Posts tagged Artist
Christian Böhmer Interview | Moniker Art Fair
Image courtesy of Christian Böhmer.

Image courtesy of Christian Böhmer.

For our next preview feature from the upcoming Moniker Art Fair in New York, we’re sharing an interview with Christian Böhmer! Christian is a self-taught contemporary artist who creates large-scale murals along with drawings and paintings. He has exhibited work around the world including in Australia, Germany, The Netherlands, and Switzerland among others. Most recently, he completed a mural painting for the "one wall project" curated by the Urban Nation Museum of Urban Contemporary Art in Berlin. After learning more about his work and process, we’ll certainly be looking forward to seeing what he exhibits at the fair!

Tell us about your background. You describe having roots in the graffiti movement of the 90's so was this the type of art that first inspired you and that you first created? 

Yes, graffiti was the kind of art that influenced me most when I was a kid in the mid-nineties. I was lucky enough to live only a few kilometers from Europe’s largest legal graffiti hall of fame at that time, which was the famous "Schlachthof Wiesbaden". Once a year, there came the world’s most famous writers together to have a graffiti jam for one weekend. I was so fascinated to see what was possible to do just with a spray can, that I decided to try this on my own. As it was a legal spot to paint graffiti, there was no need to hurry or to get nervous. I think this is why I had time enough to experiment in every direction, which included painting characters, too. I found out that I had much more talent in character painting then in writing letters....

How has your work developed since then? When and why did you turn to portraits? 

The first few years I developed in painting characters and as I got better and better, I moved towards a photorealistic style. I believe the most difficult subject one can paint in photorealism is a portrait, where there are no mistakes allowed. And when you dive into this world of painting portraits, you find out that there’s a lot of stories you can tell with that kind of art.

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Images courtesy of Christian Böhmer.

Images courtesy of Christian Böhmer.

Can you explain your reasoning behind covering various body parts of your subjects - namely their heads and faces, but also in recent work, their hands as well?

As I said, it is very interesting to tell stories within portraits. I did that for a long time, but one day you ask yourself, what will be the next challenge? What else can I add to these stories? When you think about that, the next logical step will be to transform the portrait, to paint it in an abstract way. But the abstract in my portrait painting is not the transformation of color or shape, but the paper bag. I found out that for me this is a perfect medium to use in order to transform shape, to give it a message, or to simply hide the face itself. Sometimes less is more :)

You recently completed a new mural in Berlin, congratulations! How did that project come about? How often do you create larger, public works and do you enjoy it as much as your smaller pieces? 

It was Yasha, the director of the Urban Nation Museum of urban contemporary art in Berlin, who asked me to paint this specific wall. I just began working on a new series of drawings, which plays with red colored hands, that tell all those stories that hidden faces can’t tell. This series deals with people on the edge of society, the ones nobody listens to. And the wall I painted in Berlin is located in an area where these people live. So it was the perfect match.

Image courtesy of Christian Böhmer.

Image courtesy of Christian Böhmer.

What will you be showing at Moniker in New York? 

I will be showing this new series of people with red hands hidden behind their paper bag mask. But you need to see it in person!

Do you have any additional exciting projects going on in 2019 and beyond that you'd like to share?

Yes, I will have a huge solo show in Mainz, Germany in September. I’m very glad to be there because that is the place where I grew up and where I had my first graffiti writing experience. I have not been back there for more than 15 years!

I will also have a group show in October at 19Karen Gallery near Brisbane in Australia, which I’m also looking forward to. I love the idea that people from all over the world can have the opportunity to see my art in person.

Moniker will be held May 1 - 5 in New York City at:
718 Broadway
NoHo, Manhattan
New York City, NYC
10003

Learn more about Moniker Art Fair by visiting their website.

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Evoca1 Artist Feature | Moniker Art Fair
Image courtesy of Evoca1.

Image courtesy of Evoca1.

We’re just a few short weeks away from Moniker Art Fair which will be held May 1-5, 2019 in New York City. The international fair’s 2019 exhibitors include some of the world’s most renowned urban & contemporary artists and galleries in booth exhibitions as well as solo presentations and installations. 28 exhibitors and four special projects, hailing from 13 countries around the globe, will present work in alignment with this year’s theme, Cause & Effect, which examines our shared roles and commitment to addressing the current state of political, social and ecological issues. Create! will be providing coverage of the fair, but we’re also excited to be bringing you a sneak peek at some of the artists who will be highlighted at this year’s NYC edition of Moniker. Last week we introduced you to WK Interact and this week we’re sharing the incredible work of Evoca1!

Image courtesy of Evoca1.

Image courtesy of Evoca1.

Evoca1 was born in the Dominican Republic, where he spent most of his childhood drawing on walls and playing baseball, until eventually moving to Hollywood, Florida at age 11. 

As an autodidact, he has received his art education from the compulsive study of the old masters’ works and techniques. His pieces are a personal reflection of his life experiences, as well as observations of human behaviors and social struggles.

He currently lives and works out of South Florida, where he continues to develop his craft and research of figurative painting. In recent years, this mainly happened in public spaces where he has painted large-scale murals. His interaction with the local environments has been essential in generating the concept of his work.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

For more information about Moniker please visit their website and follow along with Evoca1 on Instagram.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

WK Interact Interview | Moniker Art Fair
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Create! Magazine is a proud partner of Moniker International Art Fair which will be held in May in New York City. Moniker shines a spotlight not only on young and emerging artists, but also on leaders in the urban and new contemporary art movement. For the forthcoming iteration of the fair, they will be highlighting one of NYC’s most recognized wheat pasting artist, WK Interact. Originally from France, WK Interact has been working in New York for over 20 years. Read our interview below to learn more about his work!

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Tell us about your background. Were you interested in art as a child or did you come to it later in life?

Well, I started to draw when I was 8 years old as my father was a painter. I think I became passionate about art from seeing him in his studio.

What brought you to New York?

I was first in New York when I was 13 years old, but did not have a chance to visit as I had only landed there for a connecting flight to Miami. I came back at age 16 in 1982 and it ended up having an incredible impact on me. My flight arrived late at night and I only knew the address of my hotel on 82nd street near Central Park. Of course, it was the cheapest place to stay and the worst hotel at $15 per night. I spent the next three months traveling all over the state using Greyhound buses and after this, I decided to focus on creating art ‘in motion’. At the age of 18, I came up with a process of making distorted images using a Xerox copy machine which helped me find my signature style. After placing many canvases in my hometown in the south of France illegally, it was obvious to me that the best city to create that sort of interaction with my work would be New York. I ended up living in the city for many years and became a french New Yorker. I’m still living there today!

How has living there affected your work?

Living in New York for me was important to just be there and connect with the city. For my work, I feel that it becomes part of an event or a corner of the street. Even I start to blend in with my work by wearing all black clothes.

Can you explain your interest in figures and your unique techniques to create your work?

My work is based on the following concept: First illustration, then the location, then the motion interacting with the scale of the building. My real motivation is film. I decide to use the street to recreate a story and take photos with people passing by. The interaction part of my concept and process is where I came up with the name WK INTERACT.

What are some of your inspirations?

Sculptors and photographers like Calder and William Klein as well as the film industry including French Connection, Blade Runner...and so many others.

What will you be exhibiting at Moniker?

I  will have one large work and 8 posters plus a large print directly installed on a wall.

Besides showing with Moniker, do you have any other projects this year you'd like to share?

Plenty of projects, but I can’t mention anything yet :)

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Moniker Art Fair has earned a reputation as one of the most exciting contemporary art fairs with it’s roots embedded in urban culture. Learn more by visiting their website or follow them on Instagram.

Moniker Art Fair | New York May 1-5, 2019
Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Create! Magazine is excited to be partnering with Moniker Art Fair for its 11th edition in New York this spring. Read on to learn more about what exciting things you can look forward to at this incredible contemporary art fair!

This May 1 - 5, Moniker Art Fair returns to New York, welcoming international and local collectors to a five-day celebration of New Contemporary Art in Manhattan.

Moniker Art Fair is an acclaimed contemporary art fair with urban influences, which has for 10 years delighted collectors and art lovers in both New York and London with hyper-curated, fully-immersive and broad-scope events.

The next edition, held 1 - 5 May 2019, will dominate the heart of the New York art scene in its 15,000 square-foot venue in NoHo, continuing the never-conventional, always-pioneering fair format that has launched the careers of numerous artists in the past decades in partnership with international galleries.

Moniker has become the go-to for art collectors to learn more about the contemporary art world and to buy art assured by the curation, instinct and advice of professionals.

Moniker London 2018. Photo credit: Sam Roberts.

Moniker London 2018. Photo credit: Sam Roberts.

NEW YORK EXHIBITORS LIST

INTERNATIONAL GALLERIES

GAREY THE THIRD | LA & Hong Kong

FIERCELY CURIOUS | Brooklyn

MAZEL GALERIE | Brussels & Singapore

FOUSION GALLERY | Barcelona

VINYL ON VINYL | The Philippines

ROMAN FINE ART | The Hamptons

CAKE AGENCY | Chicago, Illonois 

11.12 GALLERY | Moscow, Russia

LIVING ART GLOBAL | UK

ANALOG CONTEMPORARY | Philadelphia

PERSEUS GALLERY | New York

 

OPEN STUDIOS

SIRIS HILL | UK

FATHERLESS | Illinois

DEREK GORES | Florida

BURAK KARAVIT | Istanbul

NICK FEDAEFF | Russia

ARTHUR BECKER | New York

TXEMY & AMAIA ARRAZOLA | New York

 

SPOTLIGHT ARTISTS

EVOCA 1 | Dominican Republic

CHRISTIAN BOEHMER | Cologne

WK INTERACT | New York

ICY & SOT | Iran

YOK & SHERYO | The Philippines

ARINZE STANLEY | Nigeria

NUNO VIEGAS | Portugal

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

FAIR SCHEDULE 2019

Wednesday 1 May 2019
Collectors Day: 3pm-7pm 
VIP Celebration: 7pm - 10pm
$75 (Includes $50 towards your first original artwork purchase)

A program of educational talks, panel discussions and networking sessions
around collecting contemporary and urban art.

Thursday 2 May 2019 
Public Opening | 1pm - 5pm 
Opening Celebration | 5pm - 9:30pm 
$25

General Fair Days
Friday 3 May | 1 - 10pm 
Saturday 4 May | 12 - 8pm 
Sunday 5 May | 11am- 6pm 
$15

STUDENTS AND SENIORS

Students can visit Moniker free of charge. A valid student ID will be required before entry.

Seniors (65+) ticket price is $10 (+booking fee) with code: REDUCED.

FAIR ACCESS

Children under the age of 16 do not need a ticket to visit the fair.

Well behaved leashed pets are welcome on site.



For more information, please visit their website: https://www.monikerartfair.com/ or follow them on Instagram.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Solo Show of Harlem artist Stan Squirewell at Gallery 8, London | April 1-13, 2019
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FACTION Art Projects is delighted to present a solo show of Harlem-based artist Stan Squirewell at Gallery 8, London. Following an exhibition of Squirewell’s work at FACTION’s Harlem space, the FACTION team is bringing him to London for a display of multilayered collages, which through elements of mythology, sacred geometry and science, tackle themes of race and memory. This marks Squirewell’s first solo show outside the US. A Private View of the exhibition will be held on April 2, 2019 from 6-9pm.

Squirewell’s newest works, which have evolved over two or three years of archival study and exploration, are heavily influenced by a recent revelation of his paternal ancestry.

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Squirewell says:

‘For most of my life I believed my family were African Americans who had arrived to the US on slave ships, and it wasn’t until my twenties that I discovered my true heritage, that they were indigenous Americans. As a teacher working closely with the national curriculum I constantly see how history, even now, is curated. My art attempts to rewrite these assumed histories. The beauty of the works capture the viewer, but it’s the ugly that intrigues and leads them to look deeper.’

Rediscovering his ancestry has prompted Squirewell to question his identity, particularly in the western hemisphere. It also speaks to his battle with the omnipresent slavery narrative, when he himself comes from a black family that is not believed to have a history of slavery. Through portraiture he challenges histories and presents a more empowering narrative for black identity, seeking to change the terminology around the very word ‘black’.

The portraits have a16th, 17th and 18th century aesthetic with a contemporary awareness. The depicted figures are both real historical figures and fictitious characters that are in some way related to the artist. Through demonstrating the misrepresentations of history, they critique what we colloquially describe as fact. Each artwork is complete only after he ceremoniously burns both the collage and its hand carved frames which include motifs and markings from ancient indigenous American and African cultures.

The titles of Stan Squirewell’s works reference particular moments in our shared history. One work entitled ‘Willendorf’, is inspired by the prehistoric female figure of ‘Venus of Willendorf’, while another, ‘Amerindian’ refers to the ‘$5 Indians’ - those who, 125 years ago, paid for falsified documents that proved them to be Native American.

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About Stan Squirewell:

Stan Squirewell was born and raised in Washington, DC and currently lives and works in Harlem, New York. His artistic training began at the Duke Ellington School of the Arts. Since graduating he has continued his tutelage under many of DC’s legends including artists Michael Platt and Lou Stovall. Squirewell, is a painter, photographer, installation and performance artist. His work is multilayered and his subject matter tackles themes such as: race and memory through mythology, sacred geometry and science. He draws his inspiration from theory books, science fiction movies and novels, avant-garde jazz and indigenous storytelling. He is a (2007 MFA) graduate of the Hoffberger School of Painting where he studied with the late, Grace Hartigan. Squirewell is the first winner of the Rush Philanthropic and Bombay Sapphire Artisan series. He has performed with Nick Cave (SoundSuits) at the National Portrait Gallery and Jefferson Pinder with G-Fine Arts. He is privately and publicly collected, his works are in the Reginald Lewis Museum, the Robert Steele Collection and recently acquired by the Smithsonian for the African American Museum (2015.) Squirewell is currently exhibited as part of ‘Fashioning the body’ at projects+gallery in St. Louis alongside Bisa Butler, Soly Cissé, Renee Cox, David Antonio Cruz, Kenturah Davis, Hassan Hajjaj, Basil Kincaid, Mario Moore, Chris Ofili, Fahamu Pecou, Katherine Simóne Reynolds, Jacolby Satterwhite, Mickalene Thomas, and Kehinde Wiley.

About FACTION Art Projects:

FACTION is a flexible collective, from the team behind the hugely successful Gallery 8 and Coates & Scarry in London, who have created a unique model for artists and gallerists to work together. FACTION addresses the changing market place and the erosion of the traditional art market, where galleries were gatekeepers for artists. FACTION provides artists with promotion and opportunity to access collectors and a wider audience, with all the support of a gallery but without the constraints of the traditional model. They aim to deliver a program of artists that is diverse and inclusive. FACTION launched in February 2018 at Gallery 8 in Harlem, New York and since then has become strongly imbedded in the Striver’s Row community and a highlight of Harlem’s cultural scene.

For more information please contact Anna Beketov, anna.beketov@damsonpr.com, +44 (0)20 7812 0645

Are you making the one mistake that is keeping your art from being featured?
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We’ve seen it happen time and again and artists have asked us about this when considering what to submit to our magazine or new gallery, PxP Contemporary. Think that including images from multiple series of works will double or triple your chances of being selected for that juried show, publication or gallery you’ve dreamed of showing with? Well, unfortunately, that’s not likely the case. I know that it’s tempting to want to show off the range of your style and creative ability, but here’s why this isn’t the time to do so.

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  • Demonstrate to the juror that you’ve taken time to really develop an idea, push yourself and stick to it! When you focus on one subject for a while, you get a much better idea of what works and what doesn’t and this helps you build your creative voice. Always keep in mind that submitting your work is like a leaving a first impression. If you have pieces from two bodies of work it can give off the vibe that you don’t quite know who you are yet as an artist or that you’re not confident enough in either series to commit to it fully. I’ll borrow from Kat here and say that you should always be sharing work that excites you! Which paintings, drawings, sculptures, or (insert whatever incredible work you create here) are you most excited about right now? Those are what you should be submitting!

  • Sometimes, it’s purely practical. For publications especially, it is difficult to consider an artist if we wouldn’t be able to put together a consistent spread with their work. Each book, journal, or magazine will have a distinct aesthetic so make it easy for them to know that you are the right fit and to feature your work. The same applies to a gallery, which has to make sure that your work could fill their space and look professional. They are also looking out for their collectors, who come to them specifically for their curatorial expertise. Rather than show them everything in the hopes that they end up buying something (with the risk of overwhelming them), a good dealer will work with the client to help them find something they love from a narrower selection based on their interest and budget. Collectors do often want to see a variety of works, but still within the same theme or style.

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  • If you are equally satisfied with several bodies of work at the moment, I’d still recommend only applying with one or at least one at a time. The biggest issue with this is that you’re leaving the curator to fill in the blanks and assuming that they can or will. How is someone who is not familiar with your work supposed to imagine what the rest of a series looks like when they’ve only seen a few pieces from it? You know that a whole group of works exists that are as great as the ones you’ve submitted, but the curator does not. If they have to go through hundreds or even thousands of artist submissions, they won’t always have the time to go looking through your website or Instagram account to see if you’ve made others like the one or two that they did like.

  • If you’ve recently started a new body of work that you’re wondering if you should start putting out there, make sure it’s ready. Do you have enough works from this series completed and photographed? If not, what’s the rush? There will be more opportunities to apply to. You can keep submitting from an earlier series for now if you want and if there is no restriction from the organization on how recent the work must be or simply allow yourself the time to fully dive into this great new idea.

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Of course, none of this is to say that you have to stick to the same thing forever. No, on the contrary, because it would be hard to have repeat collectors if your work never develops. Your gallery, if you have one, and your collectors simply want to see you continue to grow and will support you along the way!

If you’re making abstract sculptures, but have always wanted to try painting cats, go ahead! One of the greatest things about being an artist is having the freedom to experiment with your creativity. Ultimately, you have to DO YOU. But when it comes time to apply to that next exhibition opportunity, I hope you’ll consider the above and give yourself the best chance of being selected!

As always, both Kat and I are happy to answer any art career questions you have so please feel free to reach out to us: info@createmagazine.com or alicia@createmagazine.com and if you liked this article, check out the Art & Cocktails podcast or our new book The Smartist Guide for more tips.

Cheers and I wish you luck in applying to our current call for Issue 15 curated by Paradigm Gallery! Submit here.

-Alicia


Tiny Room For Elephants Festival in Philadelphia | April 19th-21st
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After speaking with the organizers, Create! Magazine is thrilled to be supporting TRFE and their upcoming event in April! Learn more about this exciting festival in Philadelphia that combines art, music and more below.

Tiny Room for Elephants Festival (#TRFE19) is a month long, collaborative, multi genre art and music experience, held throughout the month of April at Cherry Street Pier.  It is a living art ‘gallery’ that incorporates styles and mediums of 25+ Philadelphia artists painting/installing live from April 8th-April 17th. The finished works are celebrated on April 19th, April 20th and April 21st with live music, djs/producers, panels and interactive elements. 

The organizers, Dame & YaYa

The organizers, Dame & YaYa

The schedule of events is as follows:

Opening Exhibition 

Date: Friday, April 19, 2019

Time: 6:00pm-10pm

Fun Stuff:  Standing Room Only, A Wearable Art Show

Sounds: Camp Candle, Club Crusades, Eric Boss, Johnny Popcorn, Joshua Lang

Music Series

Date: Saturday, April 20, 2019

Time: 9:00am-9:00pm

Fun stuff:   Day Breaker (Tickets sold separately) "1000 Ways to Make It", panel moderated by Cosmo Baker; Live screen printing w/ Do It Now; Sticker Make & Take (Sticker Stampede); DIY Donut Station w/ Federal Donuts

Sounds: Aime, Cierra, Drew Mills, Emynd, Eric Boss, Expo, Femi, Jabair, John Morrison, Kayin x Sylo, Killiam Shakespeare, Kingsley Ibeneche, Mellowbastard, Pierson, Rover Rover, Shane tha Great, Suzanne Sheer, Tha Riva, The Bul Bey

Family Fun Day

Date: Sunday, April 21, 2019

Time: 12:00pm-6:00pm

Fun Stuff:  Easter Egg Hunt, World's Largest Kid's Sip n' Paint (tickets sold seperately), Sticker Make & Take (Sticker Stampede)

Sounds: Lee Jones & Friends

Sponsored in part by: YARDSPhiladelphia Weekly, HabithequeDo It Now T ShirtsFederal Donuts, Joe Werner ProductionsBlickTru WaveThe ParlorBeauMonde OriginalsChampionDWRC

Lucie Duban
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Based in Marseille, France, contemporary painter Lucie Duban deals with the unseen, astral plane of existence and the common bond by shared by every living being on the planet earth. Pulling influence from her studies of quantum physics and cosmology theory, she transports views into a dreamy, meditative realm of vibrant hues and translucent shapes interspersed across an unresolved oblivion. Each scene depicts the intimate connections shared between individuals that give way to all energy and light, as opposed to the materialistic, tech-obsessed world of tangible conveniences we immerse ourselves in today. In all, her work gives form to what she views as “a mandatory revolution of the collective consciousness” and “a quest for shamanism”. Throwing cynicism to the wind, she presents a beautiful re-interpretation of human existence on planet earth, guided by dream, escapism, and idealism, divorced from the tangled web of excessive commodification our modern societies choreograph themselves around.

Text by Nathalie Levey

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Hidden Nature: Interview with Darko Vuckovic
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Talent is a good advantage, but it brings us to our goal only if nurtured through constant work.

Vuckovic was born in Podgorica, Montenegro and graduated from Faculty of Fine Arts in Cetinje in 2001, in the class of professor Dragan Karadzic, painting department.

From 1999 to 2000, he attended L’ecole Superrieure d’Art du Grenoble, France, where he started to experiment in computer-generated imagery, photography and experimental sound.

In 2012, he completed specialized studies, painting department, at the Faculty of Fine Arts in Belgrade, in the class of professor Zoran Vukovic. He has been a member of ULUCG (Association of visual artists of Montenegro) since 2002.

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The Heraldry of Nature (Imprints and Traces)

Every shape in the visible nature, the smallest as well as the biggest, is revealed as harmony. 

The Māori from Polynesia had the word “mana” for expressing the unity of things, the strong feeling that life is a unity in which not only gods, people and all living things partake, but also things that to us seem dead. “Mana” thus represents an immediate experience of the “sacred force that permeates life”. All of their art is filled with spirals as visual displays of the force. They were engraved into wood and stone, painted, or even tattooed on the body. One can find identical spiral motives in many other parts of the world, some originating from prehistoric times.

In nature we find the spiral movement in the structure of the DNA molecule, as well as in the spiral galaxies. The “murmur” of the cosmos is expressed through shape, just as fine sand placed on a string instrument makes precise geometric shapes when one plays a tone.

György Doczi, a Hungarian architect from the early 20th century, discovered the same mathematical laws at the basis of architecture, the elements of landscape, the anatomy of humans, animals and plants, the tone scale, the rhythm in poetry, prompting him to introduce the concept of a dynergic pattern“.

The displayed works have a common thread. They represent different imprints of the universal energy flow, which is visible just partly. This energy weaves tirelessly behind the curtain of the material world, maintaining it and driving it. The idea once obsessed J. W. Goethe (Essay on the plant), and later Rudolf Steiner when he speaks about the active spiritual reality, deeming it the cause of what we perceive with our outer senses. The wide field of his work and his views had a profound impact on art: the works of Kandinsky, and later Joseph Beuys, among others.

Occasionally, the hidden, dynamical and changeable nature finds its artistic expression and displays itself in physical form. That is why I consider myself only as a formal author of these works.

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When and how were you first introduced to working with ceramics?

I started doing ceramics about ten years ago. Considering I received a degree in painting, the main techniques of my artistic expression were drawing, painting, photo collages. A set of circumstance led to my sharing a studio with some sculptors. This was a decisive factor for my gradual shift to ceramics and getting to know its secrets. Ceramics enabled me to add a third dimension to the visual images I created. I was and still am fascinated by the possibilities it offers, which are practically inexhaustible.

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What inspires your work?

Inspiration is something that is in my case spontaneous, which arrives the moment I start communicating with the material, in this case with clay.

There are certain conditions that have a positive effect on achieving a required state of sensitivity when creativity can be expressed in the proper way.

Frequent trips to nature contribute to this state. The rhythms of nature and its changes are somewhat similar to the rhythms of the forms I create. My forms are organic and changeable, almost natural.

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What is your process like when you start a new sculpture?

In most cases, I don’t have a clear idea and plan about what I wish to accomplish because I want to leave open the possibility of a surprise.

I allow the forms to change by their own inner rhythm and impulse. This is probably the main reasons why the technique has been holding my interest for so long. Later, after the first round of baking clay, some additional effects are made with texture and glaze, making it even more interesting. Sculptures are often baked multiple times in a row until the desired effect is achieved.

Below is the link for my short film on clay and an ancient method of sculpture making. The film was screened at the AVI Fest - Short Film Festival 2017, where it won the first prize.

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Who are some artists that inspire you?

It used to be Hieronymus Bosch and Flemish painters. Afterward, surrealists like Max Ernst, the metaphysical painter Giorgio de Chirico, but also M.C. Escher.

As for sculptures, I am most fascinated by the sculptures by Joan Miro and some works by Joseph Beuys.

These are the artists whose work always leaves an impression on me.

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What has been the most challenging aspect of your career thus far? How did you overcome it?

The greatest challenge is persisting in doing what one loves. It isn’t always easy. It means not compromising what one considers truly worthy of doing. Like the moment I left my steady office job as a graphic designer so I would have more time for my artwork. It often means entering a zone of economic instability. These decisions bring many questions, doubts, and dwellings, and one needs to learn how to cope with that. It becomes easier as time goes by.

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What would you say your greatest strength is as an artist?

For me, art is something that gives meaning even at times when we cannot find it in our surrounding, in the outer world. The fact itself is encouraging and gives strength and motivation. For me, that is enough.

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Do you have a piece of advice you have received that you would like to share with our readers?

There is good advice in the tale about Aladdin. It says that if you rub the lamp long enough, a genie will appear. The lamp represents us and our unnurtured talents. This means that if we are persistent and focused, results are inevitable. Talent is a good advantage, but it brings us to our goal only if nurtured through constant work.

Get noticed on Instagram!
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You may have heard that a lot of galleries, curators and writers now discover new artists that they end up representing, exhibiting or interviewing via Instagram. It’s pretty incredible that social media has created such a simple platform for sharing art worldwide. That being said, there are so many talented artists showing their work on Instagram these days that it can seem like a competition for followers and impossible to get noticed. But neither of these are true. Make sure your feed stands out for all of the right reasons!

  • Quality photography for artwork: We know, we say this all the time! As Instagram is a visual platform, it makes sense that all of your images should be high quality. However, this doesn’t mean that you have to spend hours to get a perfectly lit shot of your studio or an artfully messy image of your palette and brushes. Focus on clean, cropped photos of your work that can easily be reposted. Make it easy for others to share your work!

  • Along those lines, while it is fun to mix up the type of images that you share, like detail shots, an installation view and works in progress or even your cat, make sure you regularly show finished pieces (perhaps one of every three to five posts depending on how much work you have and how quickly you create new pieces). I came across a really incredible painting that I wanted to share on Create! Magazine’s Instagram so I went to look up the artist’s profile. I scrolled and scrolled, but could not only not find the painting I wanted - I couldn’t even find one single image of a nicely photographed, completed work cropped to the edges!

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  • Use the right hashtags: We discuss hashtags in more depth in our new book “The Smartist Guide” but the general rule is to be relevant to your work while not being too general or your posts will get lost in the mass of images. So if you make sculptures you could use #sculpture, but that has over 10 million posts and #sculptures has over 1 million. Instead you could try #sculptureart (200,000) or #sculpture_art (9,000).

  • It might be your goal to get reposted by a larger influencer account like an art blog, magazine or curator. DM-ing them to ask for a feature isn’t professional and doesn’t work (nor does random tagging unless they specifically request it!). Often, these accounts will post simple directions like using a specific hashtag on your posts for you to share your artwork with them. We look through #createmagazine regularly and love seeing the great images that the artists in our community share with us! Kat also mentioned recently on an Art & Cocktails podcast episode that Instagram doesn’t allow us to sort through all the messages that are sent to us. With the volume of DM’s we receive, after a day or two it is hard to go back and find specific ones even if it was an artist that we liked.

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  • While I can’t speak on behalf of other publications or curators, I personally don’t care what an artist’s follower count is. If I like the work, I will happy reach out for an interview or repost the work whether they have 50, 500 or 50,000 followers. There’s no need to play games by following a bunch of accounts hoping that some will follow you back and then unfollowing them a few days later. People definitely notice and will remember you in a negative light.

  • Make connections with other artists, curators, galleries and arts publications that you genuinely like. This way you can meaningfully engage with their posts. For example, if you leave a particularly nice or interesting comment on a post, it is likely that they’ll click through to your page. It pays off to be a friendly follower :)

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  • Don’t feel pressured to post new content all of the time! It’s likely that only a fraction of your followers will see any given post so if one has performed particularly well feel free to share it again a while later. Especially as you get more new followers, it is a great idea to keep putting your best work out there - you never know when a new writer or curator will end up on your feed!

  • When you do inevitably get your work shared, you can definitely repost it on your profile to be proud of your accomplishment and it’s also good practice to leave a comment thanking them for the feature. Hopefully one shared work will cause a chain reaction leading to more! That happened to Kat last year with a piece she didn’t expect and early in my career as well with a completely different type of work than what I usually made. Be patient and consistent with your posts and it will happen to you too!

Above all, none of this is important if you aren’t yet happy with your work or don’t have finished pieces to show. Put the time in your studio to get to the point where you have a really strong body of work to post about first and then trust us, the rest will follow.

Happy ‘gramming!

-Alicia

If you’d like to hear more about what writers are looking for on Instagram, you can check out the Art & Cocktails episode Kat did with our other magazine contributor Christina Nafziger at createmagazine.com/podcast.

Looking for additional career tips like these for emerging artists? We’re so excited to share our recently launched book, The Smartist Guide, which discusses topics ranging from perfecting your resume and writing the perfect pitch to a gallery you’d like to represent you to dealing with rejection and finding the best opportunities to show your work! Learn more here.


Money Mindset for Artists
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I believe that all artists can be financially successful and achieve the level of success they are looking for. It will require focus, clarity, writing your vision and tracking. Nothing worthwhile comes easy and this is one of the most important areas that creatives need to focus on. If you know that is it hard and complicated then you probably realize that it is worth it! Go do it!!
— Bridgette Mayer

On this episode of the podcast, we talk all things money! If you are struggling to make art sales, need to take control of your finances, are in debt, or just need a little encouragement in this department, listen up! Our guest today is Bridgette Mayer who is an art dealer, curator, art advisor, author, and entrepreneur. Bridgette shares advice and her own experience overcoming poverty to building a dream career in the arts. Bridgette has helped me transform my finances and I want artists to feel empowered and create a healthy money mindset.

Bridgette Mayer has spent decades cultivating her passion for art, artists, the clients she advises and finding her way to the top of the art world. After suffering an abusive childhood that landed her in foster care homes and on the streets, starving and beat up, Bridgette was adopted by a wonderful family at the age of nine and began her life transformation.

http://bridgettemayer.com/about/

http://www.bridgettemayergallery.com

Sculpture call for art

Max Cole 'Crosswinds" at Larry Becker Contemporary Art
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If you find yourself in Philadelphia before the end of the year, we highly suggest stopping by Larry Becker Contemporary Art to see their current exhibition. To be honest, it wasn’t yet on my radar when I decided to go gallery hopping on a Saturday in November. I happened to begin chatting with an artist sitting a co-op space nearby and he urged me to go over and take a look. ‘Crosswinds’ presents paintings and works on paper by American artist Max Cole. I won’t give away too much here since the owners are more than happy to tell you about this incredible artist and her work - so go see some great art and say hi to their adorable gallery cat!

Max Cole
’Crosswinds’
On view Nov 10 - Dec 29, 2018

You can follow the gallery on Facebook & Instagram.

Max Cole’s paintings suggest an approach to infinity through the use of vertical repetitive lines, a record of intense focus that is said to contain energy as embedded content. The artist describes this process, which she has worked in for over 50 years, as meditative. Though sometimes compared to the work of Agnes Martin, the similarities between the practices are superficial. “There is no other way to produce the work except for a depth of engagement requiring the abandonment of self," Cole has explained, "and this process opens the door to infinity enabling reach outside the physical. For me art must transcend the material.” Born in 1937 in Hodgeman County, KS, she received her BFA from Fort Hays State University in Kansas and her MFA from the University of Arizona in Tucson. Influenced by the Suprematist works of Kazimir Malevich during the late 1950s, she began producing paintings which reflected on time with simple forms. The artist lives and works in California. Today, Cole’s works are held the collections of the Metropolitan Museum of Art and The Museum of Modern Art in New York, and the Los Angeles County Museum of Art, among others.

Artist biography adapted from Artnet.

Natalie Dark

Born in Miami, FL, Natalie Dark works in a variety of mediums, though her current work is made exclusively in colored pencil. Natalie's attention to detail and precision requires a certain level of mindfulness, which lends itself to rich color and visual depth that results in finished pieces reminiscent of oil paintings created by 17th-century Dutch Masters.

As a theme, mindfulness is woven throughout her body of work in direct response to her environment and reflections on personal identity and cultural experience. As a Cuban-American woman in today's political climate, colored pencil provides a sense of stability and grounding that is necessary when living in a world that is in a constant state of flux.

Follow her on Instagram: @nataliedarkart.

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Artist Statement

"Camino Oscuro," (or "Dark Journey," in English) is a foray into Natalie's experience as a newly married, Hispanic woman, who has lost a sense of obvious cultural identity in exchanging her maiden name, Delgado, for the more Americanized Dark.

Her subject matter is purposefully inviting, familiar, and comforting. It provides the viewer with an instant connection and, therefore, an opportunity for further exploration. It is a democratizing experience, where a seductive and comforting exterior hides a world of complexity, a history unexplored or understood by the viewer.

Mo Cornelisse

The work of ceramicist Mo Cornelisse consists of unique pieces mostly in porcelain combined with gold. With love for the traditional craft, but a strong interest in modern techniques, her sculptural artworks are focused on shape and material. Her minimalist and often monochromatic three-dimensional pieces are distinguished by form and simplicity. Mo is the first ceramicist to make porcelain portraits using the latest 3D techniques. Her wall objects are reminiscent of light reflections and she is also known for her melting vases. Lately Mo has been working on a series of wall carpets created in porcelain and gold, but is also beginning to branch out to make them with different materials.

Follow her on Instagram @mocornelisse

Andrew Wapinski "Transmutation" at Callan Contemporary

Born in Saint Clair, Pennsylvania, Andrew Wapinski is a visual artist whose current practice is rooted in the memories of interacting with the environment of the historic coal mining town in which he grew up. His work places great importance on the physicality of material and its relationship to artistic process. Melting blocks of pigmented ice, hand-ground anthracite coal and the collection of dust from his reductive painting processes lay the foundation for Wapinski to investigate interwoven themes of liminal space, reclamation and material significance as they relate to shifting environments and sense of place.

He will be presenting a solo exhibition entitled "Transmutation" at Callan Contemporary in New Orleans from September 1 - 30. The opening reception will be held on Saturday, September 1 from 6 - 9 pm.

TRANSMUTATION

Fluidity and change—the waxing, waning duet between human beings and nature—are the subjects of Andrew Wapinski’s formally elegant, conceptually rich mixed-media paintings on linen-mounted panel.  In his debut exhibition with Callan Contemporary, Wapinski presents a suite of evocative abstract works, which project a contemplative, Zen-like serenity while encapsulating personal and anthropological narratives.  The paintings flow from a time-intensive process that Wapinski first developed in 2013, in which ink- and pigment-infused ice melts onto canvas in controlled fashion, imprinting organic forms.  “This establishes a foundation to open a dialogue between natural process and personal interaction,” the artist observes.  “For me, the melting ice is symbolic of geological process and a metaphor for the passage of time.”  Wapinski adds and excavates thin layers of gesso, responding intuitively to the shapes.  A hard dividing line, or scission, emerges along with the forms through myriad additive and subtractive strata.  This creates a texture differential reminiscent of the strip-mined hills he grew up around in St. Clair, Pennsylvania, and evokes the moment of potentiality when natural environment and human interaction, in cycles of construction and deconstruction, evolve together into something new.  Organic gesture and geometry become interwoven in a mélange of personal memory and socio-geological critique.

Wapinski earned a B.F.A. in painting from Kutztown University (Pennsylvania) and an M.F.A. in painting from the University of Delaware.  His work has been reviewed in publications such as The Washington Post, New American Paintings, and Artline and has been exhibited recently at Elmhurst Art Museum (Illinois), as well as galleries in New York, Washington, D.C., and Cincinnati.  The paintings are included in significant private and corporate collections throughout the United States.

Influenced by minimalists Agnes Martin, Richard Serra, and Donald Judd, Wapinski’s sensibility also evokes the Land Art movement of the 1960s and 70s.  In materiality and technique, the paintings allude to the primal call-and-response of man and nature, the shaper and the shaped, each altering the other’s trajectory from prehistory through the present day.  In poetical greyscale tones and washes they speak to the dialectics of permanence and impermanence, the local and the global.  The artist sees the works not only as metaphors for geologic processes, but also as embodying “a kind of alchemy:  the idea of transmutation; the forms changing from one state to another; the shaping of material with intent.”

                                                                                                                          by Richard Speer

All images courtesy of the artist.