The Studio Chronicle

365 Uncovered: Philip Schumacher

2011-02-22T23:31:00.000-06:00

day 49, Philip Schumacher

day 38

When did you first become interested in taking on the challenge of The 365 Project?

Philip:
I really wanted a challenge; I wanted to know if this project would change my photography. Of course, I really was inspired by the 365 of other artist on flickr like Lissy Elles or Alex Stoddard. I thought about starting months ago, but I kept thinking, “This year (2011) is your chance to start something new.” so I did.

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Philip:
And what a commitment this is. That was basically my biggest fear when I started, that this project would be too much stress. Sure it has an impact, but this shouldn't be a barrier in my daily life. Of course it is stressful sometimes (and I have only done it for 40 days), but this is not torture. You just have to find your flow; it somehow is something that feels natural to me- taking a picture every day.

day 22- The Deluge by Philip Schumacher

DBS:
In what ways has The 365 Project influenced the progression of your work?

Philip:
This project keeps pushing me to create better pictures, to progress, to learn, to be patient with myself. I think every day I explore something new and that helps me and my pictures to progress.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Philip:

day 8

I am only 40(+) days into this project and already there are pictures I don't like that much, pictures I think I could do better with more time. These are important, however. They help you grow; through them I realize what I did wrong and what I can do better, so I don't think there are any picture I would like to delete up to this point.

See more works by Philip Schumacher online.

365 Uncovered: Mary D. Haroutyounyan

2011-02-20T02:00:00.002-06:00

day 205, the gin inside by Mary D. Haroutyounyan

day 138

When did you first become interested in taking on the challenge of The 365 Project?

Mary:
I had heard about The 365 Project back in 2008 from a friend - a member of 365. As a person who likes to try new and creative things, I was easily attracted to the original concept. So, this was the reason I actually joined Flickr having Casio Exilim Z110 as a main tool. Soon after I started my personal 365, I had to get a new camera that I use also today (Canon EOS 450D).

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Mary:
In fact, the most amazing thing concerning the project turned out to be its' impact on my vision of the world, and attitude to many things. Back in 2008 I was having certain problems in my personal life, and 365 brought me back to the positive side of the fence, since I found a great inspiration in myself to make everyday colorful and full of fun. I was collecting beautiful moments in shots and writing small stories to them. That turned out very nice, as I like going through my photostream with great pleasure.

DBS:
In what ways has The 365 Project influenced the progression of your work?

Mary:
I am not sure if the 365 had any direct impact on my carrier (I am a former designer, and an MBA student at this moment). However, I can surely say that taking photos everyday and processing them has highly improved my skills in graphics programs that I use when designing.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Mary:

day 128

I do that very often. I open my photostream and go through the oldies. Sometimes I erase photos that I find funny in terms of bad processing/framing/shoot/you name it. So, yes, I would have changed some of the photos, and I do that.
What I can say is that I am definitely not the best participant of the project, not only because one can see "day N" missing in my stream, but also because it's February 2011, and I am still on "day 209". The only excuse from my side is that I try to post photos that are interesting, conceptual and have something to say. When I try to see the overall picture of my 365, it turns out every single photo that I have put there has a story behind it. I gave birth to every single work of mine after a strong feeling (positive or negative).

To learn more about Mary D. Haroutyounyan and view the artist's works, check her out online.
Join The Studio Chronicle Tuesday, midnight GMT for part eight of 365 Uncovered as I talk to German photographer Philip Schumacher about his ongoing 365 Project.

365 Uncovered: Luke Clampitt

2011-02-18T08:00:00.001-06:00

day 211

day 198 coffee surgery by Luke Clampitt

November 2007, I'd been following sosij's 365, which always made me say wow.
My own work was quite stuck in landscapes and I needed to do something to get the imagination flowing. It seemed like a good idea.

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Luke:
Occasionally its a chore, busy day, school runs, housework, paperwork, and family can leave little time to set up a shot. Most of the time I look forward to the shoot, especially if I have had a specific idea, then I get more and more excited the closer it comes to take it. I'm better at day-to-day organization thanks to 365.

day 209, sock search

Also it’s a great way to get the family doing something together. Our kids love it when they get to be involved.

DBS:
In what ways has The 365 Project influenced the progression of your work?

Luke:
Its made me more aware of photoshops abilitys but also how creativity and optical tricks can be done in camera. Also when doing commissions, it has really helped give a spark to shots.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Luke:

day 212, here's squeegle

No, there are many days that i think I could have done better, or wish that I had had more time, but the final posted shot reflects me or my family from that day. so even if i don't like the image the emotional feel for me is irreplaceable.

Learn more about the works of Luke Clampitt online.
Join The Studio Chronicle Sunday, 2 am GMT for part seven of 365 Uncovered as I talk to Armenian photographer Mary D. Haroutyounyan about her ongoing 365 Project.

365 Uncovered: Vanessa Paxton

2011-02-16T00:00:00.005-06:00

day 166 the only way out by Vanessa Paxton

day 144 the wait

A daily commitment, how has The 365 Project impacted your day-to-day life?

Vanessa:
I think this question should be phrased in the past tense. The 365 project has been over and done with for me for a little while now. I never did finish the project because it was simply too hard to produce quality images every day. I think the project was initially conceived as a simple self-portrait project but because most people on flickr tend to be of the "creative" or "conceptual" type, we made the project a little more difficult than it was meant to be. I think alot of us really bit off more than we could chew. Very few of the greats, in my opinion, completed the project. Once they found their style there was really no need for the project anymore.

DBS:
In what ways has The 365 Project influenced the progression of your work?

day 151 where to begin

Vanessa:
The 365 Project forced me to think creatively. I was always trying to come up with a fresh idea that would be worth doing. Anyone can take a picture of something and slap a number on it, but for me it was more about discovering something new. Because of this project I realized my strengths and I discovered a whole bag full of new techniques.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Vanessa:
There were definitely images that I hated in retrospect and those were promptly deleted. I'm not saying I'm completely happy with every image but some of it really needed to go. I understand that some people need to keep every image to see their progress but I don't.

Vanessa Paxton's work since her 365 Project.

To learn more about Vanessa Paxton and view the artist's works, check her out online.

Join The Studio Chronicle Friday, 8 am GMT for part six of 365 Uncovered as I talk to British photographer Luke Clampitt about his ongoing 365 Project.

365 Uncovered: Laëtitia Bentz

2011-02-15T14:00:00.003-06:00

day 4 by Laëtitia Bentz

A decade of chaos, dominated by war, fear-mongering, and financial collapse, an inward focus has become the trend with many twenty-first century artists. Whether narcissistic or existential, many have explored The 365 Project. Dutifully engaged, the artist sets out to photograph (often) himself or herself daily for a period one year. A process of exploration and discovery, 365 Projects challenge the artist to develop their imagination, perfect their craft, and, fail or succeed, invest in personal growth.

With the hope of prying the lid off this movement, I asked a group of artist who are in various stages of 365 Projects a handful of questions. Presented here over the course of a week, are their responses:

In the process of putting this article together I discovered the works of French photographer Laëtitia Bentz who recently embarked on her first 365 Project.

DBS:
When did you first become interested in taking on the challenge of The 365 Project?

Laëtitia:
Since I was a child I’ve been interested in the photography. One day, I fell by chance on a website highlighting many magnificent photos all from flickr. Clicking the photos, I went directly on the artist’s profile and discovered his photostream, and in many ways his personal universe.

day 17

I discovered people just like me, crazy about photography, with fully realized projects, such as 365 projects and 52 weeks. For months I admired the work of many people. The photos were really magnificent, more beautiful than photos in magazines even! That tempted me to try to do the same thing.

Everyone says that that the 365 Project helped them to become better photographer! The photo, for me, represents a big part of my life, without that I would clearly be unfortunate. I am in constant search for what really corresponds to . I wanted to become better, to be proud of my work, to have the feeling that people take me seriously. More than a personal photographic project, it is a wonderful challenge.

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Laëtitia:
It’s not always easy to arrange your life when you have a project like this. In my case, I study math at university. My days are totally full of courses in math and physics. I begin my days very early, and often finish very late. When I come home I am tired and I have homework, but that doesn’t stop me. My 365 Project is my time to escape and to think of the other things.

day 37

It is necessary to have new ideas during 365 days and to avoid repeating the same kind of photo. I am constantly worried that my imagination or creativity will run out.
Sometimes I am tempted to cheat a little: to post photos taken on another days.

DBS:
In what ways has The 365 Project influenced the progression of your work?

Laëtitia:
I don’t know how much progress I will make, but I think that it is an enriching experience. The work is “for me, by me”. In the course of the project, I have become very critical of myself. My project recently began (I am just past 40 days) and only a part of my family and one of my friends knows about my project. For the moment I would like to keep it confidential, not to have to undergo the criticisms, advice, or influence to discourage me. This project is personal more than everything.

day 39

With this project I am going to have fun and experiment. Before I started the 365 Project I never really made self-portraits; it's quite new and each of the days of my project is a discovery; it is a very attractive experience! I think that the project is going to help me to trust myself more, to be sure of what I make and the ideas I express.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Laëtitia:
I began my project 40 days ago and there are already some photos that I don’t hold with as much estimate. Over the course of time we become critical and fastidious. It is like training for the Olympics: we wish to be the best possible at the end of the crossed road!

Above all it is a real pleasure to make this project. I hope to advance as much as possible and maybe even to be proud of myself at the end.

You can see images by Laëtitia Bentz and her brand new 365 Project online.
Join The Studio Chronicle Wednesday at midnight GMT for part five of 365 Uncovered as I talk to Vanessa Paxton about her ongoing 365 Project.

365 Uncovered: Andrew Kufahl

2011-02-13T18:02:00.001-06:00

"Random Portrait" -day 160, by Andrew Kufahl

A decade of chaos, dominated by war, fear-mongering, and financial collapse, an inward focus has become the trend with many twenty-first century artists. Whether narcissistic or existential, many have explored The 365 Project. Dutifully engaged, the artist sets out to photograph (often) himself or herself daily for a period one year. A process of exploration and discovery, 365 Projects challenge the artist to develop their imagination, perfect their craft, and, fail or succeed, invest in personal growth.

With the hope of prying the lid off this movement, I asked a group of artist who are in various stages of 365 Projects a handful of questions. Presented here over the course of a week, are their responses:

Wisconsin artist Andrew Kufahl’s work has had a notable influence on my own photographs and is the third artist to contribute to the article:

DBS:
When did you first become interested in taking on the challenge of The 365 Project?

Andrew:
About a 1.5 years before I actually did. I could see how some people clearly improved their photography over the course of their 365, and I wanted to see if the same could happen for me. I kept procrastinating with the idea though, because I thought there would be a better time in my life to do it. I finally came to the realization that I would never have a full year where my life would support it, so one day I just started it.

DBS:
A daily commitment, how has this project impacted your day-to-day life?

"Some Questions Can't Be Answered" -day 169

Andrew:
It's made my life hell. I'm trying to make each day result in a good quality photo, mainly in regard to story telling. But every day coming up with a strong story, and then finding the right location, wardrobe, props, etc....is almost impossible. Not to mention that I absolutely hate doing half-baked attempts. So yeah... it's caused me a lot of additional stress. But honestly, the push to do something each day, and the majority of the time I'm happy with the end-result, makes it worth it ultimately.

DBS:
In what ways has The 365 Project influenced the progression of your work?

Andrew:
For me it has become that constant voice in my head that pushes me to keep pushing myself. Ideas are hard to come up with, and when you come up with one, that's just the start... making it happen is a huge effort as well. So constantly being pushed to do the entire beginning-to-end process each day lets me know that I am able to accomplish quite a bit if I really put my mind to it. And, I want each shot to excel when compared to the previous one, so that's always pushing me to dig deeper and think harder and experiment more.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

"Baby, Some Wounds Ain't Meant To Heal" -day 146

Andrew:
Oh hell yes! Some cleaning-up of background in Day 3; Use of a tripod (or less coffee) on Day 16; Better location for Day 20; Day 26 could go away and I wouldn't miss it. I like the concept of Day 32 but the execution is absolutely terrible. Day 62 was a failure, which is why I posted that image. I like Day 81 overall, but would love to try it again. Day 122 I had a vision of what I wanted to do, but overall just completely failed pulling it off. I could do Day 158 better... I just ran out of time and didn't have a good location. I'd love to re-do Day 163 and Day 180.

You can see images by Andrew Kufahl and his completed 365 Project online.
Join The Studio Chronicle Tuesday, 2pm GMT for part four of 365 Uncovered as I talk to Laëtitia Bentz about her ongoing 365 Project.

365 Uncovered: Sarah Ann Loreth

2011-02-12T12:13:00.001-06:00

Day "72" by Sarah Ann Loreth

A decade of chaos, dominated by war, fear-mongering, and financial collapse, an inward focus has become the trend with many twenty-first century artists. Whether narcissistic or existential, many have explored The 365 Project. Dutifully engaged, the artist sets out to photograph (often) himself or herself daily for a period one year. A process of exploration and discovery, 365 Projects challenge the artist to develop their imagination, perfect their craft, and, fail or succeed, invest in personal growth.

With the hope of prying the lid off this movement, I asked a group of artist who are in various stages of 365 Projects a handful of questions. Presented here over the course of a week, are their responses:

New Hampshire artist Sarah Ann Loreth recently ricocheted past her 100th photograph of 365. She is the second artist interviewed for this series of articles:

DBS:
Sarah, when did you first become interested in taking on the challenge of The 365 Project?

Sarah:
I started seriously debating the project a few months after joining Flickr. It seemed like a good way to quickly develop my skills and grow as a photographer. Practice makes perfect and all that business. But, I had doubts as to my level of commitment. I didn't want photography to become a chore. I was so in love with the idea of creating that I didn't want this 365 to make me lose my passion for the art.

Day "84"

It wasn't until I spoke with my friend Nikki, who was almost three hundred days into her 365 that I decided to give it a go. Anyway, all the cool kids were doing it.

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Sarah:
Well, I'm tired most of the time. Though, I suppose it's become more routine than anything. It was horrendously stressful at first trying to come up with concepts every-single-day. Around day thirty the project started to weave it's way into my every waking moment.

Most of my day is spent dreaming and scheming trying to come up with a photo idea. After work I take about an hour for set up and shooting. Then comes the never-ending editing process. This lasts me three to four hours. These days, I just don't have the time for much of anything else. My perfect day is completing my photo before 7pm so I have some time to relax and vegetate on the couch.

This project is a huge sacrifice and a lesson in dedication, but it's only a year. Having such supportive friends, family, and followers really makes things easier. They give me the drive to keep on keeping on. To have a friend or coworker come up to me and say, "Your project gives me something to look forward to everyday." just makes it all so unbelievably worth it.

DBS:
In what ways has The 365 Project influenced the progression of your work?

Day "17" by Sarah Ann Loreth

Sarah:
The project has seen me at my best and worst. It has given me the strength to work through my failures and the courage to try completely absurd and insane ideas, like spraying myself with glowstick juice or spending so much time naked in the snow.

I feel like there is a turning point in most 365s. Mine was day seventeen. This is when I first made a composite image. This is when I started controlling my photos instead of letting my photos control me. I learned to take charge of every detail, to create the image instead of letting it happen. I began to tell stories and the possibilities became endless. I could float and fly and trap light. I could create galaxies and breathe out moths. I became a wizard and sleepwalker. I could be and do anything.

I guess it was the point in which I learned to create my dreams.

DBS:

Day "90"

Looking back on your project, are their images that you would change or omit in retrospect?

Sarah:
Absolutely. In fact, there are four images on my stream right now marked as friend's only for the sheer fact that I can't stand them. It's impossible to produce brilliance everyday. In reality, you might get a photo a week you are completely happy with. But that's the 365. As much as in life, you always have tomorrow to try again to achieve that perfect photo.

The point of the project I suppose is to practice and to breathe photography much in the same way you learn hold your breath under water, slowly at first until it becomes as though you've known how all along.

• You can see images by Sarah Ann Loreth and her ongoing 365 Project online.
• Join The Studio Chronicle Sunday, 10pm GMT for part three of this series as I sit down and ask Andrew Kufahl about his ongoing 365 Project.

365 Uncovered: Roderique Arisiaman

2011-02-09T22:01:00.001-06:00

"356 Illusion" by Roderique Arisiaman

A decade of chaos, dominated by war, fear-mongering, and financial collapse, an inward focus has become the trend with many twenty-first century artists. Whether narcissistic or existential, many have explored The 365 Project. Dutifully engaged, the artist sets out to photograph (often) himself or herself daily for a period one year. A process of exploration and discovery, 365 Projects challenge the artist to develop their imagination, perfect their craft, and, fail or succeed, invest in personal growth.

With the hope of prying the lid off this movement, I asked a group of artist who are in various stages of 365 Projects a handful of questions. Presented here over the course of a week, are their responses:

Dutch photographer Roderique Arisiaman is one of the firsts artists I interviewed constructing a 365 Project and is the first artist I interviewed for this article.

DBS:
Roderique, when did you first become interested in taking on the challenge of The 365 Project?

Roderique:
I heard of The 365 Project from a friend of mine who was doing it, and put it of as a would-be-fun-to-do-someday kind of thing. I mean, who can fill a year with photo's of himself everyday for 365 days?

It was New Years Eve and I was home recovering from my mental breakdown at work when I decided I needed a creative outlet for my personal recovery and growth.

"337 Cold"

DBS:
A daily commitment, how has this project impacted your day-to-day life?

Roderique:
At first it was a very personal thing, as nobody really noticed it; not on Flickr nor in the real world…it was a private party, which I could do easily as I was still at home. It also gave me the time to explore other 365-ers and make connections with them. As time went by, more and more people offline and online got what I was doing and the social networking became a big part of the process in addition to the actual photo making process.

It can take up a great amount of time, both the creative part as well as the social part (especially the social part), but it's all just a matter of perspective and the amount you are willing to spend on it. With me in the end it was the first thing I did when I woke up, occasional checking in during the day, making sure diner and dishes where done before 7PM so I could spend the rest of the evening taking pictures, editing, uploading, commenting etc. And a quick last check before lights out ;-)

"346 Time"

DBS:
In what ways has The 365 Project influenced the progression of your work?

Roderique:
A 365 project of any sort is a perfect way of learning and strengthening your new skills. Every day you can try something new or build upon a previously used skill. There is absolute growth and progress to be made if you stick to it and make it a continuous part of your daily routine.

DBS:
Looking back on your project, are their images that you would change or omit in retrospect?

Roderique:
Many people see a 365 as a must-make-splendid-art-every-day project which is just absolute impossible. It's often also the main reason they fail. Sticking with just making a pic-a-day is the main concept, and growing your skills will happen no matter how you make your images. As long as you keep a keen eye, and worry about composition even a cellphone pic will suffice for the project. In retrospect to that I absolutely won't remove any pic I made in my 365, as it's all part of my journey and editing that would compromise the story it tells.

You can see images by Roderique Arisiaman and his completed 365 Project online.
Join The Studio Chronicle Friday, 10pm GMT for part two of 365 Uncovered as I talk to Sarah Ann Loreth about her ongoing 365 Project.

Journey Beyond The Artist’s Studio: Wil Freeborn

2011-02-02T19:00:00.001-06:00

illustrator Wil Freeborn

Having great respect of his work, I presented Freeborn with a dozen questions hoping to learn more about the man behind the Moleskine Journal:

DBS:
Please start off by telling us six random things about yourself.

Wil:
•    I'm half Japanese half Scottish (or vice versa)
•    I like to cook
•    I like to cycle and hope one day to cycle around Scotland's coast.
•    Would like to learn how to sail
•    I won a fly-fishing casting competition at the Royal Highland Show.
•    or how about six haircuts I've had - Long, dreads, plaits, shaved, mullet, dyed blonde short

DBS:
What are the three most important things people should know about your art?

Wil:
Its accessible, everyday, and hopefully shows what its like living here and now.

DBS:
What is the single most important supply/tool in your studio?

Wil:
That's pretty difficult as everything is linked to each other pencil/pen/brush > paint > paper/canvas > camera > scanner > laptop > internet > printer.
I'd like to say a pencil but if I'm being honest its probably the internet, it kicked off interest in what I'm doing and has really helped to inspire me to get drawing again and pursue illustration.

DBS:
How would you describe your “ideal” Thursday?

Wil:
Every Thursday I have life drawing in the morning. Then after a good lunch it would be good to do some drawing around town; it would be a warm day.

DBS:
Do you work full-time as an artist or do you have another job?

Wil:
I work as a freelanced designer and illustrator, though I'm doing a lot more illustration recently.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Wil:
I don't know, I'm amazed at what's happening in the present. As a kid the idea we'd be walking about with phones that play music, read books, can show you where you are in the world include a camera and a video camera would blow my mind. I grew up in a very analogue and mechanical world; the shift to digital has been incredible.

DBS:

When did you start making art and how did you get into it?

Wil:
I went to art college and started web design by accident it was only after a few years I got back into drawing again. I feel as if I've been given a second chance and want to draw as much as I can.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Wil:
Would love to fly, I know its common but I daydream of just flying about quite a lot, just for the sheer sense of freedom. If I had to choose from these I'd like to breathe underwater, just to explore a different world would be incredible.

DBS:
Why do you make art?

Wil:
Simply to make sense of the world I / we live in.

DBS:
What is the biggest mistake you have ever made?

Wil:
I sometimes wish I had kept drawing and painting while at art school. At the time I was really into conceptual art that basically just involve construction of things. Its not regret just curiosity to what would have happened.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Wil:
I'd like to have been a vet, anything involving nature an the countryside would suit me well.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Wil:
I'd rather have a nice lunch with someone now in a small Japanese restaurant, I'll pay.

The works of Wil Freeborn can be seen on his website.
Join The Studio Chronicle next week for an all new Journey Beyond The Artist's Studio!

Journey Beyond The Artist’s Studio: Marcin Kwiecień

2011-01-26T19:00:00.001-06:00

artist Marcin Kwiecień

"the queen is dead" by Marcin Kwiecień

Inspired by his work, Marcin Kwiecień was among my 2010-2011 A Dozen Artists of Intrigue. In the hopes of learning more about Marcin and gain greater incite into his work, I presented him with a dozen question presented below:

DBS:
Please start off by telling us six random things about yourself.

Marcin:

I’m a social-person.
I almost always have cold hands and feets.
I love music; it accompanies me almost all the time.
I'm also a big fan of film.
I make really weird handmade gifts for my friends.
For me, a morning without coffee isn't a morning.

DBS:
What are the three most important things people should know about your art?

Marcin:

Taking photos is like writing a diary for me
I take lot of self-portraits. I’m not a narcissist; it simply helps me to show my strange ideas best.
I try to make sensual, mysterious and poetic art. If I succeeded, well, I don’t know.

DBS:
What is the single most important supply/tool in your studio?

Marcin:
I don’t have a studio, or even a good camera. My imagination is my main tool, I think.

DBS:
How would you describe your “ideal” Thursday?

Marcin:
It would be a total mess. I would wake up quite late, eat cherries for my breakfast, drink liters of coffee and orange juice, listen to my favorite songs, cook with my girlfriend something extraordinary for dinner, meet with all my friends, go to the cinema. Then, we would go dancing to strange music and spend the rest of the night with my love and go sleep very late. Frankly, I’d like to do it all at the same time, but since it’s physically impossible; there’ll never be my perfect Thursday.

DBS:
Do you work full-time as an artist or do you have another job?

Marcin:
I don’t have a job. I study Human Resources and start thinking about working in photography professionally, but it’s only a “thinking” phase.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Marcin:

I’m not sure if the world will even exist then, but after rejecting my apocalyptic vision I think that there will be moment when humanity will have to stop the crazy hi-tech progress and slow down a little. Eventually houses might become like cages made from plastic, glass and metal, people may no longer have social lives, and the possibility that you might marry your computer, but after realizing how much it sucks, there will be a big “Back to Nature” program, where all the families will be planting trees and vegetables, taking milk from cows and spending more time together. Everyone will be happy and the sun will be shining. How optimistic of me!

DBS:
When did you start making art and how did you get into it?

Marcin:
It was in a high school, when my biggest hobby was drawing. With time I realized that I can’t reach the effect which I planned. I wanted to draw a realistic face or body, but I wasn’t good enough. Then I took few pictures and thought that it’s easier to “paint” my ideas using simple camera and computer programs.

DBS:

"bitter sweet sympthany" by Marcin Kwiecień

Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Marcin:
I always wanted to fly and to teleport, but if I had to choose I would pick the ability to make full-grown replicas of myself. I would send them to work jobs, go to school, do my shopping and then I could concentrate on things that I really love. I must admit that laziness is speaking through me right now.

DBS:
Why do you make art?

Marcin:
It’s a way of expressing myself, saying things which in reality I would never say, catching moments and feelings, letting my imagination free and sometimes acting a little just to make my quite normal life more colorful.

DBS:

What is the biggest mistake you have ever made?

Marcin:
I took a red pill. Sometimes I’m thinking how my life would look like if I had gone to art school instead of normal high school.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Marcin:
I would love to be a movie director (who make intensive, surreal, emotional films which no one understands) or DJ.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Marcin:
I would visit with my future self just to ask, “how are you?”. We would eat ice creams on the beach in Nice. I would pay just to give the old me a joy of eating something delicious in a nice place during the beautiful summer day.

• The works of Marcin Kwiecień can be seen online.
• Join The Studio Chronicle next week for an all new Journey Beyond The Artist’s Studio.

Journey Beyond The Artist’s Studio: Dejana Batalovic.

2011-01-19T19:19:00.004-06:00

artist Dejana Batalovic

Recently I had the opportunity to present Batalovic with a dozen questions and pleasure to assemble her responses, all in the hopes to gain a deeper understanding of the artist herself:

DBS:
Please start off by telling us six random things about yourself.

Dejana:

I enjoy little things in life; it’s all in details
Big fan of shows Dexter and True Blood
I’m a very perceptive person
I’m into snowboarding
I live for everything out of the ordinary
I love smelling things

DBS:
What are the three most important things people should know about your art?

Dejana:

I’m a portrait photographer
I’m in love with post-processing
Photography is my medium for emotion that I’m feeling at a given moment.

DBS:
What is the single most important supply/tool in your studio?

Dejana:
I still don’t have a real studio, but things very important for my photography would be the remote controller, considering self-portraiture and natural light, since I’m not into strobes yet. One of the supplies I would like to try out is smoke bombs. They really make awesome atmosphere in the photo, but unfortunately they can’t be found where I live.

DBS:
How would you describe your “ideal” Thursday?

Dejana:
Thursday is a day that I usually use to make up for a weekend in the sense of going out and having fun. Since the city where I live turned into a boring repetitive place to go out on a Friday or Saturday night, me and my sister love going out on a Thursday night, we always have more fun and we like to call it a cheerful Thursday.

DBS:
Do you work full-time as an artist or do you have another job?

Dejana:
Unfortunately not yet, but I would definitely love to make photography my profession, so I’m working on it. I don’t have a job, I’m still studying, Italian language and literature. I enrolled the Philology program back in the day when I thought languages are my love, then in the middle of my studies I fell in love with photography.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Dejana:
When I was little I used to love “Back to the future” trilogy, and absolutely loved the kind of future they made up there, so that’s the way I imagined it would be. Now that I’m older I still love that movie, but from the more realistic side I think that the humanity will absolutely degrade, and that there will actually be more regressing than progressing considering everything- relationships, conditions of living, practically I think we’ll kinda be back to a pre-historic era.

DBS:
When did you start making art and how did you get into it?

Dejana:
It all started 3 years ago, when I started shooting with my Canon Powershot A530 for fun. But on the other hand I’ve always had love for art, I also used to play bass guitar in 2 bands. I think it’s in my genes, since my dad’s been doing photography when he was young, and he just loves to play on his guitar. Eventually I stopped playing bass, but this thing with photography is really serious, I got really hooked up on it, and ever since I started doing it I feel an increasingly larger desire for it. I am grateful that I have found a way of expressing myself creatively.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed

"Hipstuh Please" by Dejana Batalovic

-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Dejana:
Super human speed, so I can finally stop being late all the time, a big flaw of mine.

DBS:
Why do you make art?

Dejana:
It is my way of venting from everyday dull life: my own little wonderland.

DBS:
What is the biggest mistake you have ever made?

Dejana:
I don’t make mistakes.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Dejana:

I might like to try extreme snowboarding, astronomy and physics, masseuse or a professional cello player.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self?

Where would you eat and who would pay the bill?

Dejana:
If the theory of multiverses is true, I would travel into the dimension in which time/space continuum goes backwards, but I would go to the exact, present moment as in my own dimension. There I would meet an alternate version of myself, and I would ask “her” personal questions. We would eat at Kentucky fried chicken at the mall and “myself” would pay.

"Reunite" Dejana Batalovic

You can see more work by Dejana Batalovic online.

Join The Studio Chronicle next week for an all new Journey Beyond The Artist's Studio

"Standing In The Light", featuring Julija Felajn by Dejana Batalovic

Journey Beyond The Artist's Studio: Sarah Ann Loreth

2011-01-12T20:31:00.000-06:00

New Hampshire artist Sarah Ann Loreth

Artist Sarah Ann Loreth conceives a work with care and emotion, and constructs the image to reflect those sentiments. Beautiful, bold, and often brave images form the document of her process. Plucked as if from a poem or a diary, Loreth’s works are innovative, provocative, and presented with a delicate hand: while concept remains the focus of her efforts, the results are warm, delightfully composed, cerebral treats.

I recently had the fortune to spotlight Sarah’s work in an article “A Dozen Artists of Intrigue.” From there, I asked her to expand that introduction into an interview including a dozen questions peering deeper into the artist’s studio:

DBS:
Please start off by telling us six random things about yourself.

Sarah:

I am mostly self-taught.
My favorite band is ABBA.
I have a cat named Ted Kennedy.
I have an antique camera collection. I'm up to 40 cameras.
I am a twin.
I'm in love with the Harry Potter series.

DBS:
What are the three most important things people should know about your art?

Sarah:

I want my work to be cinematic, to look like a scene from a movie.
A vast majority of my work is self-portraiture. Not out of narcissism or vanity but a severe and painful shyness. I have the hardest time working with models because I'm terrible at directing my vision for the photo.
I like my photography to tell a story.

DBS:
What is the single most important supply/tool in your studio?

Sarah:
However contrived this may sound, my most important tool is my imagination. Without it, my work would be so boring and concept-less.

DBS:
How would you describe your “ideal” Thursday?

Sarah:
My ideal Thursday is to complete my 365 in time to have pizza and naptime on the couch with Ted Kennedy.

DBS:
Do you work full-time as an artist or do you have another job?

Sarah:
I currently work in an operating room.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Sarah:
I certainly hope it's a lot like Back to the Future 2 with hover boards, self lacing shoes, and dehydrated pizza that cooks in 15 seconds.

DBS:
When did you start making art and how did you get into it?

Sarah:
I've always made art. From painting to drawing I've always had the desire to create but I never had the passion to hone my skills. I started taking pictures religiously seven months ago and it just stuck. I HAD to go out and read every photography book I could find. I had to buy all the equipment I could afford. It's become the most important aspect of my life.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Sarah:
Definitely the ability to breathe under water- I like the weightlessness and the feeling of flying and falling simultaneously. At least that's how it feels to me.

DBS:
Why do you make art?

Sarah:
I make art because I am dissatisfied with my current reality. It is so boring and normal. I want life to be magical and photography allows me to play a different person; at least for a little while.

DBS:
What is the biggest mistake you have ever made?

Sarah:
The biggest mistake I ever made was not trying harder in high school. I had so much potential that I wasted. I should have taken more risks and made more friends.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Sarah:
Besides photography, for the longest time I wanted to be a writer. But if practicality wins out I would probably become a nurse. Working in an operating room has made me want to help people.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Sarah:
I would eat lunch with my former self and tell her everything will be alright. We would eat pizza with spaghetti on top and I would pay the bill because she didn't have a job.

See more of Sarah Ann Loreth photographs online.

Join The Studio Chronicle next week for a brand new installment of Journey Beyond The Artist’s Studio.

Journey Beyond The Artist’s Studio: Andrew Kufahl

2011-01-05T18:37:00.001-06:00

artist Andrew Kufahl

"The Anatomy of a Hit"

Please start off by telling us six random things about yourself.

Andrew:

I had 2 baby teeth (one on each side) that didn't have permanent ones beneath.
I have a 4-inch metal rod in my back because my spine is crooked. (One reason I take very few self-portraits that show my back.)
When I feel really stressed, I bite the inside of my lower lip until it is raw. Even then, I keep biting it.
I enjoy playing almost every sport, but pretty much can't stand watching them on television.
During my late teenage years, I grew my hair out until it was almost to my butt.
When I was much younger, I fell asleep driving. I hit a telephone pole, a street sign, a fence, and ended-up in someone's front yard. Uninjured, I got out of the car to get help and almost hit my head on the live electrical wires from the telephone pole I had snapped in half.

DBS:
What are the three most important things people should know about your art?

Andrew:

I am not "me" in my self-portraits. I am a character in the story. If you look at my self-portraits and see "me", you probably aren't looking at the photo objectively enough to understand it as a whole.
99% of my self-portrait work are stories or emotions or experiences from my real life. However, I rarely depict them in the same context that they initially affected me.
My art has essentially no boundaries. There isn't too much that I'm afraid to do.

DBS:
What is the single most important supply/tool in your studio?

Andrew:

I put a lot of effort into getting light to either invoke or support the story or mood of my images. So I would have to say a strobe/speedlight would be my most important tool.

DBS:
How would you describe your “ideal” Thursday?

Andrew:
For me, the only thing that makes Thursday unique is that it is the pre-cursor to Friday. So I don't necessarily have anything specific I would do on a Thursday, but I'd just like it to go by quickly so that Friday would seem to come sooner.

DBS:
Do you work full-time as an artist or do you have another job?

Andrew:
I currently have a full-time job as a software consultant, which is what I've been doing professionally for about the past 12 years. However, so much of my time outside of my job is spent with photography that it's almost like I have two full-time jobs. (Although, I don't get paid for much of what I currently do in the photography world.)

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Andrew:
Grossly overtaken by technology. Digital everything (conceptually to the extent that the movie WALL-E depicts things). We, as a society, will continue to become more lazy and spoiled because of that.

DBS:
When did you start making art and how did you get into it?

Andrew:
Tough question... I'll limit my answer to photography. I would say it started soon after I had some of the basic technical understandings of the camera figured out, which would be about 2 years ago. However, regarding the direction I'm currently taking, I think I had some "epiphanies" around the time I started my 365 project... which would be about 142 days ago. I threw out the rule book at that time, and just let my insides dictate the end-results.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Andrew:
I'm going to cop-out a little on this one and turn it into a two-parter...I would say that "making full-grown replicas" fits me regarding my life as a whole. Being able to make replicas signifies attention to detail and mechanical skills, which I feel I've always had.

But, regarding my life in it's current state, I would have to say "the ability to breath under water". Being able to breath under water signifies staying alive under what are normally non-livable conditions. I feel like I've been drowning in stress for the past few years, yet I'm still here to talk about it.

If I have to pick just one... I'll take "ability to breath under water", because that'll probably be something I carry forward with me for the remainder of my life. So it probably fits my personality a little better.

DBS:

Why do you make art?

Andrew:
Art allows me to illustrate my deepest, darkest secrets without actually telling people about the exact experience or situation or people involved. It's my way of releasing some of the most powerful emotions that I feel, whether they are good emotions or bad.

DBS:
What is the biggest mistake you have ever made?

Andrew:
Up until my 21st birthday, I swore I would never consume alcohol. On my 21st birthday, I consumed it for the first time. That decision eventually led to some difficult years... which I'm still dealing with in certain regards. However, the recovery from that is what helped me to find my current self, and it got me into photography... so I'd probably make that mistake again if I had to do it over.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Andrew:
Sports (soccer, tennis, hockey). Woodworking. Painting. Some type of fabrication job where I could make prototypes with wood or metal. Air-force pilot. Modeling.

DBS:

Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self?

Where would you eat and who would pay the bill?

Andrew:
Definitely would eat lunch with my future self. I see good things for him, and would like to hear the stories about how he got to where he is. We'd eat at a very fancy restaurant, but we'd be the only ones there. The past self would definitely pay the bill... cause he owes the present and future self for what he did in question #10.

"Employee Pride" by Andrew Kufahl

Learn more about the work of Andrew Kufahl online.
Join The Studio Chronicle next week for an all new Journey Beyond The Artist's Studio.

A Dozen Artists of Intrigue: Paula Herrera, Daniel Raedeke, and Mari Lowery

2011-01-04T04:00:00.005-06:00

"Flightless Bird" by Paula Herrera

The first week of 2011 is upon us and brings with it great opportunity for innovation. Looking forward through a 2011 introduction, I am pleased to share twelve new artists, revealing a glimpse into their world. The return of “A Dozen Artists of Intrigue” part four presents Paula Herrera, Daniel Raedeke, and Mari Lowery.

Paula Herrera

The visceral works of Paula Herrera extent beyond the moment captured in a single frame. The artist, whose experiences include theatre and dance among many others, directs, with a 5 second timer, a delicate performance, rich in texture, contrast, and scope. As much like film stills as singular images, Herrera’s works are stunning expressions of form, physical strength, and emotional vitality.

"Brand New Yesterday" by Daniel Raedeke

Daniel Raedeke

As if found in a shop window, as if from a catalog, as if larger than life, printed on vinyl, hung from the side of a corporate headquarters, Raedeke presents a serialized body of work, often complete with hints of packaging. His drawing, paintings, and sculptures are lustrous, objects to deluge, drizzle, or dull the senses. They are about marketing, about trends, and almost without apology, about our love affair with consumption.

"Bunyman" by Mari Lowery

Mari Lowery

Back in graduate school I remember talk of the quirky Holga, a medium format camera whose design introduced unique limitations, which in the right hands might yield remarkably unique images. In a medium almost entirely swallowed by digital cameras, Mari Lowery is among a brave movement to return film to the world of photography. Her images are as unique as her camera of choice, lush, full of contrast, tonal range, and everything else photography once was. Many of them are even pleasantly eerie.

by Andrew Kufahl

Learn more about Paula Herrera at her website.
See more works by Daniel Raedeke online.
The works of Mari Lowery can be seen her website
Join The Studio Chronicle Wednesday for an all new Journey Beyond The Artist’s Studio: Andrew Kufahl

A Dozen Artists of Intrigue: Sarah Ann Loreth, Maria Carolina Ramirez, and Wil Freeborn.

2011-01-02T09:56:00.000-06:00

"62 of 365" by Sarah Ann Loreth

The New Year is upon us and brings with it great opportunity for innovation, as well as a pretext to look back. Over the past week The Studio Chronicle took a few moments to review the past six months in the series “The Mid-Winter Round-Up”. Looking forward through a 2011 introduction, I am pleased to share twelve new artists, revealing a glimpse into their world. In profile, the return of “A Dozen Artists of Intrigue” part three presents Sarah Ann Loreth, Maria Carolina Ramirez, and Wil Freeborn.

Sarah Ann Loreth

Artist Sarah Ann Loreth conceives a work with care and emotion, and constructs the image to reflect those sentiments. Beautiful, bold, and often brave images form the document of her process. Plucked as if from a poem or a diary, Loreth’s work are innovative, provocative, and presented with a delicate hand; while concept remains the focus of her efforts, the results are warm, delightfully composed, cerebral treats.

"boceto, Maria del Paula" by Maria Carolina Ramirez

Maria Carolina Ramirez

From Colombia with care, the works of Maria Carolina Ramirez are composed with confidence, rendered with great skill, utilizing a striking, full-bodied color palette. Rich texture and pattern are seamlessly incorporated; thin lines slice through the image dished out with a subtle, strategic hand. A photographer as well as an illustrator, Ramirez delivers a complete and complex package.

"Cake and text messages" by Wil Freeborn

Wil Freeborn

Designer and illustrator Wil Freeborn’s drawing are nuanced, extraordinary documents of the life of an artist. Diligently, Freeborn illustrates the world around him in his Moleskine journal, a stylish notebook popular among artists, writers, and travelers. Through beautiful line and minimal color Freeborn illustrates; through documentation, he presents the narrative of his life.

See more of Sarah Ann Loreth photographs online.
Learn more about Maria Carolina Ramirez at her website.
Check out the work of Wil Freeborn on his website.
Join The Studio Chronicle Tuesday morning for part four of A Dozen Artists of Intrigue.

A Dozen Artists of Intrigue: Dejana Batalovic, Andy Alcala, and Adara Sánchez Anguiano

2010-12-31T15:20:00.000-06:00

"Oh Retro?" by Dejana Batalovic

The New Year is inevitable and brings with it great opportunity for innovation, as well as a pretext to look back. Over the past week The Studio Chronicle took a few moments to review the past six months in the series “The Mid-Winter Round-Up”. Looking forward through a 2011 introduction, I am pleased to share twelve new artists, revealing a glimpse into their world. In profile, the return of “A Dozen Artists of Intrigue” part two presents Dejana Batalovic, Andy Alcala, and Adara Sánchez Anguiano.

Dejana Batalovic

A type of theatre, Dejana Batalovic's photographs are an urban revival, built on the architectural principles of design, structure, and function. Beyond the spectacular façade, through her work Dejona (as she is widely known around the online photography community) reveals the inner workings of her life. "Oh Retro?", with open cupboard, exposed legs, and ominous telephone call, exposes the drama of life and the revelation of urban existence.

a self-portrait by Andy Alcala

Andy Alcala

As if from a spark, the works of Andy Alcala burst through the confines of the picture plain. There a quality about Alcala's photographs that seems to defy even time, as smoke billows from the artist's very black hair. It the task of photography itself to capture a moment, but Alcala,'s work, with beautiful, stark contrast, distorts and bends the very laws of physics. Ultimately, Alcala makes it all seem simple, a symptom of remarkable photography.

“h-o II” by Adara Sánchez Anguiano

Adara Sánchez Anguiano

As early as Paleolithic times, human ingenuity and compulsion have combined in the medium of drawing. It may well be compulsion that motivates the works of Adara Sánchez Anguiano. Through drawing, Adara captures human impulses, emotional and physical. Her figures are beautifully rendered, made even more compelling by sketchy, distinctive line work and subtle use of bold color.

See more of Dejana Batalovic photographs online.
The works of Andy Alcala can be seen on flickr.com
Learn more about Adara Sánchez Anguiano at her website.
Join The Studio Chronicle Sunday morning for part three of A Dozen Artists of Intrigue.

A Dozen Artists of Intrigue: Andrew Kufahl, Ericka Lugo, and Marcin Kwiecień

2010-12-29T18:48:00.002-06:00

“And The Sea Will Know My Name” by Andrew Kufahl

Andrew Kufahl:

Cast in the role of hero, musician, comedian, laborer, and existentialist, Wisconsin photographer Andrew Kufahl infuses each of his images with self-meaning in the face of the obstacles of absurdity and alienation. Captured in meticulous light, Kufahl’s works utilize contrast, color, and depth to render remarkable photographs. “And The Sea Will Know My Name” is a classic, painterly self-portrait, selectively inundated with pipe smoke.

"Violinist" by Ericka Lugo

Ericka Lugo:

Composed with a clever wit, freelance illustrator Ericka Lugo’s works are rendered with a sophisticated touch, boasting a timeless use of color. Lugo embraces Popular Culture, her style influenced by trends in illustration over the past 50 years. A chic image, Lugo’s “Violinist” combines technique and poise. Narrative and nuanced, Lugo’s works are enduring and endearing.

"lumber-room" by Marcin Kwiecień

Marcin Kwiecień:

Dark and dislodged from a forgotten dream, the works of Marcin Kwiecień are a prelude to postmodernism, and a rejection of modernism. From Cracow, Poland, Kwiecień works are both haunting and striking, revealing, through dark shadows and power relations, fractured pieces of time, place, and the person Kwiecień may or may not be.

The works of Andrew Kufahl can be seen on flickr.com
Learn more about Ericka Lugo at her website.
See more of Marcin Kwiecień photographs online.
Join The Studio Chronicle the afternoon of New Year’s Eve for part two of A Dozen Artists of Intrigue.

The Mid-Winter Round-Up: Renee Nault

2010-12-28T19:34:00.000-06:00

Through The Mid-Winter Round-Up I have had the great opportunity to present an anthology of recent artist, presented in profile. I would like to personally thank all the exceptional artists who have challenged convention, presented their own unique glimpse of the world, & enriched contemporary society along the way. The same gratitude is wholeheartedly extended to all the readers of The Studio Chronicle. To show your appreciation for the artists presented, readers might consider leaving comments or sharing The Studio Chronicle with friends.

The works of Renee Nault can be seen on his website.

Join the Studio Chronicle tomorrow for the long-overdue return of A Dozen Artists of Intrigue.

The Mid-Winter Round-Up: João Ruas

2010-12-27T22:41:00.000-06:00

"self portrait" by João Ruas

"Incendiarios" by João Ruas

Through The Mid-Winter Round-Up I have had the great opportunity to present an anthology of recent artist, presented in profile. I would like to personally thank all the exceptional artists who have challenged convention, presented their own unique glimpse of the world, and enriched contemporary society along the way. The same gratitude is wholeheartedly extended to all the readers of The Studio Chronicle. To show your appreciation for the artists presented, readers might consider leaving comments or sharing The Studio Chronicle with friends.

The works of João Ruas can be seen on his website.

Join the Studio Chronicle tomorrow for the final installment of The Mid-Winter Round-Up: Renee Nault.

"Autumn Scarf" by Renee Nault

The Mid-Winter Round-Up: Peggy Wolf

2010-12-26T17:28:00.001-06:00

by Peggy Wolf

The works of Peggy Wolf can be seen on her website.

study by João Ruas

Join the Studio Chronicle tomorrow for the sixth installment of The Mid-Winter Round-Up: João Ruas.

The Mid-Winter Round-Up: Mattijn Franssen

2010-12-25T06:00:00.002-06:00

"The Autumn Chamber" by Mattijn Franssen

"Relapse" by Marrijn Franssen

A day in the life of Mattijn Franssen will have to wait. It is a more incredible, impossible adventure that Franssen investigates. Cutting, snipping, and gluing may be replaced by photo enhancement, but there is something not so distant, not so unfamiliar in the process of Mattijn’s works. Mattijn becomes in these works not unlike a paper doll, movable, changeable, and incredibly capable of visiting the farthest reaches of his own uncharted imagination. Along the way, he treats the viewer to spectacular worlds and extraordinary obstacles, accompanied faithfully by his feline companion Pino.

Through The Mid-Winter Round-Up I have had the great opportunity to present an anthology of recent artist, presented in profile. I would like to personally thank all the exceptional artists who have challenged convention, presented their own unique glimpse of the world, & enriched contemporary society along the way. The same gratitude is wholeheartedly extended to all the readers of The Studio Chronicle. To show your appreciation for the artists presented, readers might consider leaving comments or sharing The Studio Chronicle with friends.

by Peggy Wolf

The works of Mattijn Franssen can be seen on his website.

Join the Studio Chronicle tomorrow for the fifth installment of The Mid-Winter Round-Up: Peggy Wolf.

The Mid-Winter Round-Up: Monica Marcella

2010-12-24T23:02:00.000-06:00

"moon" by Monica Marcella

Beneath it all, below the surface of each painting, tucked below the base of every sculpture, is the story of an artist in their studio, molding, manipulating and sometimes meddling, with their thoughts and visions. Through this chronicle I enjoy the great opportunity to introduce a world of artists to a developing audience, revealing a glimpse of each in their studio. Presented over the course of seven days, it is a special honor to present the first edition of The Mid-Winter Round-Up. Selected from a talented pool of artists interviewed in 2010, the third artist featured in The Mid-Winter Round-Up is with Norwegian artist Monica Marcella.

My initial encounters with the works of Monica Marcella were in retrospect in reverse order; I was reading the book backwards. Quirky, and sometimes alarming, Marcella presented a large world of small figures, many gleaming white, all somehow “up to something.” Their origins a bit of a mystery, Marcella embeds in each the sense of exploration. Interestingly, it is through photography, that Marcella begins to share a glimpse of their origin. Firmly at their center, her photographs are biographical, but only to a point. The world of Marcella fuels her work; as often as this is the case, it is through the combination of her photography and her sculpture that we are treated to the joy of the first page and the satisfaction of the last.

"coexistence" by Monica Marcella

The works of Monica Marcella can be seen on her website.

by Mattijn Franssen

Join the Studio Chronicle tomorrow for the fourth installment of The Mid-Winter Round-Up: Mattijn Franssen.

The Mid-Winter Round-Up: David East

2010-12-23T18:30:00.000-06:00

"CROWN" installation shot 1, David East

"CROWN" installation shot 2, David East

In recent years East’s sculptures reflects that critique of American culture, convention, and hopes. Drawing largely on inevitable architecture, East couples the ranch style home, once favored by suburban sprawl with imagery pulled from high school chemistry textbook and scientific models. A symbolic question, East presents no conclusions, in favor of establishing a visual word problem. Aside from their deconstructive nature, his sculptures are beautifully constructed, brilliantly designed, and naturally amusing works of art.

Through The Mid-Winter Round-Up I have had the great opportunity to present an anthology of recent artist, presented in profile. I would like to personally thank all the exceptional artists who have challenged convention, presented their own unique glimpse of the world, & enriched contemporary society along the way. The same gratitude is wholeheartedly extended to all the readers of The Studio Chronicle. To show your appreciation for the artists presented, readers might consider leaving comments or sharing The Studio Chronicle with friends.

The works of David East can be seen on his website.

"Pieces That Remain" by Monica Marcella

Join the Studio Chronicle tomorrow for the third installment of The Mid-Winter Round-Up: Monica Marcella.

The Mid-Winter Round-Up: Kristamas Klousch

2010-12-22T18:04:00.001-06:00

"Some Ghosts Are Women II" by Kristamas Klousch

"giliatey" by Kristamas Klousch

The works of Kristamas Klousch can be seen on her website.

Installation shot by David East

Join the Studio Chronicle tomorrow for the next installment of The Mid-Winter Round-Up: David East

Journey Beyond The Artist’s Studio: Ingri Haraldsen

2010-12-15T17:52:00.002-06:00

artist Ingri Haraldsen

Beneath it all, below the surface of each painting, tucked below the base of every sculpture, is the story of an artist in their studio, molding, manipulating and sometimes meddling, with their thoughts and visions. Through this chronicle I enjoy the great opportunity to introduce a world of artists to a developing audience, revealing a glimpse of each in their studio. The latest interview in the series Journey Beyond The Artist’s Studio is with Norwegian artist Ingri Haraldsen.

In recent interviews I have asked artists how they imagine the world in 100 years and to my surprise, many have presented little optimism. Spoilers aside, the works of Ingri Haraldsen fit like a load-stone supporting an evolutionary twist in our story. Rather than shiny towers, robots, and jetpacks, the world of Haraldsen is one where the natural world has reclaimed the planet. A vision that echoes Sara Teasdale's 1920 poem "There Will Come Soft Rains"

There will come soft rains and the smell of the ground,
And swallows circling with their shimmering sound;

And frogs in the pools singing at night,
And wild plum trees in tremulous white;

Robins will wear their feathery fire,
Whistling their whims on a low fence-wire;

And not one will know of the war, not one
Will care at last when it is done.

Not one would mind, neither bird nor tree,
If mankind perished utterly;

And Spring herself, when she woke at dawn
Would scarcely know that we were gone.

Metaphors aside, Haraldsen presents drawings composed with subtle nuance, rendered both beautifully and haunted in classical lines. She takes ownership of each surface with confidence and consideration.

I recently had the opportunity to ask Ingri a series of questions in search of greater insight into how she thinks and the images that she makes.

DBS:
Please start off by telling us six random things about yourself.

Ingri:

I think I have a hearing problem.
I love music, but never manage to remember the lyrics.
I have 6 sisters and one brother.
As a child, I believed the fairy-tales my grandpa told me.
I love chocolate.
I can't take care of plants.

DBS:
What are the three most important things people should know about your art?

Ingri:
It's spontaneous, detailed, and not very well thought trough when I start at it

DBS:
What is the single most important supply/tool in your studio?

Ingri:
A mechanical pencil

DBS:
How would you describe your “ideal” Thursday?

Ingri:
Going to an inspiring, mind-blowing exhibition that makes me want to run home and work.

DBS:
Do you work full-time as an artist or do you have another job?

Ingri:
I'm Working 60% in an art supply store and when needed, at a contemporary Gallery for young artists in Oslo.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Ingri:
I would love to think that we will have managed to save the planet, if not, I hope it has grown and taken back what belonged to it. Maybe 200 years after that I'm sitting in a strange substance that are following my body's movements, allowing me to fly and go underwater and our cities are hanging up in the air, and have developed their own ecosystems, and strange forms of life are developing all the time.

DBS:
When did you start making art and how did you get into it?

"Maa" markers on wood, 6 x 2,4 meters
Exhibited during the The Globalization Conference in Oslo

Ingri:
A big family means less space and attention. I don't think I started drawing to get attention it just became that way. Also, to get the space I needed for doing so, I used to wake up early around 4-5 o'clock in the morning to draw. So my mum always told the babysitter to put out some paper and colored pencils, then they could sleep and I would be drawing until they got up.

DSB:
Please select one of the following super human powers that best fit your personality and tell us why:
      -super human speed
      -the ability to make full-grown replicas of yourself.
      -super human strength
      -the ability to breath under water.

Ingri:
Hard one actually, I think I would go for the one I least think fits my personality, but the one I wish I had, “the ability to breath under water.” I work with themes that float around the unknown, and for me the ocean and the universe are the two places I fear and like the most. So the ability to breathe under water would give me a chance to explore one of the most unknown and discomforting areas to me.

DBS:
Why do you make art?

Ingri:
To express myself and in many ways it has become my identity.

DBS:
What is the biggest mistake you have ever made?

Ingri:
To think I needed a reason for making the things I'm making

DBS:
You completely change your career path with no limitations; what other fields interest you?

Ingri:
Psychology and animals

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat and who would pay the bill?

Ingri:
I would eat lunch with my past self, the seven-year-old Ingri, and I would ask her about all her strange, childish ideas, her view and approach to what I'm doing today and what she would like me to do in the future. We would dine in an area untouched by humans and I would of course pay the bill or we would make a run for it; with no other humans around, who would we pay?

You can learn more about the works of Ingri Haraldsen at her website.
Join The Studio Chronicle December 22nd- December 28th to celebrate The Mid-Winter Round-Up.

Journey Beyond The Artist’s Studio: Beatrix Mira

2010-12-08T18:34:00.000-06:00

artist Beatrix Mira

Since I was 5 years old, I have wanted a cherry pitter.
I love cheese
I have a two and a half year old son.
I secretly dream of having a house in Taormina, Sicily
My imagination is both my greatest quality and my biggest weakness.
At first I am very shy, but then I can be too talkative!

DBS:
What are the three most important things people should know about your art?

Beatrix:

I'm quite obsessive. When I have an idea, I can't think of anything else.
My work is very heterogeneous because I'm dilettante. (I do have a few projects that resemble a proper series.)
I still don't know why I need to create or invent things, but it makes me feel good

DBS:
What is the single most important supply/tool in your studio?

Beatrix:

If only I had a studio! I work at home most of the time. I would say my brain is the most important!

DBS:
How would you describe your “ideal” Thursday?

Beatrix:
Today, my ideal Thursday would be:
- sleep in!
- hot chocolate with whipped cream
- put my feet in the river
- playing and singing with my son calmly (I emphasize "calmly")
- having a photo shoot with Freja Beha
- watching Dexter under the duvet

DBS:
Do you work full-time as an artist or do you have another job?

Beatrix:
I am a psychology student, and soon I will take the special needs worker's exam. I want to work with elderly. But I remain concerned about the idea of art and beauty, and I'm currently writing a dissertation on the role of beauty in nursing homes.
I wanted to be a full-time artist. Not just photography, I'm still tinkering with small things / jewelry / objects / painting etc.. If I didn’t have a child, I would. :)

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Beatrix:

I do not have a very cheerful vision of the future, I think we are heading for disaster. In 100 years it will be like today but worse.

DBS:
When did you start making art and how did you get into it?

Beatrix:
My mother encouraged me to do creative activities since I was a little girl: painting, pottery, theater, dance, violin, drawing etc. This has probably encouraged my nature. I am not sure if what I am making is art...but I try :)

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Beatrix:
None of the above-
I think my family would like “super human speed”, because I'm very slow and very difficult to follow! ;)
But only super power I would like is Memory, lots of memory!

DBS:
Why do you make art?

Beatrix:
To express myself.

DBS:
What is the biggest mistake you have ever made?

Beatrix:
I make mistakes all the time! I'm scatterbrain, so I spend my time looking for what I forgot.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Beatrix:
Fashion, to realize my childhood dream of being a stylist.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Beatrix Mira

Beatrix:
With my future self, to understand why she is where she is, and avoid mistakes. It would be in a tea garden for eating pastries. Whoever has the most money in her wallet; since I rarely go out with money on me, I suspect she probably won’t have any money either!

The works of Beatrix Mira can be seen on flickr.

Please join The Studio Chronicle next week as we interview Norwegian artist Ingri Haraldsen.

"Maa" by artist Ingri Haraldsen

Journey Beyond The Artist’s Studio: Ola Bell

2010-12-01T18:55:00.000-06:00

While the great task of the journalist is to uncover the story, and the conventional goal of a self-portrait is to reveal something personal, the accepted role of a mask is to conceal. Through photography Ola Bell invites the viewer to take a glimpse, offering a candid visit to her world. This is a world where objects float & cats communicate pointedly with their human counterpart. Conditional, these images obscure more than they disclose. A mystery in the form of a statement, Bell's works are intriguing, conceived with a hint of audacity, and always beautifully realized.

I recently had the opportunity to ask Bell a dozen questions in the hopes of uncovering what I could of her story.

DBS:

Please start off by telling us five random things about yourself.

Ola:

I like cats
Cats like me
Spring is my favourite season
I have no black dress
I don't like tea or coffee.

DBS:

What are the three most important things people should know about your art?

Ola:

I don't think people should know anything - they are better off making their own minds up.

DBS:

What is the single most important supply/tool in your studio?

Ola:
The camera and me

DBS:

How would you describe your “ideal” Thursday?

Ola:

Including something that would make me feel fulfilled; that could be anything

DBS:
Do you work full-time as an artist or do you have another job?

Ola:
I don't work full-time as an artist

DBS:

Time travel is a compelling topic to me. When considering the Future, how would you imagine what the world might be like in 100 years?

Ola:

I couldn't care less

DBS:
When did you start making art and how did you get into it?

Ola:
Probably as a child but I can't put my finger on it

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:

-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Ola:

To say the honest truth I detest super heroes very much so I won't be choosing any of the above.

DBS:
Why do you make art?

Ola:
Something to do on the rainy days.

DBS:
What is the biggest mistake you have ever made?

Ola:
I don't know - I have no desire to remember my mistakes, why would I do so?

DBS:
You completely change your career path with no limitations; what other fields interest you?

Ola:
There are loads of things; too many to list.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat and who would pay the bill?

Ola:

I guess it would be my past self, but it would be home cooked food so there would be no reason to worry about such petty things as paying the bill.

To see more of Ola Bell’s photographs, check them out on flickr.

Join The Studio Chronicle next Wednesday for an All New Journey Beyond The Artist's Studio.

Journey Beyond The Artist’s Studio: Vanessa Paxton

2010-11-24T18:00:00.001-06:00

artist Vanessa Paxton

I'm a white Jamaican.
I wish the Starship Enterprise were a real.
Before moving to Canada I wanted to pursue swimming at the Olympic level.
I was supposed to be named Samantha-Jones.
I am easily discouraged.
I brush my teeth about 4+ times a day.

DBS:
What are the three most important things people should know about your art?

Vanessa:

I am rarely ever happy with my work, and if I am, it is often short lived.
I aim to create scenes with dimension. For example, I try to give my images physical depth by including elements in the foreground, middle ground and background. And they are always created with a vision in mind.
I prefer shallow depth of field because that is the way I see the world.

DBS:
What is the single most important supply/tool in your studio?

Vanessa:
You assume I have a studio. I use natural light; therefore the most important tool is the sun.

DBS:
How would you describe your “ideal” Thursday?

Vanessa:
Breakfast of french toast and bacon on a veranda facing the outdoors, preferably of a waterfall but I would settle for a general nature view. Tanning on the beach with a piña colada and avocado sandwich. And a home cooked dinner of steak and mash potatoes with a few rounds of catchphrase to finish the night.

I think that's more my ideal life, haha! Okay, I guess a realistic ideal Thursday would be a Star Trek marathon with my boyfriend.

DBS:
Do you work full-time as an artist or do you have another job?

Vanessa:
I work full-time as an artist/photographer doing mostly weddings, head shots and family portraits.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would you imagine what the world might be like in 100 years?

Vanessa:
I don't think the world would be much different in 100 years to tell you the truth. Perhaps we would have successfully sent a few dozen suicide missions to Mars to terraform the planet. I'm sure Apple will be on their 80th version of the iPhone by then and still butting heads with Microsoft for world dominance. We'll probably even have the iShuttle by then, with Windows! That was a bad joke. But in all seriousness, I don't think much would've changed.

DBS:
When did you start making art and how did you get into it?

Vanessa:
I've answered this question many times and I'm pretty sure I give a slightly different answer every-time. I got into photography in Grade 10. I guess because painting just wasn't doing it for me anymore.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:

-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Vanessa:
Definitely the ability to breath under water. I'm part fish, you know.

DBS:
Why do you make art?

Vanessa:
I still don't know why I make art. I ask myself that just about every-time I go make something. I guess it's out of general boredom with life. What else is there to do before our bodies deteriorate and we die. So I guess it's the most enjoyable pass time.

DBS:
What is the biggest mistake you have ever made?

Vanessa:
I haven't made my biggest mistake yet.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Vanessa:
Scuba instructor! I've never actually been scuba diving but it doesn't seem much different from diving without air, other than being able to stay down longer and go deeper with scuba gear. I'd like to do that for a nice resort or independently.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Vanessa Paxton

Vanessa:
I'd dine with my past self because I wouldn't want to see my future self. But I don't know if that means my past self would feel the same way about seeing me now, the future self. Wait, so either way I'd be dinning with a past and future version of me and since they're still both me I'd experience both sides anyway! But I suppose there is still a difference in being myself now and dinning with a future version of myself and being myself now and dinning with a past version of myself. Okay, I would still choose to dine with a past version of myself. And I would dine at home so no one has to pay. Ah-ha! But I suppose if we did dine somewhere the version I am now would have to pay because the past version of myself wouldn't have any money. How lame is that answer?

"But Who is the Master" by Ola Bell

You can learn more about the works of Vanessa Paxton on her website.

Vanessa Paxton can also be seen on flickr.com.

Be sure to join The Studio Chronicle next week when we interview Ola Bell.

As always, thank you for reading!

Journey Beyond The Artist’s Studio: Cserban

2010-11-17T19:00:00.003-06:00

Scrabble, by Cserban

After discovering the works of Cserban, I introduced myself, asking him a series of questions in search of greater insight into the images that he makes and the drama he presents.

DBS:
Please start off by telling us six random things about yourself:

Cserban:

I have memories from 2 years and sharp, clear images complete with factual details.
I run between 7 and 16 km in the forest each day.
My photos I like the most were shot in the morning.
Climbing high mountains is the ultimate in management for me. No tricks, no playing around, just perfect training, resource allocation, timing, analysis of what is possible or not and decisive action. Like a life condensed in few days.
I like places where the light surrounds me like water or like a flavor – in a material way. The most beautiful human built places for me in this way are the Pantheon from Rome, Sofia Mosque in Istanbul, Saint Chappele in Paris. The light there is concrete and heavy and flowing.
I like green tea and Creed perfumes.

DBS:
What are the three most important things people should know about your art?

Cserban:

On the streets, I do not look to shoot anything in particular. Something has to catch my eye. When I do compositions, I work on an idea in my mind up to the moment when it is very clear conceptually, but the execution is the key – so I shoot a few frames from different angles with different lighting.
I like to deviate from the standard, from the herd.
I try to make photos that arise questions.

DBS:

Management. Leadership, by Cservban

What is the single most important supply/tool in your studio?

Cserban:
I do not have a studio, so it’s all in the camera.

DBS:
How would you describe your “ideal” Thursday?

Cserban:
I imagine a sunny Thursday during May in Tuscany. It would start with a one hour run in the hills. Then, shooting Christy Turlington in an empty old roman villa in the morning light. After that some sunbathing, reading Jose Saramago and editing photos. Emails, videoconferences, promoting & firing people. Doing my backpack for a climbing weekend in the Alps. Dinner with….singing to her “I Hope That I Don't Fall In Love With You.” Caring her to bed...................................................... It’s Friday, the Weekend.

DBS:
Do you work full-time as an artist or do you have another job?

Cserban:
I am an adventurer and entrepreneur, and make photos on the side.

DBS:

Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Cserban:
I hope the world will not be fucked up by some idiotic nuclear launch.
Instead, maybe people will be living on Moon possible. Cancer should be fully curable. We might have human clones and live 150-200 years. People will have chips in the body for identification, communication, entertainment and unlimited connectivity. 99% artificial food; Natural food will probably be extremely rare and expansive. There would be no concept of retirement; you will live from what you produce during productive life. No countries based on national concept. People are grouped based on preferences. The legal system is largely unique in the world. There may be cities/communities for wealthy, cities/communities for tech freaks, cities/communities for poor, etc. Severe segregation based on wealth and capabilities/competences. Photography will be a vintage, retro activity, no money producing – a curiosity.

DBS:
When did you start making art and how did you get into it?

Cserban:
October 2007. Seeing photo albums of Annie Leibowitz, David Lachappele, Helmut Newton, etc. I imagined how much happiness there is in creating such images and wanted to feel the same. I wanted to create beauty, surprise, contradiction and attraction.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed.
-the ability to breath under water.
-the ability to make full-grown replicas of yourself.
-super human strength.

Cserban:
-the ability to make full-grown replicas of yourself. Through collaboration I would have the chance to multiply my intelligence, sensibility, work power. I would brainstorm a lot with me. I would go to parties with 5 replicas, dressed differently, speaking with different accent. I could be in many places in the same time – Himalaya, NY, Thailand.

DBS:
Why do you make art?

Cserban:
I like the feeling. I like the path between dream, plan, realization, and happiness in the realization of a work. I like the absence of boundaries. Thinking about a potential image, I enter in a world where everything is possible and where the artist is almost a god – mixing and deciding everything there. It’s important for me to freeze a feeling or an emotion, in order to keep it fresh over time. I am afraid of loosing some key memories or parts of it. Photography helps me to preserve it. I enjoy the appreciation I get from the people that like my images, because I gave them at least a second of good emotion: I made a better second for them. I even like negative feedback, because I learn a lot from it.

DBS:
What is the biggest mistake you have ever made?

Cserban:
I do not think about a number one mistake. I have made some serious mistakes hurting people who love me. Being an entrepreneur and adventurer, making the mistakes, correcting mistakes and learning to avoid future mistakes is a necessary chapter in life. The management of mistakes gives strength, vision accuracy, leads to self-confidence.

DBS:

The Seventh Habit is Making Choices, by Cserban

You completely change your career path with no limitations; what other fields interest you?

Cserban:
Social Responsibility, Doing good is the ultimate human activity.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat and who would pay the bill?

Cserban:
I would go to lunch with my future self, definitely. I have a lot of thinks to foreseen, to explain him and to make him to believe in him – in a good future. I think we would go to some seaside restaurants in Taormina, Sicily or Krabi, Thailand where the food is very good; you can see the sea and the mountains at the same time. I will pay. My future well-being is an investment and a lunch it’s worth it!

The works of Cserban can be seen on flickr.

Alice II, by Vanessa Paxton

Join The Studio Chronicle next week for a brand-new edition of Journey Beyond The Artist’s Studio where I interview artist Vanessa Paxton.

Journey Beyond The Artist’s Studio: João Ruas

2010-11-10T19:02:00.004-06:00

Brazilian artist João Ruas

DBS:
Please start off by telling us six random things about yourself.

Ruas:

I’m a dog person.
I like unfunny jokes more than funny jokes.
Going against the artsy cliché, but I do enjoy watching TV and Football (Soccer).
I have the need to always wear a watch, even sleeping.
I prefer olives to ice cream.
Even though I understand probably less than 10% of it, I enjoy reading and listening to scientific articles or debates.

DBS:
What are the three most important things people should know about your art?

Ruas:

It's sincere.
It starts where words end.
There's contrast.

Haunted #25, by João Ruas

DBS:
What is the single most important supply/tool in your studio?

Ruas:
- Pencils.

DBS:
How would you describe your “ideal” Thursday?

Ruas:
- A boring day to some, a peaceful day to me.

DBS:
Do you work full-time as an artist or do you have another job?

Ruas:
I am a full-time artist.

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Ruas:
Taking in consideration the amazing human ability to adapt and create during adversity, we would still be around in a completely different world, not necessarily a darker or lighter world, but a world just out of our actual comprehension.

DBS:
When did you start making art and how did you get into it?

Ruas:
-Professionally in 2004. I got into it because I couldn't do anything else, simple but true.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Ruas:
"The ability to breath under water." -Sometimes I just want to be by myself and under the seas would be a perfect place.

DBS:
Why do you make art?

Ruas:
This is a cliché, but for the same reason I eat.

DBS:
What is the biggest mistake you have ever made?

Ruas:
I had big thoughts and hopes for something little.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Ruas:
- History, Animals and Vintage Cars.

Dawn I, II, & III, Thinkspace Gallery, Los Angeles, acrylic & gold leaf on illustration board
each 30 x 46 cm

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Ruas:
I would eat lunch with my future self. We would eat in a small restaurant by the Colosseum in Rome and I would pay the bill.

To learn more about the works of João Ruas check out his website.
To see additional examples the works of João Ruas, have a look at his photostream.
Join The Studio Chronicle Every Wednesday night for an All-New Journey Beyond The Artist's Studio.

Journey Beyond The Artist’s Studio: Amy Guidry

2010-11-03T19:45:00.001-05:00

Louisiana artist Amy Guidry

Beneath it all, below the surface of each painting, tucked below the base of every sculpture, is the story of an artist in their studio, molding, manipulating and sometimes meddling, with their thoughts and visions. Through this chronicle I enjoy the great opportunity to introduce a world of artists to a developing audience, revealing a glimpse of each in their studio. The latest interview in the series Journey Beyond The Artist’s Studio is with artist Amy Guidry.

The time-honored tradition aside, I rarely ask artists about their influences; it goes without saying that each look to the past, through art history, as well as to the works of peers while constructing new images. My own interests have recently turned my attention, in part, to the Dada photographer Man Ray. The works of Amy Guidry in their own right pay a charismatic nod to the often-inscrutable surrealist, perhaps most notably the works of Belgian artist René Magritte. Guidry walks a conscious line between the cerebral and a traditional, formal approach to making an image. While visually speaking the language of free association, a kind of description of dreams rather than a capturing of dream-like images, Guidry’s works tell a unique, contemporary story. What sets her apart from many neo-surrealists is that she is not imitating Dali, Ernst, or even de Chirico, but rather, speaking their language. Completing the package, Guidry’s paintings are smart, methodical, and contemporary.

I recently had the opportunity to ask Guidry a series of twelve questions, gaining a greater insight into the images that she makes.

DBS:
Please start off by telling us six random things about yourself.

Amy:

I am what is commonly known as "double-jointed"
I'm a vegan
I make awesome oatmeal raisin cookies from scratch
I like cats
I can impersonate Marge Simpson
I only drink water

DBS:
What are the three most important things people should know about your art?

Amy:

I put my heart and soul into my work.
I think there are always ways to improve and learn, and I'm always seeking to do both from one painting to the next.
I'll easily spend an hour working on a square inch, working on every little detail I can fit in there.

DBS:
What is the single most important supply/tool in your studio?

Amy:
Probably my size 00 round brushes

DBS:
How would you describe your “ideal” Thursday?

Amy:

Finish a painting, do some marketing work, and still have the energy to workout at the end of the day.

DBS:
Do you work full-time as an artist or do you have another job?

Amy:
I am a full-time artist

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Amy:
I'm going to be optimistic and hope that 100 years from now, we are all more aware of our actions and how they affect others, including the rest of the animal kingdom, and the planet. I'd like to see our sustainability efforts surpass those of today. I'd like to see a kinder, gentler, peaceful planet.

DBS:
When did you start making art and how did you get into it?

Amy:

I think as many artists did, I started creating as soon as I could hold a crayon. I was constantly drawing, painting, etc. all throughout school and knew that was what I wanted to study in college. Art was a necessity for me. The same feeling holds true today. Except now I am aware that art is a powerful vehicle to raise questions and provoke ideas.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Amy:
I'm going to have to go with super-human speed. I'm a type A busy-bee, so speed would come in handy for me.

DBS:
Why do you make art?

Amy:
This goes back to one of my previous answers. I've always created, starting at a very young age- drawing, illustrating my own storybooks (even though I couldn't read or write yet...those were interesting...). Art became a normal part of my routine. As I've aged and my work has developed over the years, it has surpassed that to become my platform for sharing ideas, thoughts, fears, concerns, etc. and engaging an audience to consider these issues as well.

DBS:
What is the biggest mistake you have ever made?

Amy:
Hmm, wow, I'll keep this related to my art... I think the biggest mistake I've made was to deem an idea as not good enough and toss it in the trash (not any specific instance, but this was something I did early in my career).

DBS:
You completely change your career path with no limitations; what other fields interest you?

Amy:

"Bon Appetit" by Amy Guidry

I'll narrow down my options here and say that Psychology has always been of great interest to me, which is fitting given my work and love of Surrealism. I also have a passion for fashion, so designing clothes would be fun.

DBS:
Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Amy:
I'd eat with my future self since I'd be curious to see what the future holds. Plus, I think (or at least hope) there would be more vegan options in the future. So in answer to the second question, as long as it's a vegan restaurant, I'll be happy. And due to inflation, I'd say my future self should pay. :)

You can learn more about the works of Amy Guidry on her website.

by João Ruas

Stay up-to-date with Amy Guidry on facebook.

Be sure to join The Studio Chronicle next week when we interview João Ruas.

Journey Beyond The Artist's Studio: Monica Marcella

2010-10-27T18:00:00.001-05:00

I recently had the opportunity to catch up with Marcella to find out more about her world and what informs the work she makes.

DBS:
Please start off by telling us six random things about yourself.

Monica:

I like tools.
I’m a quite small person.
I like moving mind and body.
I don’t eat meat, because I don’t want anything to be keep "caged" for my sake.
I have two daughters.
I live on a small island by the wild North Sea.

DBS:
What are the three most important things people should know about your art?

Monica:

For my photography it’s just the wish to share parts of my life colored by my heart in some way.
I keep it simple...simple cameras and just a few layers edited mostly.
I can’t seem to compose in formats other than square...

DBS:
What is the single most important supply/tool in your studio?

Monica:
The Richo Gr II, because I’m a Ricoh girl (this is my fifth Ricoh cam and the second of this model...also LOVE the analog Ricoh Gr). I adore their optic and how you could early on in the history of digital cameras come really close to the motif. I almost wet myself when I was introduced to Gr II and the possibility of putting it on square viewer. A tripod is nice to have around too...stabilizing the camera on a cereal box is ok when taking shots indoors, but it’s an awkward solution in the forests.

DBS:
How would you describe your “ideal” Thursday?
Monica:

-get up finding a nice surprise on flickr or in my file of music
-stretch a little and have breakfast with green tea
-take a long, long, long trip out on the sea in my kayak
-get a brilliant idea and be able to see make it and even get suppressed by the process changing it and make it even better
-not getting yelled at when trying to do the taolo pattern at my wushu training (kung fu) and celebrating it with a good dark beer when I come home...rather outdoor than indoor...has to be a full moon has it not ?

DBS:
Do you work full-time as an artist or do you have another job?

Monica:
I am a full time-artist and I teach art for kids part time (one is always an artist even when doing the dishes your mind works).

DBS:

Given a time machine and an empty stomach, who would you eat lunch with, your past self or your future self? Where would you eat & who would pay the bill?

Monica:
I would take the time machine back to when I was 7, with a fishing rod and we would fish our own meal. I guess she would have matches and knife in her pockets. We would grill it on a bonfire by the shore.

I would not tell her that everything was going to be alright, but at least assure her that the 3rd World War and the big bomb were not just around the corner.

DBS:
When did you start making art and how did you get into it?

Monica:
I guess I have always been making stuff...out of everything...but the piece I’m still most proud of is a airplane I built at the age of 4 or 5. It was 2 meters and painted red...it says a lot about my urge to explore and get away.
Photography was introduced to me by my father...he had a Nikormat and let me borrow it.

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-super human speed
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to breath under water.

Monica:
hmmm....you didn’t say fly so then it have to be breathing under water.

DBS:
Why do you make art?

Monica:
It’s an urge and my way to communicate; I mess up when I use words. I need to make stuff...I just do.

DBS:

What is the biggest mistake you have ever made?

Monica:

We are talking about art here I hope? It has to be the time I made 120 insect sized aircrafts...in 2001...and it was difficult for me to get work done because my youngest daughter was just born. I had no kiln so I was allowed to use the one at the school I had just graduated from. I was trying to remove the needles from the objects and they all cracked...I learned then to remove the insect needles from my sculptures when still moist.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Monica:
Biology, no doubt or forestry; I’m a nerd, but I can’t live with my head just in books

DBS:
Time travel is a compelling topic to me. When considering the Future, how would imagine what the world might be like in 100 years?

Monica:
Rain forests everywhere! Not too many humans and most of our spaces taken back by nature; climbing plants on wreck of cars, frogs on human construction, butterflies in the air…

More about the works of Monica Marcella can be found on her website.
The photographs by Monica Marcella can be seen on flickr.com
For more interviews, join The Studio Chronicle each week.

Journey Beyond The Artist’s Studio: Clare Elsaesser

2010-10-20T19:07:00.002-05:00

DBS:

Please start off by telling us six random things about yourself.

Clare:

I brush my teeth with my left hand, but am right handed.
I am allergic to cats.
I get grumpy when I'm tired or hungry.
I am almost always tired or hungry.
I was born in May.
I think that's almost six.

DBS:
What are the three most important things people should know about your art?

Clare:
It is simple. I really enjoy making it, and I hope other people enjoy it as well.

DBS:
What is the single most important supply/tool in your studio?

Clare:
A stubby little 3 dollar paint brush I got a few months ago.

DBS:
If you could take a trip in a time machine, when and where would you go?

Clare:
To Edwardian England, or Hawaii, April 2008.

DBS:
Do you work full-time as an artist or do you have another job?

Clare:
I work full-time as an artist.

DBS:
The ultimate mixed CD should include which five songs?

Clare:
Any songs by Will Oldham, the Kinks, Lou Reed, Stevie Wonder or T.Rex

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-the ability to fly
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to read minds.

Clare:
I have always wanted to fly because I love clouds, and have daydreamed about being able to walk through them and take bites out of them since I was very little.

DBS:
Why do you make art?

Clare:
Because it makes me happy, and also I love looking at things and feel accomplished when I create more things to look at, (with the hopes other people also like looking at things).

DBS:
Favorite museum, real or fictitious?

Clare:
I'm not a big fan of museums, because they always get mad at you when you try to get close to the art or exhibit, except for children's museums, but these usually smell like urine.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Clare:
Oh no! I have no idea. Historical means they have to be recognized right. I am at a loss, sorry. I think I might be too nervous anyways to meet someone of historical proportions.

DBS:
What is the biggest mistake you have ever made?

Clare:
I've made a ton. I think the worst involve driving into parked cars when looking at maps and other distractions. I will never make that mistake again because I have hired a chauffeur...well actually I have made a deal with my fiance, who now drives us everywhere in lieu of cleaning toilets, so I'm not really sure who wins in that situation!

works by Clare Elsaesser can be seen on her website.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Clare:
Writing, or exploring if this was a viable career.

The works of Clare Elsaesser are available online at.

Join The Studio Chronicle next week for an interview with Norwegian artist Monica Marcella.

Monica Marcella

Journey Beyond The Artist’s Studio: Richard Wehrs

2010-10-13T18:00:00.003-05:00

Minnesota artist Richard Wehrs

I recently had the opportunity to catch up with Richard to find out more about who he is and what informs the work he makes.

DBS:
Please start off by telling us six random things about yourself.

Richard:

Being a dad to two boys is the very best thing about my life – without question.
I love to garden. One day soon I’d love to add a pond to my backyard, which, thanks to ever-expanding flowerbeds, has less and less lawn each year.

"Templo_de_Te'" by Richard Wehrs

Geometry – which I despised and nearly failed 36 years ago in high school – has turned out to be the most practical and useful science in my adult life. Go figure, that, eh, Mr. Witty?

I live in central Minnesota, just 17 miles from the legendary Lake Wobegon. And yes, we do talk a little funny.
I’ve visited 45 states so far. Someday I’d like to buy a camper trailer and see them all again.
On my office walls: posters of Grant Wood’s American Gothic and Adolphe William Bouguereau’s Temptation.

DBS:
What are the three most important things people should know about your art?

Richard:

First: I’m usually not especially interested in conventional beauty, though I am very much interested in the fundamentals of design, composition, color, etc., which often underlie beautiful art.

Second: I love the tension and raw energy that exist in viewers’ simultaneous reactions of attraction and revulsion. There are a lot of artists who live in this tension – painter Chris Mars leaps to mind – and I love to discover in their art (and strive to create in my own) exquisitely crafted, painstakingly detailed beauty in what might otherwise be a hideous, gruesome, or at least unsettling image.

Third: I encourage viewers to not take my art any more seriously than I do. I make some fairly odd things occasionally, at times prompting people (family, friends, neighbors) to make (amused?) inquiries about the state of mind I live in. Honestly: I’m just playing – I make art for fun, for the pure joy of it.

DBS:
What is the single most important supply/tool in your studio?

Richard:

The most important tool in my studio is my Brent SR-20 slab roller. I’ve had it for 17 years of flawless and complaint-free operation. I’m not sure how many rolling pins I would have worn out by now without it.

DBS:
If you could take a trip in a time machine, when and where would you go?

Richard:
It would be interesting to watch the first (presumably accidental) incidence of human-induced lithification – that is, the earliest discovery that clay can be fired. Did the leap to making functional pottery happen quickly? Or did it take another 3, 300, or 3000 years?

DBS:
Do you work full-time as an artist or do you have another job?

Richard:

While I’ve worked nearly full time as an artist in the past, currently I am very part-time at it. My full time job is with a design/build company, where I’m a development consultant for new projects. I mostly work on the architectural services end. I also serve a church part-time (I’ve been a Lutheran pastor for 25 years).

DBS:
The ultimate mixed CD should include which five songs?

Pictures at an Exhibition – Mussorgsky/Ravel
Icarus (Borne on Wings of Steel) – Kansas
New World Symphony – Dvorak
Reflejo De Luna – El Alacran
Escucha Me – Gipsy Kings

"Shrine to an Unlikely Saint I

The ability to fly – I love to travel on planes, to see everyday places but from far above, in a way I’ve not seen them before, to discover how they relate spatially to other things. I spend a lot of time on Google Earth “flying” around the world, visiting cities, islands, mountain passes; I’ve following cattle paths through a Nigerian village and retraced driving trips through Idaho. Google Earth’s 3-D buildings and terrain are simply incredible for such “flights”.

DBS:
Why do you make art?

Richard:
Aside from the sheer joy of creating, I make at least some of what I do to express my frustration with a world that seems to insist on high contrast black and white categories for people: all good or all bad, in or out, sick or healthy, ugly or beautiful, etc. Years ago I learned the Augustinian concept of “simul justus et peccatur,” the idea that humans are “simultaneously saint and sinner”, and I’ve been battling our inclinations toward “either/or” ever since. Much of my figurative or portrait-like work has that as an underlying theme. There are no true demons or saints among us, despite what political ads seem to suggest; rather, each person is a wild, complicated mix of so many things, wonderful and horrible, and everything between. It’s too bad that so much of the world seems too lazy or stupid to catch on to that fact, preferring instead to quickly judge whatever’s on the surface, embrace or dismiss on that basis, and move on to the next target.

DBS:
Favorite museum, real or fictitious?

Richard:
While there are many I’d love to mention, I have to go with my home-town favorite, the Minneapolis Institute of Arts. It has a great encyclopedic collection, and it was the first place I saw in person some of what have become the greatest influences on my own art. I also love its occasional local/state artist exhibitions.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Richard:
Assuming the magical removal of language barriers, and the assurance of personal protection, I would love meet Genghis Khan, of the Mongol Empire, to hear firsthand of his exploits and travels. I read a biography of him recently – a truly fascinating character with a nearly unbelievable life.

DBS:
What is the biggest mistake you have ever made?

Richard:
Right after grad school I had a great teaching job at an amazing school – a job that I gave up to spend more time in the studio. It was a solid short-term decision, but a very regrettable one in the long term.

DBS:
You completely change your career path with no limitations; what other fields interest you?

tile mural by Richard Wehrs

Richard:

While I work for an architecture firm and have some influence in our clients’ design process, I’m not trained or certified architect – but I would love to go back to school and become one. I wish I had the voice to be a singer; I wish I’d learned a musical instrument when I was younger. But honestly: I cannot think of anything for which I would trade my current situation.

You can learn more about Richard Wehrs at his website.

"Over and Over" by Clare Elsaesser

Be sure to check out my upcoming interview with Clare Elsaesser, Wednesday, October 20th.

Journey Beyond The Artist’s Studio: Arno Arno

2010-10-06T19:55:00.004-05:00

Arno:
•    The composition, lines, shapes, and colours are crucial.
•    I don’t find faces very inspiring.
•    I expect the viewers to collaborate with me in giving the final meaning to my photographs.

DBS:

What is the biggest mistake you have ever made?

Arno:
Not saving all my music on an external disk before my Mac broke a few weeks ago.

DBS:
Do you work full-time as an artist or do you have another job?

Arno:
I am a full-time translator.

DBS:
Why do you make art?

Arno:
I cannot not make it.

DBS:
The ultimate mixed CD should include which five songs?

Arno:
•    Antony and the Johnsons – Hope There’s Someone
•    Björk – Pagan Poetry
•    Sade – Soldier of Love
•    Cassandra Wilson – Harvest Moon
•    Zemfira – Itogi

DBS:
Favorite museum, real or fictitious?

Arno:
DDR Museum in Berlin.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Arno:

Nan Goldin.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Arno:

":)" by Arno Arno

Architecture and interior design
Genetic research
Use of Canadian Sphynx cats in therapy
Travel in time
Carpet art

Arno Arno's photographs can be seen online.

Journey Beyond The Artist’s Studio: Heather Evans Smith

2010-09-29T20:05:00.001-05:00

Much of the way I describe works of art focuses on objectivity or subjectivity, how self-portraits compare with other depictions, and the subconscious or dream world on the one hand, documentation on the other. The works of Heather Evans Smith certainly explore many of these; however, foremost, she presents through her work the remarkable character of narration. She tells a story with each piece, always mindful of the finer subtleties of story telling. Shadowy as many are, care is taken to preserve all the right amount of mystery. Though many of my favorite images by Heather Evans Smith are self-portraits, it is through the inclusion of her family that some of the greatest drama is realized.

I recently had the opportunity to interview Heather to find out more about who she is and what informs the work she makes.

DBS:

Please start off by telling us six random things about yourself.

Heather:

Life-long dancer
Nutella on anything
I occasionally speak in a British accent, but have a Southern one
Recovering germ-a-phobe, having a child helps you get over that
Vintage clothing, jewelry, knickknack collector
Vegetarian

DBS:
What are the three most important things people should know about your art?

Heather:

It's my emotions and life on display.
It's all natural light. I am obsessed with light and always looking for the perfect light
It's conceptual and in my brain long before in print. I lie awake at night drumming up ideas.

DBS:
What is the single most important supply/tool in your studio?

Heather:
my imagination, without it I have nothing

DBS:
If you could take a trip in a time machine, when and where would you go?

Heather:
Initially my answer was 1 year ago, for personal reasons, but I don't think I would alter anything that would change who I am today. Though a visit to Woodstock or a Beatles concert would make for a nice evening.

DBS:
Do you work full-time as an artist or do you have another job?

Heather:
I juggle photography and graphic design. Luckily the two compliment each other.

DBS:
The ultimate mixed CD should include which five songs?

Heather:

Fear of the South - Tin Hat Trio
This Must Be The Place - Talking Heads
Caravan - Bunny Berigan
Kodachrome - Paul Simon
Monday, Monday - The Mamas and the Papas

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-the ability to fly
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to read minds.

Heather:
-the ability to fly, it's a perspective that I would love to shoot from. And I dream about flying from time to time, those are dreams you hate to wake up from.

DBS:
Why do you make art?

Heather:
It keeps me sane. It's my therapy.

DBS:
Favorite museum, real or fictitious?

Heather:
MOMA, I turned the corner and Picasso's Girl Before A Mirror snuck up on me. I had studied that painting in college and to see it in person after analyzing it in a book was surreal.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Heather:
Edward Hopper, in a cafe full of beautiful direct light.

DBS:
What is the biggest mistake you have ever made?

Heather:

Not living in the moment; looking forward to the next thing and missing the right now.

DBS:
You completely change your career path with no limitations; what other fields interest you?

"Brownie a la Mode" by artist Heather Evans Smith

Heather:
I feel like I am doing that now. Photography is it for me.

You can learn more about the works of Heather Evans Smith by visiting her website.
Learn what Heather Evans Smith is up to by reading her blog.
Join The Studio Chronicle each Wednesday as we Journey Beyond The Artist's Studio...

Journey Beyond The Artist’s Studio: Mattijn Franssen

2010-09-22T19:29:00.002-05:00

Artist Mattijn Franssen

DBS:
What is the single most important supply/tool in your studio?

Mattijn:
-my mind

DBS:

If you could take a trip in a time machine, when and where would you go?

Mattijn:
I would travel to ancient Egypt and watch them build the pyramids.

DBS:
Do you work full-time as an artist or do you have another job?

Mattijn:
full time

DBS:
The ultimate mixed CD should include which five songs?

Mattijn:

•    “Everyday is like Sunday”, by Morrissey
•    “Hang on to a Dream” – by American folk musician Tim Hardin
•    “Big Love” (live acoustic), by Lindsey Buckingham
•    “For Your Precious Love” -Otis Redding
•    “No Rain” by Blind Melon

DBS:
Please select one of the following super human powers that best fit
your personality and tell us why:
-the ability to fly
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to read minds.

Mattijn:
I would select “the ability to fly” because I'm a daydreamer, always wondering what
the world would look like from above.

DBS:
Why do you make art?

Mattijn:
I make art because I feel it’s an important way of expressing myself.

DBS:
Favorite museum, real or fictitious?

Mattijn:
Endless hallways filled with oil paintings from all periods.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Mattijn:

"The Outer Wall" by Mattijn Franssen

I would like to have lunch with Jan van Eyck, to talk about his painting technique.

DBS:
What is the biggest mistake you have ever made?

Mattijn:
There are too many to mention.

DBS:
You completely change your career path with no limitations; what other fields interest you?

Mattijn:

Archeology

You can learn more about Mattijn Franssen on his website.

Select works by Franssen can be found in his book, available for purchase.

Join The Studio Chronicle each Wednesday for an Brand New installment of Journey Beyond The Artist Studio.

“Norwegian Wood (this bird has flown)” by Heather Evans Smith

Journey Beyond The Artist’s Studio: Allan Barnes

2010-09-15T19:00:00.005-05:00

Artist Allan Barnes photographed by Rowynn Michelle Dumont

In the face of great odds, artists conceive, fabricate, and insert blood, sweat, and/or tears into innovative works of art. Through this chronicle I enjoy the great opportunity to introduce many artists to a developing audience, revealing a glimpse of each in their studio. From Los Angeles, CA, the latest interview in the series Journey Beyond The Artist’s Studio is artist Allan Barnes.

From sunny California, the images of Allan Barnes evoke thoughts of early cinema, a tribute to celluloid. However, it is the abandonment of film in favor of more traditional forms of photography that link Allan’s work so directly, and specifically to another place in time. Inherent in this process is collaboration with natural light and exposure time, through which Barnes captures a noble intensity from his subjects. His works have a haunting quality, exhibiting a heightened relationship between artist, process, and subject.

It was recently my pleasure to correspond with Barnes, asking him a series of questions in pursuit of more information about the artist:

DBS:
Please start off by telling us six random things about yourself.

Allan:
•    I never liked to travel until I was 19, when I went overseas for the first time. Suddenly, I wanted to see the world and I learned a second language, Spanish. It made my life infinitely richer.
•    I'm from Detroit, probably the last generation of Detroiters that remembers the city as a beautiful haven of 20th century middle class lifestyle, brought by industrialization and the trade union movement.
•    My life was completely changed by music. First, learning music helped me learn a second language. Second, when I heard The Clash and Patty Smith for the first time, I realized that it was possible to live without the corporate prepackaged drivel that society had been selling me.
•    I like making things. I grew up watching my grandfather and his brothers work in his woodshop.
•    I like intense things and intense people.
•    I am a compulsive junk collector!

DBS:
What are the three most important things people should know about your art?

Allan:
•    While my current art is really dominated by a process invented in 1850, I love retouching the images in Photoshop and making digital prints!
•    The sunlight in Southern California is really a part of it.
•    My current work is the perfect wedding of making things with your hands and making imagery, two things that I have always loved.

DBS:
What is the single most important supply/tool in your studio?

Allan:
The single most important tool in my studio is Southern California light.

DBS:
If you could take a trip in a time machine, when and where would you go?

Allan:
If I could take a ride in a time machine, I would offer somebody else the ride.
Messing with one of the most powerful forces in the universe does not seem like a good idea, and the present is interesting enough for me.

DBS:
Do you work full-time as an artist or do you have another job?

Allan:
I have for years worked part time as an artist/photographer and part time as an educator.

That all changed this week. I am now a full time educator, which seems like a good way to live the rest of my life. Too many artists that I know are struggling, and have no health care options.

DBS:
The ultimate mixed CD should include which songs?

Allan:
The ultimate mix tape should include songs that either changed my life, or were a part of important periods in my life. While I think that the most interesting music in the world is still being created, everybody has these seminal songs that go along with really important changes or moments in your life, and many of those occur when you are young. So here goes:

As mentioned previously, I remember being in high school and my best friends brother pulled out the Patty Smith album Easter. I remember watching the needle on the record player drop, and hearing

"Because The Night" for the first time. That was the end of me and the boring, corporate, dinosaur rock of the late 1970's. Suddenly, my friends and I, who were a motley crew of outcasts, had these role models whose music was raw and stripped down and full of poetry and energy.
"Identity" by the X-Ray Specs. Polly Stryrene's voice exploded out of nowhere, like a firebomb crashing through the window of a building. Not only was her voice powerful, but then their band had a saxaphonist, which made it doubly powerful. At the time, there were not that many female vocalists, so there was something especially revolutionary about hearing this little wisp of a girl belt out pure energy.
"Tom Violence" by Sonic Youth. Sonic Youth is one of my favorite bands and is still making great music. Their early work still sounds shockingly modern to me.
"God Save the Queen" by the Sex Pistols. Another song that was like a firebomb blasting out of the stereo.

"Camarera" by Benny Moré. In 1993, I took a trip to Havana, Cuba where I almost instantly made friends. On the third day, I had people driving me around Havana, and at noon this voice unlike anything that I had ever heard came gently and softly out of the car radio. "Who's this?" I asked. "Oh, it's Benny Moré, they play an hour of his music every day at noon." I was told. Benny was this genius who was probably completely illiterate, but made songs unlike anybody had ever heard. I'd compare him to Hank Williams. He died young, of alcohol poisoning, and his car is right next to Che's Chevy in the Havana Car Museum.
"No Controles" by Cafe Tacuba. In 1996 I quit my job at a dull corporate business publication and moved to Mexico City, one of the worlds great and overlooked cultural capitals.

I had heard great music sung in Spanish before, but never anything like this. Cafe Tacuba was a bunch of graphic design students who started a band in school and every song of theirs seemed to encompass a different style. I will never forget hearing this song with maybe ten thousand other people in the giant public square called the Zocalo in Mexico City. There is nothing more joyful than dancing with ten thousand other people.

DBS:
Why do you make art?

Allan:
It makes me happy and focused.

DBS:
Favorite museum, real or fictitious?

Allan:
Centro de la Imagen in Mexico City. It's a giant 500 year old building bisected inside with modern steel and glass walkways and balconies. It's a museum and educational center: A temple to photography.

DBS:
What is the biggest mistake you have ever made?

Allan:
Moving to Los Angeles, but it seems to have worked out!

DBS:
You completely change your career path with no limitations; what other fields interest you?

Allan:

by artist Allan Barnes

I increasingly love to cook. If I had to, I would happily become a Chef. I would also consider becoming a revolutionary, as I see our country increasingly menaced by a sick, right wing cult that calls itself the Republican Party. However, I'm getting a bit old to become a revolutionary, and revolutions seldom come out as planned, so I think that I will opt for the Culinary Arts as an emergency new career.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

Allan:
August Sander. Here was a man who produced an incredible body of photographic work that has inspired generations of younger photographers. And yet, much of his work was destroyed!

His photographs depict a society that was educated and bold and modern, and yet that society was taken over by this giant right wing cult that effectively shouted their lies over and over again until people believed them.

I feel sometimes that we are living in a parallel time to the last days of Wiemar Republic Germany, so I would really like to ask him about that.

To learn more about the works of Allan Barnes, check out his website.
Join the Studio Chronicle next Wednesday for Journey Beyond The Artist's Studio: Mattijn Franssen.

"Construction Dreams" by Mattijn Franssen.

Journey Beyond The Artist’s Studio: Carmen Gonzalez

2010-09-08T18:56:00.000-05:00

Artist Carmen Gonzalez lives in Holland.

I secretly still want to believe in fairy tales.
Once in a while, I suffer from insomnia, which drives me utterly insane.
I am always rushing to be on time but I am always late.
I'm actually quite goofy.
I once stole something in a supermarket, just to see if I could get away with it.

DBS:
What are the three most important things people should know about your art?

Carmen:

I use myself as the main subject in my photography because to me, this is the ultimate form of self-expression. I see myself become a sort of personification of something that once was an abstract in my fantasy and it gives me the perception that I have succeeded to capture my existence on various levels.
I make art because of the desire to create. I consider it as a privilege to be able to bring on all kinds of emotions through my work.
Most of my work is for sale and I am available for freelance work. At the moment I am also in the middle of the process of publishing a book with my work.

DBS:
What is the single most important supply/tool in your studio?

Carmen:
-my camera

DBS:
If you could take a trip in a time machine, when and where would you go?

Carmen:
To the year 1987 to give some guidance to my younger self; Knowing myself however, I would not have listened anyhow.

DBS:
Do you work full-time as an artist or do you have another job?

Carmen:
I work as a freelance photographer and I have my own company "Carmen Gonzalez Photography". Beside that I have job which allows me to be picky to take on assignments. Presently this combination works for me.

DBS:
The ultimate mixed CD should include which five songs?

Carmen:
Very difficult as I am a total music freak though at this moment these fives songs occurred to me:

1. Pretending - IAMX
2. Yumeji's Theme - Shigeru Umebayashi
3. Shine - Depeche Mode
4. Naci en alamo - Silva Pisa
5. The Noose - A perfect circle

"forêt" by Carmen Gonzalez

DBS:
Please select one of the following super human powers that best fit your personality and tell us why:
-the ability to fly
-the ability to make full-grown replicas of yourself.
-super human strength
-the ability to read minds.

Carmen:
First thing that appealed to me was "the ability to read minds" but come to think of it, i am certain that this ability would give me disillusionment instead of pleasure. I already have the slight tendency toward misanthropy sometimes so it would be rather unhealthy for me ;) Therefore I choose "the ability to fly" since it would extend my freedom enormously. Actually, I would love to fly to some deserted sandy beach right now (Nothing wrong with being corny at times).

DBS:
Why do you make art?

Carmen:
I would go mad if I was not able to liberate the images in my head. The most beautiful thing I've learned with relation to art, is finding myself in this creative rush towards a successful realization of these ideas in my mind. If finished, I feel this need to expose it to the world. This leaves me with a satisfied feeling for a while until I feel the urge to create again. I also sense this necessity to leave traces behind of my existence on this planet.

There is a theory in psychology which is called TMT (Terror management theory) and in short this theory tells that, we as humans can not manage the psychological terror of knowing we will eventually die. We have the urge to leave some legacy behind. I think that making art is a way to live forever.

DBS:
Favorite museum, real or fictitious?

Carmen:
Groninger Museum in Holland; I love the modern architecture of this museum, but also how they expose the art on the bright coloured walls.

DBS:
What is the biggest mistake you have ever made?

Carmen:
To start smoking again after quitting for 4 years .

DBS:
You completely change your career path with no limitations; what other fields interest you?

Carmen:
I would want to have studied Archeology and discover hidden treasures in forgotten ancient cities ;)

"Boudoir" by artist Carmen Gonzalez

You can learn more about Carmen Gonzalez by visiting her website
You can also find Carmen’s photographs on flickr.com
Join the Studio Chronicle weekly for the latest interview.

Extraordinary*Spaces: Juju Foto Factory

2010-09-01T19:52:00.004-05:00

Despite the hopes and dreams of countless artists, the experience of discovering a work of art is often in the hands of a gallery, museum, or alternative space. Often the exhibition space is vastly mismatched with the reputation of the institution or gallery. You are likely, given a persistent outlook, to come across select extraordinary spaces.

Through the process of a recent artist interview, I learned of a unique space in the works and was compelled to find out more. While making notes for Journey Beyond The Artist’s Studio: Monica Smith, Monica described her business aspirations.

Opening its doors September 1st, 2010, I was compelled to contact her for a second interview with a focus this time on Juju Foto Factory:

DBS:
Give us an idea of how Juju Foto Factory developed. What was the impetus? Where did the name come from?

Monica:
I brainstormed Juju for quite a while. Every creative service Juju offers, I have participated in or sought in the past. One day I thought to myself, “If they can do it, I can do it.”

I was tired of working for “The Man”, man. I wanted to get behind something I could really believe in, something that contributed to the arts in a positive way. I realized I wanted to affiliate myself with the subjects I love, movies, music, and photography. So I decided to take the risk, not simply pursue art as a hobby.

I spent ages thinking up names. The word Juju kept appearing in different contexts over a period of three days. It’s my cousin Georges nickname, a man in Books-a-million was holding a book with that title under his arm. I heard the word mentioned on the TV and realized that was it! I feel silly saying it at the bank, but the clerks have christened my accounts “Juju In” and “Juju out”.

DBS:
What are the five most important things to know about Juju Foto Factory?

Monica:

The personification of Juju is one of a bohemian uncle who supports your creative goals while your parents are harping on you to stay in law school.
We offer a photo space to rent, pro lighting equipment included, at really good rates.
Juju welcomes photo students from the nearby Universities, and we offer a student discount, all they have to do is show us a current registration.
We want to be more than just a commercial space for rent. Our plan is to organize events the create opportunity for the creative community to interact. These include: curate exhibitions, movie screenings, photo classes, portfolio collaboration workshops, and of course parties, errr, I mean networking events.
Juju is doing its best to be a “bohemian” operation. Austin’s slogan is “Keep Austin Weird’. Hell, we’re doing our best to “Make Austin Weirder.”

DBS:
The ultimate mixed CD should include which five songs?

Monica:
These are songs I like to play while shooting in the studio at midnight.

Jump Around - House of Pain
Here Comes The Hotstepper - Ini Kamoze
Bold as Love – Jimi Hendrix
Tighten Up – The Black Keys
From Blown Speakers – The New Pornographers
Time to Pretend – Mgmt (yes there are six, I know)

DBS:
What is your title at Juju? Can you give us an idea of what that involves?

Monica:

I’ve crowned myself “The Empress”. Ha-ha, just kidding. (No I’m not). My title is “Creative Director”. I quickly realized I couldn’t do everything myself, but there are many brilliant creative people eager to take part. My job is to organize this party train as it travels down the tracks, brand Juju as a creative entity, hire the best damn creative people, seek out those who want to make something notable happen here in Austin and ask them “How can Juju help?”

DBS:
Food is important; I'm especially excited by French food. What kinds of food are you interested in?

Monica:
For me there are only tapas and fish tacos, but I am not averse to visiting an Argentine
churrascaria ….mmm. Chimicurri. Austin also offers a deep fried avocado taco, crazy right?

DBS:
Where do you see Juju in five years?

Monica:
The space we have now is good to begin, we’re artists after all and we can make it work as a multifunctional facility. However, I already have my eyes on a 10,000 sq. ft. studio on Chicon Street. Juju will continue to be a space primarily for traditional and cinematic photography shoots, but will also convert to 50% non-profit by offering classes and workshops to the local community of artists and youths. I’d like to have a permanent gallery space as well. I’m already working on the business plan with the SBA here in Austin and researching funding opportunities from the state.

Juju Exhibitions:

Of Juju Foto Factory's plans for expansion, Smith's ability to collect talented artists is long established, most recently in the form of online galleries, is a keen interest to The Studio Chronicle.

DBS:
Your collections are always based on a theme. How do you come up with new ideas for collections? What themes have you considered, but ultimately decided against?

Monica:
I just “favorite” away on fffflickr.com and HiveMind and see what collects over time. If I notice photos that work well visually together I begin a new gallery and continue the hunt for photos of a similar theme. Many times the theme will evolve into something totally different from the original concept.

There is no taboo theme for me. I do come across a lot of S&M photos, even in the most benign queries, lol, man, a boob or a penis is never far away is it? I can’t decide whether to do a gallery titled “Boobies and Bums” or not. A gallery like that would probably get a lot of hits though.

DBS:
Boobs and Bums would surely attract notice.
It must be a real honor to be included in one of your collections. Has anyone ever been offended by inclusions in one of your collections?

Monica:
Hmm,Thanks! I’m always surprised when a gallery gets hits. Curating them is something I do for fun, my own collection of photo gems, a substitute for actually not being able to purchase art more.

No photographer has ever publicly protested, but they have withdrawn rights to sharing their photos. I don’t understand that at all, why withdraw the opportunity to increase views of your work? It’s already on the net!

DBS:
What are the three most important things you consider when selecting images for your collections?

Monica:

I have a bias for the square format.
Draws an emotional response.
It shouldn't be overworked: embellished sure, illustrative great, pure photo premium!

To learn more about Juju Foto Factory, check out there new website.
Join The Studio Chronicle next week for an interview with artist Allan Barnes.
Remember to check out Journey Beyond The Artist’s Studio: Carmen Gonzalez in two weeks

works by upcoming artists Allan Barnes & Carmen Gonzalez

Journey Beyond The Artist’s Studio: David East

2010-08-25T20:50:00.000-05:00

Artist David East

In recent years East’s sculptures reflects that critique of American culture, convention, and hopes. Drawing largely on inevitable architecture, East couples the ranch style home, once favored by suburban sprawl with imagery pulled from high school chemistry textbook and scientific models. A symbolic question, East presents no conclusions, in favor of establishing a visual word problem. Aside from their deconstructive nature, his sculptures are beautifully constructed, brilliantly designed, and naturally amusing works of art.

I recently caught up with David East and asked him a series of questions to reveal the man behind the objects:

DBS:
Please start off by telling us five random things about yourself.

David:
•    I rarely remember my dreams.
•    I have a fondness for automobiles with faux wood siding.
•    I like to arrange things in straight rows.
•    I’m partial to “clicker” pens.
•    Its best if I don’t have access to cable tv.

DBS:
What are the three most important things people should know about your art?

David:

It is meant to be funny, a bit absurd but hopefully somewhat opaque, I like work that is difficult.
My making generally starts with a love of the gorgeously well-crafted object and then becomes about a struggle to reach that as a thing or idea.
Materials and making to me are centrally a way of constructing meaning in the world. Each part of a piece is meant to form a question that attempts to occupy and critique our broader prevalent systems of self-identification often looking into their cyclical patterns through history.

DBS:
What is the single most important supply/tool in your studio?

David:
Lately it seems to be my computer, but historically it was this one fettling knife.

DBS:
If you could take a trip in a time machine, when and where would you go?

David:
30 seconds into the future…

DBS:
Do you work full-time as an artist or do you have another job?

David:
I am also busy as the Chair of the Ceramics department at the Maryland Institute
College of Art.

DBS:
When did you start making art and how did you get into it?

David:
I remember making things (objects out of popsicle sticks) and loving it with a babysitter when I was very young (maybe 5 or 6). I was totally in love with her and then she left to become a cheerleader for the New England Patriots.

In junior high, I had a brief period where I was devoted to an honors art course. Interestingly enough, I was madly in love with my art teacher at the time, she left for another position at the end of the year and the program was cancelled.

I was always interested in doing something creative but a serious commitment to visual arts doesn’t come into my life until fairly late, in my mid-twenties. I wandered into a ceramics class and just kept going.

DBS:
Why do you make art?

David:
Because I’m not good at anything else…

DBS:
Favorite museum, real or fictitious?

David:
The Walker Art Center in Minneapolis, always feels like home to me.

DBS:
Living or dead (but not in a zombie kind of way) what historical figure would you most like to have lunch with?

David:
There are too many but I’ll be greedy and say I’ll have lunch with 2, Joseph
Beuys and Marcel Duchamp.

DBS: I imagine Joseph Beuys bringing that coyote to lunch…just sitting there, looking at you. Tell us about the biggest mistake you have ever made?

David:
Lying to a friend. It’s a giant regret.

DBS:
You completely change your career path with no limitations; what other fields interest you?

David:
This is a toughie as I actually feel like my career is changing all the time, and is
necessarily morphing towards new permutations. To throw a few darts perhaps a farmer.

Show your appreciation for the artist by leaving a comment.
To learn more about David East, check out his website. This is a remarkable website to say the least.
Check out The Studio Chronicle Wednesdays at 8:00 for an all new exploration of artists in contemporary society.