in a hair net and eye mask going "Wassatt!?" .. breakfast is anything with brutal amounts of fibre. A two-hour walk that ends me up at Starbucks with a Grande Americano as I sketch in my moleskin book. Then home and work ...work ...work ...I cook and we eat. I work ...more work. I relax for half an hour and read ....talk a bit ..play with the dog ... bed time with a thimble of Brandy.... then I dream a lot and then I wake up in a bolt as some dog is barking and some pretty girl is singing. Life is good.

Q: Goals for the future? Just to get there in one piece....and with a few multiple personalities that's a tall order.

Q: What object do you possess that has the most personal meaning? When I was 15 my wife then to be ...Jane, gave me a little Japanese musical box from her childhood. It plays Claire Delune by Debussy and inside it has a little handkerchief, a marble, a cameo, a jade ring and a picture of her. I would walk through fire to keep it. [caption id="attachment_625" align="aligncenter" width="500" caption="'Coming Undone'"][/caption]

Q: Are you a religious? Nope! ... I am very very very "Spiritual" which for me is the opposite of religion. I don't Believe or Disbelieve ... I choose the third door called "Wonder". I wonder what awaits us all in this most amazing Universe...what it all means and where we are all going. I wonder who the amazing people are that speak to me in states of sleep paralysis. I have had dreams of past lives and I have had precognicient dreams that come true...yet I have no answers. I pray and meditate to the Mystery and I have my own hopes and dreams that aren't in a little black or red book. If such a thing as God exists I am petty sure this is the way She meant it to be. On the way though life I like to place little things in that dark empty void that each of us are born with ...I place a little love and kindness and joy and humor and courage along with all the other things that creep in. I feel that's how we build our soul and our spirit in this life. I would like to leave all my art here when I die as I like to travel light....I think that's going to take some time to get rid of all the art so I am in no hurry. Thanks for sharing with us and our readers Ray, you're a Star! www.raycaesar.com http://profile.myspace.com/raycaesar http://www.raycaesar.com/jlgallery/PRESSKIT/presskit1.html

The Magical World of Lola

Thu, 25 Mar 2010 19:12:00 +0000

We managed to catch up with Lola in-between her busy schedule to find out more about her work and inspiration before her upcoming show at the Corey Helford Gallery this weekend. Read on to find out more....

[caption id="attachment_584" align="aligncenter" width="480" caption="Detail of 'Your Ordinary Hero'"] [/caption]

Q: Three things you couldnât be without? Loved ones, cupcakes, music

Q: What/who are your major influences and inspirations? My insanely talented friends inspire me constantly. Iâm also influenced and inspired by Jan van Eyck, Jan Vermeer and Hieronymus Bosch.

[caption id="attachment_586" align="aligncenter" width="480" caption="'Your Ordinary Hero'"][/caption]

Q: How did you choose your color pallet? I really wanted to explore the sky in this show. So I based it around the color of the sky at various points in the day.

Q: The paintings for your upcoming show are quite different from previous shows, is there a reason? Each show Iâm trying to have a very visual evolution and Iâm trying to incorporate more realism into my work, so every show is going to change.

[caption id="attachment_585" align="aligncenter" width="360" caption="Lola with one of her paintings"][/caption]

Q: Would you like to work in other mediums like sculpture for example? animation. animation. animation.

Q: Can you talk briefly about the process of creating one of your paintings? It starts with some research, I will prepare five or six paintings at once. Then I work on them all simultaneously. I don't do one piece at a time start to finish.

Q: Do you do to Museums? If you're asking "do you go to museums" then but of course! I love seeing art in person as opposed to in a textbook or online. Itâs a whole other experience. [caption id="attachment_594" align="aligncenter" width="480" caption="'The Discovery of Triumphant Resolution'"][/caption]

Q: Why do you paint on wood? Because I love the very smooth clean surface. But Iâm considering starting to experiment with canvas.

Q: Have you ever considered using other mediums or doing 3D work? Iâll repeat myself. animation. animation. animation. Not so much in 3D, because I'm really not interested in it, but definitely old school cell animation. Old Disney style.

Q: What makes a good day in the studio? The chance to sleep a little bit the night before, amazing window gazing weather like cloudy and rainy days, and good music.

[caption id="attachment_589" align="aligncenter" width="491" caption="Lola in the Studio"][/caption]

Q: How many hours a week do you spend in the studio? At least 5 hours a day, and then in the months leading up to a show Iâll paint about 12 hours a day. You can do the math to figure it out for the week. ;)

Q: I have to ask, what music you listen to when painting? Everything. I know that's the "standard" answer, but I really listen to a vast array of music.

[caption id="attachment_592" align="aligncenter" width="480" caption="'Akitsushima'"][/caption]

Q: How do you spend your time when taking a break from painting? Spending time with my girls, go kart racing, hanging out with awesome friends from London, movies, musical adventures, comedy clubs, freaky Fridays with Amanda Visell and Michelle Valigura, enjoying life.

Q: If you didn't paint for a living what would you do? Realistically, I would probably be a tattooist. I know that's still an artist, but I don't think I could not create art.

[caption id="attachment_590" align="aligncenter" width="450" caption="At work"][/caption]

Q: You inspire so many people around the globe how does this affect you and your work? Itâs definitely a part of why I paint. I want to inspire people.

Q: Greatest Joy? Being alive eating a coconut cupcake.

Q: Greatest sadness? Animal cruelty

[caption id="attachment_591" align="aligncenter" width="480" caption="Detail of 'Your Ordinary Hero'"][/caption]

Q: As an artist what message do you carry? If I could sum it up in one word, positivity.

Q: Hopes for the future? To continually be able to do what I love for a living....and animation. :)

[caption id="attachment_587" align="aligncenter" width="322" caption="The lovely Lola"][/caption]

Q: Advice for young or not so young emerging artists? Be sure you have passion and a drive, because creating isn't easy. As long as you have that, believe in yourself and don't ever give up.

Q: What can we look forward to with this show? Iâm definitely attempting to infuse more realism into the works.

Q: I know you have two lovely daughters how do you balance being a single parent and your career? I feel like its fairly easy because what parent wouldn't want to work at home and spend time with their children. Plus they're older now so they don't really bother me while Iâm working.

[caption id="attachment_593" align="aligncenter" width="480" caption="'Everything Else Was Seeking'"][/caption]

Q: Your work is becoming more complex and larger how you are finding the process? I feel as though it's a natural progression for me. Itâs the way Iâm growing as an artist. Now I have to stand further back from the piece from time to time.

Q: What is next for LOLA? Iâm participating in a group show in Bristol that Iâm very excited about. You may know a thing or two about that! ;) Also my next show will be in 2011 with Greg Simkins at the Yves LaRoche gallery. And a book. I'm going to work on a book.

[caption id="attachment_588" align="aligncenter" width="500" caption="Lola's multiplane piece from the Corey Helford show"][/caption]

Q: Favourite living artist and of course dead artist? Living: Todd Schorr. Dead: Hieronymus Bosch. Thank you LOLA for taking the time to catch up with us and share some of your thoughts on Art , life and the world we live in today. Richard Scarry and The Chipster For more information and purchase contact jch@coreyhelfordgallery.com

Bristol City Museum and Art Gallery's 'The Shape of Things'

Sat, 13 Mar 2010 16:26:00 +0000

We went along to Bristol City Museum and Art Gallery to check out âThe Shape of Thingsâ exhibition that explores the distinctive contribution artists make to influence or reflect national identity, the intercultural nature of British society and its connection with global cultures. Alinah Azadehâs exhibits started with her wrapping her motherâs rice cookers and other objects that belonged to her mother who died in the Asian Tsunami of 2004. There is a poem on the wrapping called, âCome, Come my Belovedâ by Sufi poet Jalaluddin Rumi. This poem was turned into a song by Iranian singer Bijan Bijani and the cassette recording was a gift to Alinah from her mother when she was a teenager. The poem is written in Farsi, in Romanised Farsi, and English â the three languages â tongues â spoken by Alinah, her Iranian mother and her British-born daughter. Alinah went on to collect a total of 999 objects by asking âgiversâ to donate something that had meaning but âhad outlived their emotional shelf lifeâ. Each of the objects donated were submitted with a personal meaning or association they had for the âgiverâ. These meanings are displayed alongside the installation. Sometimes working with the givers, but mostly on her own, Alinah wrapped the gifts in richly colored fabrics and Sari yarn to transform them into the installation, using colors inspired by Burmese, Turkish and Persian textiles. Rosa Nguyen has selected museum objects as inspiration for new work and is showing them alongside her new pieces. She has created new and imaginary interpretations, making connections with her work and the museum objects âin and outside cabinetsâ. Rosa works with ceramics and dried and lacquered plants and glass pieces. Rosaâs Fleet is an arrangement of British pottery sauceboats, including an 18th century Bristol porcelain butterboat, and a 20th century blue-and-white transfer-printed boat, on a high shelf. Altar (7) is a collection of skins* of crossbills (birds from the biology collection) with lacquered branches and large-scale glass vessels, displayed inside and outside of a museum cabinet. The exhibition runs until Sunday 18th April. For further details of this show and upcoming shows at Bristol City Museum and Art Gallery click here. Subscribe or keep coming back for more. The next blog from Coates and Scarry, 'Lola'

Pepa Prieto's combination of texture and colour result in the distinctive style of her work.

Sun, 07 Mar 2010 19:35:00 +0000

Last year we popped into the Iguapop Gallery in Barcelona. We loved Pepa's work and thought we would find out more about her and her work.

Q: Can you tell us a little bit about yourself? My name its Pepa Prieto I was born in Granada, a beautiful city in the south of Spain surrounded by mountains. I will be moving to England soon though.

Q: What are you major influences? Many small things but probably the most obvious are music, memories, travels, nature, people and books.

Q: Your style is very distinctive, how did it evolve? Well I have being doing creative things all my life and I really donât know how I got to this point! What I hope is to continue evolving. Curiosity is one of my motivations for sure.

Q: What is the Spanish arts scene like? There are many interesting street artist doing things at the moment like Nuria Mora el Tono, Nano. Its great as we are friends and its enchanting to see them!

Q: Where did you train? I went to Art College in Madrid and then London and Barcelona, although I have never really been a keen student, crazy, ha-ha! But my real training has been Life and Snowboarding as when I was younger I use to be professional.

Q: Do you collect art? Kind of! Mmmm yes.

Q: Apart from your gallery work do you do commercial work? Yes, I try to do both, commercial projects are interesting for me, although they are not easy but I always try.

Q: A piece of advice for an aspiring art student? Love what you do, be patient, work hard, be honest with your work , and the practical one, and show your work around.

Q: Three loves? Only three? Ummm, Nature, travels, happy personalities (at least people that fight for trying)

Q: Three loathes? Negativism, lack of imagination and inequality.

Q: Where do you characters come from? From a hole inside my small nut, from everywhere I suppose.

Q: Can you talk us through your working process? Think, look, think, write, sketch, write. I always go with a pencil and sometimes a camera then I use acrylics, silk-screens, pencils, wood and whatever I need for the project. When it comes to commissions I have to use the laptop to apply colour. Its a matter of time as sometimes commissions just go with crazy timing.

Q: What artists inspire you? There are so many great Artist. I love going to museums like El Prado, Victoria and Albert, love 15th century Flemish painters.

Q: What part of your job as an artist do you enjoy the most? For me it is a way of living, its a continuation of myself. I love my work as is so unpredictable, complicated and at the same time free.

Q: Do you work alone? Yes.

Q: What does Pepa do outside the studio? I try to interact with others, hahahah to combat the solitude of the studio.

Q: What direction do you see yourself moving? I never, but what I would like is to keep on being able to live off my work, and get into nicer projects if I have the opportunity. Personally to keep enjoying things lots! With as much calm as possible.

Q: Where do you live and work? For the moment in Madrid, Spain where I have set up my studio.

Q: Do you travel? Yes itâs a real need for me! I have travel a lot since I was a child. I think it is a big piece of my own puzzle!

Q: How many hours a week do you spend in your studio? Ummm, when I am at home all the time I am an obsessive type of creature, yuk! Thatâs the way it goes.

Q: Have you shown outside of Spain? Yes a bit, L.A, London, Miami and Switzerland.

Q: Any upcoming plans for shows in the near future? I will be in Miami during March and April in an Artist residency called the Fountainhead Studio. I will be painting a big wall at the design district in Miami with Primary flights. I am really looking forward to this project! I have just finished a project with Contemporanea, itâs a black box with three silk-screens inside a series of 60, and then I will head San Diego for some other projects that I still have to finish. Thanks Pepa for sharing your thoughts with us, good luck with your residency. Richard Scarry and The Chipster

The Psychedelic Surreal World of Yoko D'Holbachie

Tue, 02 Mar 2010 17:54:00 +0000

Q: Where do you get your inspiration from? I get it from my dreams, any time day or night. It might bother me in some ways.

Q: Your color palette is crazy, how did it evolve? According to my mother, my color was already crazy when I began to paint at an early age, but it was too strong and messed up. I think it was refined thanks to the study at an art university.

Q: Do your characters have personalities? I think they have. However, they are harder for you to interpret than me. Some people might search for evil in my monsters, but it doesnât exist.

Q: How long does it take to create one of your paintings? It normally takes about seven days for a size F8, 14.9 inches long and 17.9 inches wide, if there are no complications.

Q: What made you change direction from illustration to fine art? I had done illustration as well as taught art as a job, but one day I was filled up with my monsters power, and I could no longer hold them to come out.

Q: Can you tell us a little about your background? I was born in between the china town and the U.S. base in Yokohama, a port town that had first opened its port to the Western world to trade in the late Edo Era, and grew learning paintings from an American artist and his wife. I had imaginary pets and friends like other children, but they didn't disappear even when I became an adult.

Q: Future direction? I want to join in a lot of shows in America or Europe the same as before. I have always been in Japan. So for once I want to actually see the shows in situ.

Q: Things you love? They are marine life, white wine, birds, and static electricity.

Q: Things you loathe? They are winter, snow, and cold rain. I break down(when I meet with them).

Q: Have you ever done any sculpture? I love sculpture. I have not sculpted for a while but I want to do once more soon, any minute if I have a chance. I have original forms another modeler made.

Q: Where do you live and work? I live in Yokohama, and work in Tokyo.

Q: How do you spend your time when you are not painting? I teach as an art teacher. I often go to the beach with my family in my holidays.

Q: Is there a message in your work? I want to synchronize with the fantasy kingdom that exists in everyone.

Q: What upcoming plans do you have for showing you work? For now three group shows are scheduled this year, and I will renew my homepage next month that has not been touched for ages to let people know.

Q: What is the largest painting you have done? I painted large pictures about size 25 when I was an art student, but nowadays size 12 is the largest one I painted.

Q: Do you still do commercial work as an illustrator? No, but I sometimes teach illustration as a teacher.

Q: Favorite living artist? Patrick Woodroffe and Jim Woodring.

Q: What is the most exciting place you have ever visited? The bottom of the sea, I did a night dive once. I think it was around Izu in Japan. I was looking for squidsâ eggs like a jewel, where noctilucae and shining fish were flying about in total darkness. It was a fantastic experience as if I were in outer space.

Q: If you didn't paint what career would you have? I donât know. Perhaps I wouldnât have one or maybe working in a zoo.

Q: If you could change one thing in the world what would that be? I would make the world more colorful, limit carsâ colors to pink and yellowish green, and limit buildingsâ patterns to polka dots and stripes, and if this is impossible, I would bring peace to the world. Thanks for taking time to talk to us Yoko, Richard and Chippy

Studio Interview Exclusive with Nick Walker

Thu, 25 Feb 2010 20:16:00 +0000

Q: Where are you from? Bristol

Q: What was the first piece you put on the street? It was in 1982 and said Krazy Krew - crazy or what!!!!!!

Q: What do you think art can do for the world? Brighten it up.

Q: How do you see the state the world is in today? Depends who you believe. Enjoy yourself it's later than you think.

Q: As a graffiti artist did you have trouble finding the right gallery? No it came when the time was right. Everything happens at certain times for certain reasons.

Q: Tell me a little about the Bristol Art scene? It has always been a meting pot of very different styles. I knew more about it in the 80's than I do now. I do know that Bristol is a fairly small place so you have to keep your cards close to your chest. Bristol is a small bowl with a big spoon.

Q: Have you done any commissions? Yeah a few.

Q: What is your Favorite medium? Spray paint - always.

Q: Have you thought about doing 3D sculpture work ? Yes I had the tail end of a 747 built and had it crashing through the wall of the gallery at my V 4 Vandal show at Black Rat Press.

Q: Favorite place you have traveled to and why? New York - the place makes me happy.

Q: How did your Morning after series start? I think from realising you can get away with almost anything if you have a large golfing umbrella. The pin stripe suit and bowler hatÂ is also the perfect decoy. The character in these paintings is dressed as a city gent who wants to 'paint the town red (amongst other colours).'

Q: What are your hopes for the future? Longevity. I need to get my book sorted out - I've been working on it on & off but it just needs finishing now. It would be great to be living somewhere a little warmer.

Q: What do you listen to when you are working? The Blade Runner 25th anniversary sound track by Vangelis seems to be on permanent loop some days.

Q: What other artist influences you? Rolf Harris. He always spurs me on to do better, much better.

Q: Favorite living and deceased artist? Living - Frank Frazetta. Dead - Warhol.

Q: What do you do when not in the studio? Try and be a good Dad.

Q: Greatest Joy? Staring into space, alone.

Q: Greatest Sadness? Anything to do with kids and illness.

Q: Does Nick have a dark side? Of course.

Q: If you were not an artist then what would you be? A Psychiatric patient.

Q: Any upcoming shows we should look out for? Not just yet I'm still working on a new body of paintings. I'm going to set the date for the show once I'm happy with the work.

Q: Do you have prints available of your work? Yes I hold most of the artist proofs from all my print editions. I've also recently been sorting out which pieces to release as prints for this year.

Q: I notice you have a cool art collection, what was the first piece purchased? I can't remember. The collection's got a bit out of hand.

Q: What are your feelings on the secondary art market? It's not really something I should care about? IÂ guess I would be doing it if I was skint. I do feel pretty vulnerable when someone tells me my work is in an auction.

Q: I noticed you have a new site for your work, what can we expect? A better one - called 'the art of nick walker.com'

Q: Who is your favorite Graffiti artist? Mac & Retna.

Q: Do you get time to browse galleries when traveling? Sometimes. All the best Richard Scarry and The Chipster Â Cheerio! http://web.mac.com/nickwalkerz/Nick_Walker_Art/Welcome.html

All tied up with Kirsty Whiten

Sat, 13 Feb 2010 08:53:00 +0000

Q: Can you talk briefly about the process of creating one of your pieces? I use various photographs to work from; some I take myself, and others I find in books, newspapers or on postcards. I want to create an off-balance psychological portrait, as simply as possible. I use models I know well, and we dress up and play, try out scenarios until something starts to happen; stories unfold, tensions brew, and I use the images to patchwork scenes for the drawings and paintings.

Q: What makes a good day in the studio? Losing track of time and space. Waking up from drawing to find hours have gone by.

Q: How do you spend your time when taking a break from creating? I love movies, books, I cook for lots of people to eat together, I go wild swimming.

Q: What artists inspire you? I think I often get more from the work of dark, honest, funny photographers like Nan Goldin, Diane Arbus, or Rineke Dijkstra, than from other painters - though I love Inke Essenhigh, Paula Rego, Dana Shutz.

Q: Can you tell us a little bit about the monkey relic pieces? I think of these monkey relics as Darwinian saints and sacrifices. There is a certain zeal in the way that humans set themselves apart from the rest of nature. To me there is just a continuation, we are animal, we have drives and instincts that always flow just under the surface of civilization. I am really interested in this line between human and beast; language, culture, and tool-making were all once held up as examples of what makes us unique, and have all been shown to exist in other animals. Death to me is a state of non-being. All of the hopes and prayers lavished on these monkeys are the desire of the living to create meaning and continuation; just as with religion. I have none, and I am totally intrigued and touched by this need in people, and my technique, the level of detail and time spent on rendering surfaces is a sort of reverence.

Q: How is the arts scene in Scotland? Edinburgh has many grassroots, artists run projects which are pretty exciting, but the gallery culture is conservative. My favourite gallery is a tiny powerhouse in Glasgow, RECOAT. They're just about to host Matt Mignanelli from New York. Phewee.

Q: Do you collect art yourself? I wish I could own more - I try to do swaps with mutually appreciative artists as often as possible. My best piece is a headless Jessica Harrison figure with a plume of smoke coming from its gullet.

Q: Which living artist would you like your work to be displayed alongside? I've just been included in a touring show with Charles Avery, who is a proper hero of mine.

Q: Three things that you loathe? homeopathy the pope olives

Q: Three things that you love? hot baths propelling pencils the green stuff in mint aero

Q: How long do you spend in the studio a week? As much as I can. I have a busy home, but great support.

Q: Can you describe a Kirsty Whiten collector? I can never predict who it will be, it's a secret quirk in all kinds of folk if they get my sense of humour.

Q: Does Kirsty have a darker side? I think my dark side gets to play in the work, but the rest is secret.

Q: A painting you would most like to own? To live with, hmmmmmm. I would love something by Victoria Morton. I don't think you could ever look at them too much. I love the night snow scenes by Inke Essenhigh too.

Q: What direction do you see your work going? Post boundary. I'm working on big, gauche, psychedelic canvases of post-apocalyptic families living naked in the woods.

Q: The men and monkeys in your pieces are often bound, why? With the men who are taken hostage, I wanted to explore the entanglement of men and women and their leaning on each other, their dominating of each other, their needing of each other, and - ultimately - their capture. With the monkeys, they are totally pinned down by the prayers, wishes, yearnings and offerings that have been attached to them.

Q: Did you go to art college? Yup. Edinburgh College of art. Finished 10 years ago. Far more useful was a year I spent in Paris in an international art studio complex. Still, Edinburgh was one of the few colleges at the time who really taught drawing, and valued it, as I do.

Q: Do you have any shows planned you can tell us about? Bold Hype gallery in Orlando Florida

Q: Where did you grow up? In Fife, Scotland. In a small village. I also travelled a lot with my family because my father studied baboons in Africa.

Q: Have you shown outside of the UK? Yeah. I met a lot of folks during my year in Paris who consequently invited me. Austria, Australia, Germany and Holland to name a few of the top spots. I'd love to get some more travelling on the go.

Thanks Kirsty for sharing with us, Richard Scarry and The Chipster http://www.flickr.com/photos/kirstywhiten/ http://www.recoatdesign.com/ http://www.boldhype.net/index.php?main_page=index&cPath=5_9&zenid=0hg3bd6jqcr58afsgo3l1hoof1 http://www.stolenspace.com/

"You are not falling, you are floating" with David Hochbaum

Tue, 02 Feb 2010 16:32:00 +0000

Q: Tell me about your process?

I use different media depending on the project, although photography plays a big part in my work. I shoot all my models and print all my own photos on gelatin silver paper. I mount the photos on wood or panel and then it is pretty open. I may add many layers of paints or integrate collage elements, or I may keep it more sparse and at times and wont really touch the photo at all. Maybe a few lines of text or some encaustics. My sculpture and installations stem from the imagery that I create with my collages and photos.

Q: How do you find models for your work? Most of the people I photograph are friends of mine, some I have been shooting for about 10 years. At times, people will contact me and offer to sit or if I see someone that just fits so completely with a vision or sparks one, I muster the guts and I contact them.

Q: I see struggle in your pieces is that true? I would agree that visually, certain pieces may appear to be of a struggle or helplessness, but this is not something I believe that drives the work into being. I deal with searching and curiosity and certainly confusion. But struggle is a big part of all life in general, so it will be reflected into the work.

Plague

Q: Where are you from? I was born in New York City and my family moved 20 miles north of the city when I was about 3 and I grew up in a suburban megalopolis. My father kept an apartment in the East Village in the 80's which exposed me to a world and lifestyle which I would later romanticize and eventually gravitate to.

Q: Did you go to art school? Yes. I attended The School of The Museum of Fine Arts in Boston in 1991 thru 1995. I knew that staying in Manhattan for studies would prove to be way too distracting for me.

Q: What do you think art can do for the world? Art can continue to act as a cultural, social and spiritual mirror to life on Earth.

Q: How do you see the state the world is in today? I think we just may be over stimulated and allow things to move much faster than our minds can keep up with. We miss a lot of things, roads to go down, and do not take enough time to look at ourselves collectively, individualism has become a cult.

Q: As an artist did you have trouble finding the right gallery? At this particular time I only work closely with 2 galleries. The Corey Helford Gallery and Strychnin Gallery, both absolutely wonderful. But no, it was not easy to find this place I am at.

Q: What is your Favourite medium? So hard for me to say. I am still in love with photography although sculpture has a big piece of my heart.

Q: favourite place you have travelled to and why? I don't have one. My time in Cologne has tremendous memories for me, but I cannot pinpoint a favourite.

An installation from a David's show in Germany

Q: What are your hopes for the future? Well the ideal would be to remain inspired and paint and sculpt. I would like to have a studio/workshop space to open for artists to help perpetuate a community, but I am not sold on a location.

Q: What do you listen to when you are working? Lots of music, all kinds.

Q: What other artist influence you? My immediate inspiration comes from my closest friends. Some are artists, musicians or not. I find that life is the most important driving force to my work. The experience and lessons dictate the work.

Paranoia

Q: Favourite living and deceased artist? Anslem Kiefer for living and I suppose I'll say Beuys for dead. It all fluctuates from time to time you know.

Q: Do you go to Museums? I try to whenever I can.

Q: Greatest Joy? Love

Q: Greatest Sadness? The same

Q: Does David have a dark side? Only to those who cross me. Otherwise, it is not so bad at all.

Twilight Bloom

Q: What would you do if you could not make art? I may build, cook or teach I suppose.

Q: Do you have prints available of your work? Nope

Q: Do you collect as well? Oh most definitely.

Q: Do you remember the first piece you purchased? No I don't.

Q: Do you entertain at home? Oh yes. My studio is at home and I will host free artist workshops for locals and hold silkscreen parties and annual art salons.

Q: Do you get time to browse galleries when travelling? If I have the time I will make it a plan to peruse the local gallery circuit.

Catastrophic Interference

Q: what would you like people to come away with from your show? An intimate connection to the work.

Q: How did the installation work start for you? When working in the studio, over a period of time, certain object accumulate in the environment which contain a certain thread to the works and I have been experimenting on ways to incorporate them into an exhibition. I have never been totally satisfied with just putting a piece on the wall. It seems at times to be too removed from the environment in which it was created. Thank you for taking time to chat with us about you, your process and art. All the Best Richard Scarry and The Chipster

New Exhibition at Corey Helford Gallery Opening Feb 13th 7 to 10 pm, Installation not to be missed. For further information please contact jch@coreyhelfordgallery.com http://www.coreyhelfordgallery.com www.davidhochbaum.com www.111ladders.blogspot.com www.goldmineshithouse.com

Side by side Colin and Sas Christian in London!

Sun, 31 Jan 2010 16:44:00 +0000

Q: Three things you couldn't be without? Colin: My wife Sas, my dogs & music Sas: My husband Colin, my dogs & my garden

Q: What/who are your major influences and inspirations? Colin: 2001 Space Odyssey, Barbarella & Ernst Haeckel Sas: These days it's difficult to say, so many things influence me. Originally I found anime and Tamara de Lempicka very inspirational to me, and now I find light and dream/subconscious states

Q: After so many successful solo shows in America why did you decide to show in London NOW? Colin/Sas: Being our home country of course it has always been our plan to come back and show here. And we're so proud that Opera Gallery has given us this opportunity. We felt we were finally ready & we hope that we've created a body of work for this show that people will respond to.

Q: The paintings for your upcoming show are quite different from previous shows, is there a reason? Sas: I've been trying to get more, um physical with my painting, less fixated on reality and more willing to let go which is difficult for me as I'm quite a restrained person and I tend to overthink things to death. I'm hoping with continuous effort that I will really start to find my voice, as I know it's in there somewhere.

Q: Have you ever considered painting or sculpting men? Colin: I am going to do a couple of capsule pieces containing male figures. As my women are somewhat caricatures of extreme femininity, the same would hold true with male subjects. Sas: I have painted some lovely men in the past but it's not something that I naturally gravitate towards and I'm not asked to do it too often on a private commission basis.

Q: Sas you talk briefly about the process of creating one of your paintings? Well, I start off with a very loose sketch to solidify my basic thoughts and then transfer that to my canvas. I like to keep my ideas quite open at this point because there's a certain amount of freeform that I like when painting. I like to paint an underpainting in umbers and then add on layers & layers of glazes and scrumbles. As a self-taught painter I've been slowly finding my way and researching the techniques of some of the painters I admire in the Venetian and Flemish traditions. It's been quite tough finding my way, I think that to be able to gain experience never having a teacher in these matters is a bit of an uphill struggle and there's definitely a part of me that feels like I'm playing catch up. The trick is to experiment & practice, which in my case is an on going process.

Q: Colin how do you make your sculpture pieces? The idea starts with a curved line and then I build an idea around that roughing out a form with foam or clay. Once I have something I'm happy with I make a mold of that and produce a hard copy in fiberglass which then I sand down and finesse over a period of many weeks. Depending on whether I plan to make a single piece or copies I will then produce a rubber mold for future editions. The latter part of the work is very similar to auto body finishing and uses many of the same materials and techniques. I prime and wet sand and paint the piece and add final detailing, eyes, lacing etc.

Q: Sas you ever considered using other mediums or doing 3D work? I had started painting in acrylics originally and moved over to oils in 2003. I'm always adjusting my process and the surfaces I paint on and I will continue to move on with what feels right. I think 3D work would be very interesting, but frankly I'm a horrible sculptor, lol. I've tried my hand at tapestry, knitting, and sculpey and there's a good reason why you've never seen the end result.

Q: Colin do you work in other mediums? I'm very lucky that I get to paint my pieces and apart from the initial sculpt the painting is my favorite part of the whole process and I am planning to do some large graphic canvases in the future. Bronze is always an option, but I'm more interested in stainless steel.

Q: What makes a good day in the studio? Colin: Sun is important! For both my mood and materials. My favorite days are taping off and prepping the piece ready for paint. The hours fly by Sas: A good audio book, a feeling of confidence and a strong vision of what I want to achieve that day. All while my two dogs sleep by my feet.

Q: Do you share a studio, if not why not? Colin/Sas: No, we have adjacent studios, and the reason is simple, DUST! Colin produces clouds of it. However we are no more than 20 feet away from each other throughout the day and constantly speak to each other and ask each other's opinions

Q: How many hours a week do you spend in the studio? Colin/Sas: It depends, anywhere from 40-60 hours. We like to start work early in the day when our energy is at it's highest. We are early risers and rely on natural daylight

Q: How do you spend your time when taking a break from creating? We spend a lot of time lying in our hammock in the garden. Listening to nature and hanging out with our dogs. Discussing philosophy, scientific advances, boobs and shoes. We also have a vast movie collection and consider ourselves movie buffs.

Q: If you didn't make art for a living what would you do? Colin: A marine biologist or a fashion designer Sas: A pastry chef. Or a vet. Or a vet who makes pastries

Q: This leads to me next question. You inspire so many people around the globe how does this affect you and your work? Colin: That's a surreal kind of question. It's not something I think about Sas: I like to feel like there isn't any age limit to taking a new direction in life. I think that I can inspire people to take things into their own hands and teach themselves when a formal education is not an option. It makes me want to push forward and not sit on my laurels.

Q: Greatest Joy? Colin/Sas: Our marriage

Q: Greatest sadness? Colin: Loss is the worst thing in the world so I try not to think about that. So I'll say ignorance & stupidity Sas: Loss

Q: As an artist what message do you carry? Colin: Above all, Hope. + some giggles Sas: Strength

Q: Hopes for the future? Colin: To be with Sas always, and flying cars and jet packs. Life on Mars Sas: To continue to love what I do with Colin by my side

Q: Advice for young or not so young emerging artists? Colin/Sas: Have a vision, be dedicated, strive, be brave. Consider it like an Olympic sport that you'll always be in training for. Don't ever let your age get in the way of your ambitions. It ain't over till it's over

Q: What can we look forward to with this show? Colin: I think this is my truest work so far the closest representation of what's going on in my brain. The things I think and care about. Sas: I think this is a transitional show for me and signals the beginning of a fresh direction, there are different avenues I want to explore

Q: Are you influenced by each other's work? Colin/Sas: Yes, constantly. We share the same tastes and influences and there's a crossover kind of merging and we work best at each other's sides and we wouldn't wish it any other way.

Q: What is date night like at your house? Colin/Sas: Trust me, that's not fit for publication! http://www.saschristian.com/ http://www.colinchristian.com/ Thank you Colin and Sas for taking time out to share your new work and your insights on art and life. To anyone lucky enough to live in the U.K. make your way to the Opera Gallery in London and see these wonderful works for yourself. That's exactly what we're going to do. Richard Scarry and The Chipster

Richard Scarry and The Chipster on Mega City Fauna

Thu, 28 Jan 2010 19:31:00 +0000

Andy Council at work

Q: Tell us about your paintings? My paintings are often amalgamations of creatures and everyday objects.

Q: What was first for you the street or Galleries? Street, but probably started exhibiting on a small scale round about the same time.

Q: I see a lot of design and illustration in your in your pieces is that true? Yes, I've been working mostly as an illustrator for the last ten years.Â Most of my creative pieces are developments from my illustration work.

Q: Where are you from? I'm originally from Bath.

Q: Did you go to art school? I studied animation at Bournemouth

Q: What do you think art can do for the world? I think that art can carry very important messages, not least, provoking individual thought and questioning.Â Art can take the everyday and make it fantastical.

Q: How do you see the state the world is in today? I think it's a bit of a bloody mess to be honest. On environmental and social levels we are living in a time where we are accelerating in every way; geared up for production, consumerism and consumption. Its not so good.

Q: As a graffiti artist did you have trouble finding the right gallery? I find working in galleries difficult as a rule.

Q: Have you done any commissions? I do a lot of commission work as an illustrator including various magazines and companies.

Q: Favorite medium? Pencil and paper is my default

Q: Have you shown outside of the UK? Yes, Los Angeles, Miami, Ibiza

Q: Favorite place you have traveled to and why? Croatia was a magical and dreamlike place. We traveled around it on our honeymoon.

Q: What are your hopes for the future? I would love to spend more time working on personal projects in terms of art work, so as to spend more time concentrating on things that matter like being with my family.

Q: What do you listen to when you are working? Mostly a whole lot of random stuff as I work in a studio with other artists. If I'm left to my devices its mainly doom dirgy rock

Q: What other artist influence you? I'm influenced by the artists that share my studio and who work on the street in Bristol. I also really like the illustration work of Will Sweeny and Geoff Darrow.

Sam Brandt and Trevor Wyatt at 'Weapon of Choice'

Q: Favorite living and deceased artist? As far as living artists are concerned I find it very difficult as I am surrounded by great art and artists.Â Dead uns though, I would probably say Hundertwasser.

Q: Do you go to Museums? Yes! Went to The British Museum the other day as it happens. I'm also a fan of Bristol Museum, who have incidentally purchased one of my 3D works.

Q: Greatest Joy? My baby boy, Felix

Q: Greatest Sadness? Illness of family members

Q: Does Andy have a dark side? Yes, although I think it's more of an understanding of the darker side of life that I have rather than being a complete moody wrong un myself.

Q: What would you do if you could not paint? I can't imagine, perhaps paleontology

Q: Any upcoming shows we should look out for? Currently âMega City Fauna' at Weapon of Choice gallery, Bristol until 14th Feb.Â Coming up is the group show âStrangers' at Bold Hype Gallery, Orlando opens 15th May.

Q: Do you have prints available of your work? Yes. Prints of my large scale piece on display at the gallery are available in the gallery and on their website (www.weaponofchoicegallery.co.uk) Other prints are available on my online shop http://andycouncil.bigcartel.com/Â or through me personally.

Richards childhood friend Lou hanging out in Bristol

Q: Tell my about obsession with dinosaurs and urban landscape? The dinosaur thing stems from childhood obsession. I see cities as living beasts moving and breathing in their own way.

Q: Tell me why you live in Bristol? Bristol's got an active arts scene and a thriving alternative culture. It has lots of communities which give it a homely vibe, but its big enough not to feel claustrophobic in most of the time.

Q: How do you balance family and art? I don't get much sleep.

www.andycouncil.co.uk http://www.weaponofchoicegallery.co.uk/ Richard Scarry and The Chipster

Multiplane show at Corey Helford Gallery

Sat, 12 Dec 2009 10:46:00 +0000

[caption id="attachment_80" align="aligncenter" width="450" caption="Todd Schorr"][/caption]

Q: Where did you get the idea for the âMultiplaneâ show? BRUCE: The multi-plane process goes way back to the 30's, maybe before. The early animators like Walt Disney, Max Fleischer and Ub Iwerks were looking for ways to get away from the flatness of the early cartoons and give some depth to their full-length animated features, like âSnow Whiteâ and âGulliver's Travelsâ. In the 40's Disney started selling some framed novelties utilizing the multiplane process and on my travels looking for old toys I found a few and flipped for them. I showed these to Jan and said, "How cool would these look if some of the artists we love painted them?". After that we contacted a bunch of our favorite artists and here we are. [caption id="attachment_67" align="aligncenter" width="400" caption="Jan and Bruce Helford"][/caption]

Q: How do you select artists for your group shows? BRUCE: It depends on the show's theme, or lack of theme. For our, â? The Warâ exhibition we were looking for artists whose work had bold imagery that would make great anti-war posters. We were looking for the moving iconic images that were so prevalent during the Vietnam era but are almost non-existent now. Shepard Fairey nailed it with his Obama poster. Some group shows require artists who produce figurative work, with others it is more about the humor. We don't usually have these big amorphous group shows. We prefer to have some sort of point but we try not to constrict the artists. If itâs, âCreate a painting based on your favorite bookâ or âClowns!â, that's about as much input we give. Unless, of course, we ask them to paint on glass.

[caption id="attachment_69" align="aligncenter" width="450" caption="Coop"][/caption] Jan and Bruce Helford take time out of a very busy week to share some insight of the âMultiplaneâ group show opening tomorrow at the Corey Helford Gallery.

Q: You have come up with a very creative show at least once a year. What is the premise of bringing all of these artists together? JAN: We're always trying to connect the artists we love who are all edgy, contemporary and smart with some aspect of pop Americana. The concept that this is âOutsiderâ art is off-putting and exclusionary. When these artists add their vision and style to a 1950's paint-by-number, or tackle the traditional American clown painting, or pay tribute to the early animators, it helps to connect their art to the pop iconic imagery that's at the base of a lot of these artists' work. The reason this genre and earlier pop genres are so relentlessly relatable is that they're born of the images of our culture, whether it's a Campbell's soup can, Snow White, or the Mummy.

Q: Did you think it would be a challenge for the artists having to paint on glass? BRUCE: Yeah!

Q: If you could have asked one dead artist to do a multiplane piece who might that be? JAN: Well, I'd say Dali, but he actually did one. He hung with Disney in the 50's. They were working on an animated film idea together. Really. Maybe Goya.

[caption id="attachment_90" align="aligncenter" width="450" caption="Nouar"][/caption]

Q: Did you get multiplane kits manufactured or were they available as kits for something else? JAN: We had our framer put together kits with all the materials, glass, masonite etc. and then shipped them to the artists in a wooden crate that could survive a nuclear blast.

Q: How do you see the art world changing? JAN: I don't. I see the world changing and looking for new art. [caption id="attachment_96" align="aligncenter" width="450" caption="Sylvia Ji"][/caption]

Q: How long has this wonderful show been in the making? BRUCE: About eight months. Everyone needed time to figure this out a bit.

Q: You are famous for your writing. How does owning and running a gallery compare? BRUCE: Writing for TV is a horrible art. Itâs collaborative and commercially driven. TV filling its time slots is like a gallery saying to an artist, "We have all these white walls. Fill them." [caption id="attachment_89" align="aligncenter" width="450" caption="Natalia Fabia"][/caption]

Q: Is owning a gallery everything you thought it would be? JAN: It's the hardest work I've ever done in my life and Iâve script supervised a production in a small village in the hinterlands of China. I'm at the computer more than I should be and constantly juggling to get enough time with my artists. The business end is overwhelming but it's the only way to get the artists out into the ether and seen.

Q: As a writer and an artist yourself does that give you an understanding of what your artist process might be? BRUCE: Only that you have to leave the artist alone. You can suggest, you can encourage what you believe to be the strengths, you can offer constructive criticism when it's asked for but the only way to create great work is to pursue your own unified vision. We just provide as much support and love as we possibly can. They'll succeed or fail, but on their own terms. [caption id="attachment_92" align="aligncenter" width="450" caption="Sage Vaugh"][/caption]

Q: All of your artist have a great sense of community and family. That must be rewarding, was this always the plan? JAN: Absolutely. We try to get together for dinners and occasionally trips to Vegas. They all really support each other by turning out for the shows. I can't imagine a better group of people.

Q: I know this gallery is a labor of love for you and Jan, what's it like working with your wife who is also your partner? BRUCE: It's Jan's gallery. I'm the significant other here but she likes my ideas. I think she's patronizing me. [caption id="attachment_87" align="aligncenter" width="450" caption="Kathy Schorr"][/caption]

Q: Are you working on an writing projects you can talk about at the moment? BRUCE: All top secret. Nah, not really. Just some cool stuff I like. I don't usually talk about stuff til it's real.

Q: What are your hopes for the future? JAN: World peace and a gallery in the main building in Art Basel that actually represents our genre. [caption id="attachment_83" align="aligncenter" width="450" caption="Chloe Early"][/caption]

Q: Greatest joy? BRUCE: Family and friends and the Billy Mays Jabooody Dubs.

Q: Greatest fear? JAN: I don't know. Why can't I think of something? I guess I'm fearless. [caption id="attachment_88" align="aligncenter" width="450" caption="Korin Faught"][/caption]

Q: Please pick four artist for us to ask three questions about the show? Jan: Amy Sol, D*Face, Craig Simkins and Sarah Folkman.

Q: Can you tell us how you went about making your multiplane piece and the inspiration behind it? Greg Simkins aka Craola: I was just coming off the âPearl Thiefâ show and wanted to keep in the spirit of that show, hence the striped spikey masks and the couch whose origins will be revealed in a future show. As far as the technical aspects, I cleaned the glass really well with windex and clean water, layed a rough sketch under the glass and traced the shapes with paint on the glass. The paint mixture I used was a grayed own gesso. It seemed to hold up well. Sarah Folkman: When I heard about the project the first thing to pop in my head was an image of a bird coming out of someoneâs mouth and Â birds flying forward. I set about finding a bird that would agree to poseÂ in my friend's mouthÂ for a reference photo and the next thing you know, I'm deep into the agonies of painting on masonite and glass! When I paint on wood I use the grain and absorbency of the surface to realize the image. Masonite did not work that way for me. It actively repelled my oil paint and the glass. I did all sorts of sketches, narrowed them down to two, placed them behind the glass and started painting the outline discovering that to accurately see the sketch as I painted, I could only use one eye. Binocular vision rendered me effectively blind and everything I painted created a shadow that mimicked my penciled sketch, reminding me of 3-D chess. Then the Liquitex Glossies was like painting with nail polish. Switched to regular acrylic paints on top of those which was like painting with nail polish ofÂ a slightly lower viscosity, but at least I had better control over blending the colors. Jumping into the unknown world of acid etching for the outer pane was a relief and a joy - I have the scars to prove it. [caption id="attachment_93" align="aligncenter" width="450" caption="Sarah Folkman work in progress"][/caption] [caption id="attachment_95" align="aligncenter" width="450" caption="Sarah Folkman work in progress"][/caption] [caption id="attachment_94" align="aligncenter" width="450" caption="Sarah Folkman work in progress"][/caption] D*Face: Well the inspiration comes to me every time I go out drinking... particularly when the pubs are busy and there's a queue for the toilets... I was drinking cold larger outside on a freezing cold London winters night at the local pub (the Golden Heart) which was typically packed out, so rather than hustle through the crowd and wait to use the toilet, I ducked down a side alley to pee, using the trash bins as some kind of failed cloaking device, I did the typically school boy thing of writing my name in wee... D-FAC... damn I ran out... yes I know, disgusting, but I did, then I thought what do superheroes do when they're caught short, moreover how they get past all that tight fitting lycra...especially if time is tight!! So that was the inspiration, it's part of my on going theme and body of work 'Fallen Heroes'. The background/base panel is collaged onto old Superman comics from the '80's, which are aged, sanded and stained, then the brick work is screen printed over the comic pages, followed by miniature paste ups of my work which are pasted in place and then more aging and then finally the 'Riot' text. The Superman middle pane is reverse painted in enamels as is the top panes, bins & trash.

Brandi Milne: The inspiration behind this piece was Circus/Christmas window paint!Â I was excited to do it, thinking about a 12"x12" box (frame) with multi-layers was a little rough at first because I'm not used to working that way.Â But the outcome is marvelous!Â Mine has a little story behind it: It's titled "In The Shadow Of Death", it's about a billy goat and a bunny that belong to the circus where they are mistreated and living in the shadow of their own death.Â It's a bit sad for Christmas, but I think it's jolly appearance balances it all out!

Q: Did you find it creatively challenging? Greg Simkins aka Craola: It was a little bit different and I changed my concept for it twice but once I had the idea, it was like working on any other panting. Sarah Folkman: Of course. I don't scar myself for just any project. D*Face: I created a piece on 2 panes, a background and foreground in my show 'aPOPcalypse now' in 2008, so for me this was like pushing that further and something I hadn't considered doing; layering up further like this, so I really enjoyed it, Iâd like to do more with even more layers. I also studied (pre computer) animation at college so the multiplane concept and reverse painting on glass is something I really get down with. Brandi Milne: Let me tell you, I've never been so challenged by a project probably in all my life!!Â I struggled with painting on the glass, it would only allow one coat then it would start to peel on itself with my second layer!Â I broke out some of the glass from picture frames I had around the house to practice and try to work around it, but it was so stubborn!Â I finally had to seal the glass and paint on that layer which worked out wonderful - but this project put up quite the fight! [caption id="attachment_82" align="aligncenter" width="450" caption="Brandi Milne"][/caption] [caption id="attachment_81" align="aligncenter" width="450" caption="Brandi Milne"][/caption]

Q: I hear CHG sent you the multiplane kit in the box. What did you think when you opened it?

Greg Simkins aka Craola: The box was a nice presentation, at first I was thinking, âWhat the hell am I going to do with these?". I was mainly afraid of breaking the glass since I am a bit of a klutz, but it all worked out. Sarah Folkman: I was expecting a new microscope. I was a little disappointed. D*Face: DOPE. That was my initial thought. I like things that are considered and well executed, the concept for the show is on point and the box that the panes arrived in sort of reminded me of something a spy would receive that comes in parts and has to be assembled using some cryptic instructions. Brandi Milne: When I got the box in the mail?Â Whaaaaaat. Having had such a hard time with this piece, it made me that much more pleased with the end result.Â I think inside the frame, the panes of glass and shadows bring so much mystery and intrigue to the works - like the viewer is peeking into a shadow box or like a tiny puppet theatre!Â I worked hard and I'm pleased to be included in this group of fine artists! Thanks to all of you for taking the time to share your thoughts and processes with us at this busy time of year. [caption id="attachment_91" align="aligncenter" width="450" caption="Richard Scarry and The Chipster"][/caption] Richard Scarry and The Chipster http://www.coreyhelfordgallery.com

Gallery owner Richard Mauger talks about his upcoming show at Art Basil Miami

Fri, 27 Nov 2009 22:40:00 +0000

[caption id="attachment_101" align="aligncenter" width="450" caption="DeeDee Cheriel"][/caption]

Q: What is the name of the show and the idea behind it? The show is called 'There's Still Life' and the idea behind it was to ask artists to make a non-conformist/non-conventional still life piece in their own style. There was a suggestion that the works should carry some kind of optimism in the face of all the negativity we've been suffering from at the hands of the media - economic meltdown etc, and I thought this would be an interesting challenge to set. I had no idea of the range of interpretation's that would emerge. Some artists were typically rebellious, for example UK artist Guy Denning chose to watch the Matthew Barney Cremaster Cycle and go through the film frames one by one until he found the image he liked best - and then painted that. That was his Still Life. Ron English chose to paint a Super Sunflower using collage from superhero comics. Every one of the artists made work that was surprising and stimulating - I'm very proud of the show. [caption id="attachment_102" align="aligncenter" width="450" caption="Doug Foster"][/caption]

Q: How did you choose the artist? Choosing the artists was easy, I wanted to work with people that I knew to see how they would respond to the brief - and also to bring their work to a greater audience. I also wanted to take the opportunity to work with artists that I hadn't met before. Initiating a show that takes place in two major art fairs means that artists with other gallery affiliations can be released to work on other projects - like There's Still Life - Even Richard Butler, front man of the Psychedelic Furs has a piece in the show, so it was exciting to have the chance to work with new artists too.

Q: Have you shown in Miami before? Yes, we showed at SCOPE last December. We're in Miami right now and the second time around everything feels a lot easier. We know where to get printing done, who makes the best perspex boxes at very short notice and very importantly, where to get a good pint of beer for less than $8,00.

Q: How long have you owned your own gallery for? Two years and counting... [caption id="attachment_103" align="aligncenter" width="426" caption="Ron English"][/caption]

Q: How do you see the difference between contemporary English and American artists? It seems that American artists we work with often have more of have a sense of art as a business than their English counterparts - we don't know why this is but the ability to self publicize seems to come more easily to them.

Q: I always enjoy that you show artists in many different mediums, what do you enjoy working with the most? Which medium? I love huge, enormous jaw-dropping sculpture but any artist who's pushing the boundaries of his/her medium is always going to be enjoyable to work with. [caption id="attachment_104" align="aligncenter" width="415" caption="Jen Porreca"][/caption]

Q: Favorite dead artist? Marcel Duchamp

Q: Just to be difficult, your favorite living artist? Two years ago at the Venice Biannale I saw the anatomically 'correct' skeletons of Bugs Bunny, Tweety Pie plus Sylvester and Donald Duck. The artist wasÂ Hyungkoo Lee - he also showed at Pulse Miami last year. [caption id="attachment_105" align="aligncenter" width="430" caption="Patrick Haines"][/caption]

Q: What is the policy for artist to submit work to your space? Fire off some images of new work to us, with a short artist statement and biog. If we can see a fit with the work in the gallery programme we'll get right back. If we don't get right back it doesn't mean we hate the work, it's often that it simply doesn't go with the gallery's direction. Email is best.

Q: What makes a piece of work Art? That's a toughie Richard! There's decorative art, and there's art that attempts to explore. The latter is always more exciting but you don't necessarily want aÂ chain-sawedÂ calf in your living room at home. Everything has its place.

Q: Who would you most like to meet at Art Basil Miami? Last year we met a guy called Vince Offer who made his millions selling fauxÂ chamoisÂ leathers andÂ during Art Basel, Switzerland in June we heard that Pharrell (Williams) took a particular liking to Patrick Haines' work so we're keeping a broad, open mind as to what will happen in Miami this year. [caption id="attachment_106" align="aligncenter" width="450" caption="Tim Biskup"][/caption]

Q: How long have you lived in the historic city of Bath U.K.? About 7 years. It's a beautiful refuge from the shows and fairs.

Q: What excites you about art fairs? We get to meet some serious collectors, we can showcase our artists' work to thousands of people in a short, intense concentrated period, we love the excitement of the shows and the chance to be constantly dazzled by all the new art shipped in from all over the world for one week of chaotic creativity. Also, we like to sell a few pieces of work every now and then (which is a lot easier with 20,000 people walking past your booth than it is in a typical day in the gallery). [caption id="attachment_107" align="aligncenter" width="420" caption="Geza Szollosi "][/caption]

Q: Biggest Fear? All my teeth falling out and forgetting my passport.

Q: Greatest love? Witney Houston [caption id="attachment_108" align="aligncenter" width="450" caption="Geza Szollosi "][/caption]

Q: Any advice for young artists just starting out? Don't do it for the money. Stay true. The rest will follow. Big Thank You to Richard for taking time to chat with us, if you are in Miami for Basil pop by Scope and see him. http://www.maugermodern.com/index.php

The other side of Natalie Shau

Tue, 17 Nov 2009 08:24:00 +0000

After dropping by the Knifesmith Gallery we decided to catch up with Lithuanian artist and illustrator Natalie Shau to find out what makes her tick

Q: Why the move from Lithuania to Greece?

I have here photostudio with my partner artist Seth Siro Anton http://www.myspace.com/sethsiroanton

Q: One of your big influences is religious imagery, are you religious? I am agnostic, but I am fascinated by the strange and sometimes bizarre symbolism of religious imagery.

Q: Tell us about your favorite fairytale? I have many favourite ones. Especially I like fairytales of Brothers Grimm. I am also fan of The Steadfast Tin Soldier. I think it very touching tale.

Q: How long does it take you to produce a photo work? It can take me from 4 days to one and a half week. Also it takes time to prepare a proper photo shoot.

Q: Do you watch the Eurovision song contest? Not really. I think it is ridiculous.

Q: Three things you couldnât be without? Camera, computer and graphic tablet!

Q: Can you talk briefly about the process of creating one of your photo works? First I decide about the concept and theme, then I have to find accessories for the model, then to make photoshoot itself and after that I process it digitally, combining my other photo stock, textures or even 3D elements.

Q: Have you ever considered using other mediums or doing 3D work? Yes, I do use Poser like 3d program. However I want to find time for learning Z brush. I also like to create my own traditional textures using watercolours, or even coffee to create old paper effect.

Q: What makes a good day in the studio? Successful photoshoot!

Q: If you werenât an artist what would you be? Veterinarian or a writer.

Q: Greatest moment of your life? Difficult to say if it is greatest, but i always feel amazing when i achieve result i want in my work. It is very addictive.

Q: Greatest sadness? Loss of someone very close.

Q: Hopes for the future? To continue working and developing my style.

Q: Do you know where are you going with you next body of work? I want to try different age and gender models for my future works. Not only young females, but also older people, or children.

Q: First thing to do in the morning? Coffee!

Q: What do you listen to when in your studio? It always depends on the mood and work. World music is very good for working. For example Dead Can Dance. [caption id="attachment_126" align="aligncenter" width="450" caption="Jamie and Daniel form the Knifesmith Gallery"][/caption]

Q: Three things you loathe? Cruelty, blind fanatism and fake happiness.

Q: Three things you love? Animals, creation and long walks.

Q: Is this your fist show at Knifesmith Gallery in Bristol Yes, it is not only my first show at Knifesmith, but also my first solo show in UK. I had solo shows only in Rome and Paris until now. Thanks for FineGrime publishing house for introducing my works to UK audience!

Q: Richardâs favorite piece is âSweet Toothâ can you tell us about it? This piece was done for my Rome solo show in Dorothy Circus gallery. The show was all about female nature and opposite aspects of it. So I couldnât let this psychological condition unnoticed. :)

[caption id="attachment_129" align="aligncenter" width="450" caption="Greg, Sam, Princess Clara, The Chipster, Amy and Richard Scarry"][/caption] Richard Scarry and The Chipster http://www.knifesmith.co.uk/ http://www.finegrime.co.uk/

A Coffee and chat with the Icon Of British Pop Art D*Face

Mon, 09 Nov 2009 17:27:00 +0000

Q: What direction is the new work moving towards? Apopcalyptich Pop inspired comic book imagery with the impending doom of the end of the world. I am fascinated with consumerism, the con, the lie we all buy into. I have been part of that machine and always looking for an exit.

Q: Is art part of that machine? If you have a product changing hands and work being sold in some ways yes, but this is how artists live and keep creating. Itâs about keeping your integrity and a hold of your personal values.

Q: Will we ever learn the identity of D*Face? As I get older I am less bothered. At the same time itâs less relevant to know who I am than know my work. I am not interested in celebrity.

Q : How do you see your impact from street to Galleries? The street art was the beginning, it was a way to get me out ofÂ work. I really donât see a difference between the two. I create pieces and works for the audience, I take risks and like to be able to give back. Finderâs keepers, giving away stuff at my shows, giving my art to the public on the street, itâs all stuff I get into doing. I always have something for everyone at the opening so people walk away with a smile and a something tangible to remember the experience.

Q: Favorite medium? ( for an artist who works in so many) Screen printing, I love the process.

Q: What kind of art interests you? I am connected to Stolen Space Gallery in London. All of the artist we show inspire me.

Q: Dead artists? Warhol and Basquiat, this work is still relevant today and another reason I am looking forward to my show in New York. My Mum took me to many museums and shows when I was growing up but it was these guys that really spoke to me.

Q: What came first, graff, printmaking, sculpture, stencil, painting? Doodling on a lay out pad and from there I started cutting stencils of my work, hitting the streets on my way to and from my boring old job. All the other stuff has come by just doing and wanting to achieve more with every show I have done. I push my boundaries and learn new skills. I am a self-taught artist from screen printing to painting.

Q: Have you shown in New York before? I have been in a the group show âStreets of Europeâ, with Jonathan Levine in 2006 but this is my first solo.

Q: What do you think about when you first wake up? My daily plan, I have a hectic schedule . Then I have a couple ofÂ hours with my baby girl. I am a family man and the mornings are important to us, thatâs when we have our time together.

Q: What kind of legacy would you like to leave behind? Something my kids can be proud of. I hope I inspire a few people along the way.

Q: This leads to me next question. You inspire so many people around the globe how does this effect you and your work? I try not to let it affect me I live a humble life and create. I like being able to walk around and be anonymous . I know people are watching, itâs hard to say that I donât care. I try not to be swayed by opinion. This comes back to being self-taught and being a D.I.Y artist.

Q: Greatest Joy? My laughing daughter. The other morning she came out of the house shaking and screaming after seeing miss Piggy for the first time on T.V. She had me rolling on the ground with laughter. When she laughs itâs everything to me.

Q: Greatest sadness? Loss can be upsetting when itâs people you care about. Time can be sad the way it goes so quick and not making more of the time I have.

Q: As an artist what message do you carry? To question what you surround yourself with and what you are being told.

Q : Hopes for the future? I can only hope to get to carry on living as an artist.

Q: Advice for young or not so young emerging artists? Just do you and be yourself. Keep picking yourself up - be inspired but donât look to closely.

Q: What can we look forward to with this show? A multi-media show. Itâs fun exploring documenting recording . I have my new paintings , silkscreen , sculpture , give aways . I have these old school desks with graffiti of all those kids that had them as their desks and doodled away the painful hours of school. I have engraved and made into pieces, they are petty cool . I am very happy with the work, we will see how everyone responds. Of course I hope they appreciate what I have achieved with this new body of work.

Cheers D*Face for taking the time to chat, get personal and share some of your thoughts about work, family and the world in which we all live. If you are fortunate enough to be in New York this September get yourself over to Jonathan Levine Gallery Sept 12th for an experience that will be a feast for your eyes and just might leave you thinking. Take time to look past the obvious and look into the soul of the man and what he is saying.

Richard Scarry and The Chipster

Mike Inglis the man behind Spaceboy

Mon, 28 Sep 2009 08:43:00 +0100

Mike Inglis's upcoming show at the Glasgow Arches opens next week so we thought we would grab the opportunity to talk to him about his work, inspriation, thoughts on haggis as well as a sneak preview of four works for the show.

Q. Your upcoming show at the Glasgow Arches is called âShadows Fadeâ, why? The show deals with the belief systems that surround death and grief particularly spiritualism. I had a great aunt who "acted" as a medium with her own church and congregation. The title comes a grave stone in Methhill cemetery in the little working class Scottish seaside town I was brought up in. The headstone was engraved with the words âuntil the shadows fade away". Iâve adapted that to "shadows fade" for a show title and also "until the long shadows fade" for a wall text piece. [caption id="attachment_287" align="aligncenter" width="450" caption="Through"][/caption]

[caption id="attachment_289" align="aligncenter" width="450" caption="Overgrown"][/caption]

[caption id="attachment_290" align="aligncenter" width="450" caption="Trance"][/caption]

[caption id="attachment_291" align="aligncenter" width="450" caption="Seek"][/caption] Q. What was it like being let lose in the Scottish National Portrait Gallery? To begin with it seemed pretty daunting. Right at the beginning one of the other artists (Pete Martin) painted "do not be afraid" onto the walls and it was as if he infused us all with this sense of courage, so much so we almost felt invincible. As a group we developed this amazing sense of synergy and the collaborations developed thick and fast. We realised we may never have an opportunity like that again I guess so we really let our creativity flood the space and the results were amazing. It was a very unique and exciting project and its good to undermine what the establishment stands for in these types of space. Living Scottish artists making art about ordinary Scottish people - thatâs what theNational Portrait Gallery should be about anyway, not a pompous dry and dusty view of an ancient Scotland we can no longer connect with.

[caption id="attachment_292" align="aligncenter" width="450" caption="Poster for 'Rough Cut Nation'"][/caption]

[caption id="attachment_293" align="aligncenter" width="450" caption="Walls from 'Rough Cut'"][/caption] Q. Why screen-printing? I work with screen-printing at the moment because I am producing a lot of work which is very graphic and quite illustrative (influenced heavily by my twin passions of comics and graffiti) and I need an output that suits those ideas. Screen-printing is an obvious route to realise these images, the process is so similar to graffiti and its immediacy appeals for those reasons.

[caption id="attachment_294" align="aligncenter" width="450" caption="Red Door Gallery Window"][/caption] Q. You still find time to wheat paste in the streets of Europe, who are your 3 top street artists? There are so many I love. Swoon is amazing, I love what she does with cut-outs and her installation work is truly beautiful. I love the work of Blek as well, he's the original and best when it come to wheat pastes which raise a political question. I saw some of his in Paris a few years ago and his placement is amazing. I also love Faile, they can do no wrong it seems. But sometimes itâs just the unknown artist who inspires. Last year in Barcelona I saw these tiny little illustrations of girls on paper doilies and they were so original and fresh. Thatâs the beauty of the street, everyone has access and an equal chance.

Q. You recently went to India, tell me more? It was a cultural exchange with an art school in India and one in Scotland where iâm a part time visual communication lecturer. I ran a graffiti project with the Indian students that required them to produce a stencil based protest piece. The students werenât very graffiti aware there. India doesnât have a huge graffiti culture like Europe or the states, but they engaged readily and loved the freedom of speech element to the protest as there is a lot of social and political repression in India. In the end they did very well and were taking it off campus and onto the streets on the Saturday night just as I was leaving. Q. Your next place to visit? I want to go to Marrakech next. Itâs been on my list for a while now and I really feel like going now. I feel the need for another cultural overload outside of Europe. It helps maintain your perspective on your own life and problems when you step outside of your own culture and see how other systems and hierarchies operate.

Q. Cigar boxes, eye dropper bottles and matchboxes, what next? I want to work on a larger scale piece which Iâve been thinking about a lot lately. Itâs a dressing table with triple mirrors set above it that I used to be fascinated by when I was little and visited my granma. I want to try using a few different processes to paint and decorate the furniture while screen-printing images directly onto the mirrors and the inside of the drawers. Q. Haggis yes or no. yes and no.... scallops pan fried and placed on haggis rounds with crispy fried carrots and green pea cooles- yes. haggis supper -no.

Q. You teach as well as create, what wise words would you give to any young inspiring artist? Believe in yourself, work hard, don't compromise and try to get used to rejection. Above all never ever stop, never give in, when you fall pick yourself up and go again. Itâs hard but itâs the best job you could ever have. The pay is rubbish but the reward is making the work. The highest high you will ever have. Q. How is the arts scene in Scotland? Well itâs hard as an artist in Scotland who isn't making mainstream or commercial tourist art to stay buoyant. There are a lot of talented people around producing a lot of good work but there aren't many spaces showing new or emerging artists. Especially if your work isn't easy to classify like mine, sort of underground/outsider/low brow kind of stuff. There are some great collectives of artist running there own spaces but thatâs often quite conceptual work. Red door gallery in Edinburgh and Red Coat in Glasgow are great commercial spaces but we are short of galleries in the north that deal in this type of work. You really have to hustle to get shows and funding.

Q. The beautiful Belinda is also an artist, have you ever worked together to create a piece of art? We always thought we might collaborate but we are both such control freaks with our work it hasnât happened yet. I would really like to though when the right project comes along. We are each others most loyal friend and trusted critic but both of us are very secretive during the initial stages of creating our work and show absolutely no one, that makes collaboration more difficult. Q. Would you like to show in the States? It would be great to get a show in the states. Especially out on the West coast or in New York where there seems such genuine passion for the kind of work that inspires me. Street/urban/outsider/low brow/pop surrealism... it all seems to have a strong following out there. Itâs such a distance though and Iâve got no contacts in the states but I would love to show the work there and see how itâs received.

Q. Is there a question youâve wanted to answer but have never been asked? Not really. There are plenty Iâve been asked and didnât want to answer but I talk a lot about my practice when iâm teaching so itâs good just to shut up and make the work and let it communicate with people on their own terms. Thatâs the best bit really.... Richard Scarry and The Chipster