Posts tagged Pattern
Crystal Latimer
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Crystal is currently a full-time painter based out of Pittsburgh, PA. She is represented by BoxHeart Gallery and Studio Director at Radiant Hall Susquehanna. Crystal completed her BFA Slippery Rock University. She then went to receive an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively.

Crystal's work has been shown extensively in both solo and group exhibitions, including at the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Framehouse and Jask among others. She has shown her work in Hong Kong, China, as well as participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal's work has been featured in Local Arts PGH, Art Maze Magazine, Ruminate Magazine, and Fresh Paint Magazine. Her work is included in both public and private collections including those of Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp.

Statement

I stood at a Wal-Mart in Escazu, Costa Rica, and felt like I was experiencing that moment in late autumn when you realize that all the fiery reds and oranges had faded and fallen to the ground. My life had been a staccato of visits to my mother’s native Costa Rica and, in that second, I realized that I was witnessing the dilution of the vibrant culture.

My paintings explore the hybridity of Western and Latin American identity. For me, understanding identity, and its existence within a historical context does not assume a position in words, but in shape. Embedded in my compositions is Latin American culture: its intricate folk arts, tropical flora, and warm hues; while graffiti tags, bold mark making, and images of conquest interrupt this patchwork of shape and color. Patterns, both traditional and commercial, are fragmented and pieced together. Colors infused with Latin flavor are diluted by a ubiquitous white. Organic, blooming forms are contrasted by flat or rigid fields. My paintings use the tools of paint and brush to consider the colonization of Latin America, and its continuing role as “colony” in Western society. Without taking a political stance, I aim to draw attention to the visual tapestries and unknown histories of this underrepresented area.

www.crystallatimer.com


Erin Fitzpatrick
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I am constantly inspired by patterns and prints, my travels, summertime, Instagram, interior spaces, my immediate surroundings, fashion magazines, textile design and meeting new people. I have an iPhone full of screenshots, and sketchbooks, notebooks and a studio wall covered in notes and clippings — my collections of visual stimulants. A seed from these images, a West African textile, a languid Miu Miu model, a Slim Aarons photo of poolside decadence, inspires the vibe for each painting. I plan each piece around this initial idea by creating a storyboard depicting wardrobe, model type/look, textiles, and setting. I source my models from my peers and social media, import textiles, shop for wardrobe, and build a set. I style my models and chat with them as I take hundreds of reference photos. The model becomes the focal point in my world of clashing patterns, textiles, and plants.

I’m a Baltimore native and graduate of the Maryland Institute College of Art.  I started painting portraits in 2008 and this body of work now contains hundreds of paintings and drawings of artists, musicians, business people, my peers, and commissioned subjects. I have collectors all across the US and around the world.

www.erinfitzpatrickportraits.tumblr.com

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Stories of Love and Loss: Interview with Nanci Hersh
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The overarching theme of my work is a personal narrative about home and family. Stories of love and loss; both letting go and losing, are interwoven and explored with mixed media. This newest body of work is a return to printmaking as a centering prayer and meditation on process. Lines, fragmented patterns and assorted textures are part of my visual vocabulary to honor the ephemeral and make space for the tangible and intangible to coexist. 

Nanci is a professional mixed media artist, illustrator, educator, arts advocate and administrator as Executive Director of the Delaware Institute for the Arts in Education. 

Her work has been exhibited throughout the United States including “Eons Beyond the Rib,” at Seraphin Gallery in Philadelphia, PA, “Navigation Puzzle,” at the Delaware Center for the Contemporary Arts, “Paper Work”, at the Trenton City Museum at Ellarslie and “The Demoiselles Revisited” at Francis M. Naumann Fine Art, NYC, along with solo exhibitions in PA, NJ, DE, and Hawaii. Nanci has received numerous honors including three purchase awards from the State Foundation of Culture and the Arts, Hawaii and three Leeway Foundation Art & Change Grants. Her work is included in the Public Collections of Johnson & Johnson, Herspace Breast Imaging, Leland Portland Cement, and OSI Pharmaceuticals to name a few

With her cousin and author, Ellen McVicker, Nanci illustrated and co-created the children’s book Butterfly Kisses and Wishes on Wings: When someone you love has cancer… a hopeful, helpful book for kids. Having sold over 10,000 copies in English and now with a Spanish edition, Nanci and Ellen were invited in 2015 to participate in 798 ICAF, International Children’s Art Festival in Beijing, China in 2016.

www.nancihersh.com

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Initially, my work was influenced by the tropical beauty of the landscape, but I began to find my voice as an artist as the work became more personal.
— Nanci Hersh
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In your artist statement, you reflect on the idea that your work is a personal narrative about home and family. Can you tell us about your experience creating work that is so deeply personal?

From my first pale pink padded diary at age 11, complete with lock and key, to my current expressive mixed media paintings, collages and sculptures, my compulsion has been to chronicle, gain understanding and find the magic and connection in the everyday.

In 1985, I moved to Hawaii, far from family and friends on the East Coast. What was to be a six-week vacation led to a 12-year journey of living the dream; making art, surfing, managing an art gallery, studying, teaching and traveling. Initially, my work was influenced by the tropical beauty of the landscape, but I began to find my voice as an artist as the work became more personal. Through subsequent series that both examined and celebrated relationships at home and in my rural plantation neighborhood on the North Shore of Oahu, I began to feel a deep connection to the people, the place, and my work that felt more authentic. It also became cathartic and healing in many ways.

What are you currently working on?

I am working on a new series of monotypes and mixed media prints. This is a return to my undergraduate and graduate work in printmaking. Following the passing this summer of my mother, I am finding comfort in the rituals and process of working with a limited palette, my love of an expressive line and layered textures. Primarily black and white, with limited color, some encaustic and collage, they are a meditation on the transitory nature of life and death and the fine line between the two states of being.

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How has your creative process changed throughout your career?

It has evolved more than changed. A new series seems to dictate a particular medium or material that I am either practiced in or need to learn. For example, years ago, I had a dream about butterfly nets. Shortly after, I came upon some children’s butterfly nets at a gift shop at the beach which I purchased and began to manipulate by dipping them in the overly beaten paper pulp that dried like a skin, freezing them in time. This led to creating my own net forms from chicken wire, pulp, encaustic, pantyhose, and collage. Then I began finding and collecting different types of nets and netting which I use as stencils on my paintings and drawings. Often I circle back and incorporate elements of a prior series. The process builds upon itself more than changes.

What is your favorite part about creating mixed media works?

I love discovering found or repurposed objects or materials, seeing beauty in the juxtaposition of the elements and the surprises in how they speak to each other. I have always found peace walking along the beach and appreciate the flotsam and jetsam that wash ashore entangled, each part originating from somewhere else with a different unknown history coming together and shaped by the journey it has taken.

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What do you view as your greatest strength as an artist?

One of my greatest strengths as an artist is my perseverance. I keep making art, through raising my family, teaching, well-being or challenges, sales or not, recognition or not, just keep making it because it is who I am and how I find a deeper connection to nature, to others, to myself and a Higher Power. I also appreciate how I am able to see beauty and possibility in everything- and everyone.

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Along with your two-dimensional mixed media work you create three-dimensional sculptures, how does your studio practice accommodate both mediums?

The work informs each other. It is an ongoing conversation. There are times when what I need to explore is two-dimensional, other times it is three dimensional. This can be determined by a subject, a found object, a dream, a beautiful vine found on my walks with my dogs, or a cast shadow. Most often, there is a piece of one in the other or one is the jumping off point for the other. It is a fluid process that meanders with intention, to see how I can look at something in a new way and see where that takes me.

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What has been the best part of your artistic career thus far?

It has to be now. I am able to look at the scope of the work that I have created and see how the work has been an expression and an extension of my life experiences. I also appreciate how the work has led me to people, to conversations and experiences that deepen our connection and appreciation of the richness of this life.

Polychromatic Fragmentism: Interview with Riccardo Liotta
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Professionally trained and practicing as an architect, I have also been producing art inspired by physics, mathematics, and geometry, the foundation of my artwork. 

Abstract art is characterized by dynamic, angular geometries, contrasting shapes, overlapping polychromatic polygons, vibrant colors, sharp lines, and graphics elements.

Derived from the application of mathematical formulas and geometric principles, it expresses concepts like speed, movement, and energy, reflecting the changing, unstable characteristics of nature, as well as the fragmentation, uncertainty and undeterminability of life. 

Technically these compositions are influenced by Futurism, Rayonism, Constructivism, and Suprematism, but take inspiration from comics, graphic design, diagrams and photographs of particle collisions and electron microscopy.

Through continuous artistic research and development, and by learning/experimenting with different techniques, methods and tools, the art has evolved, becoming less rigid, less systematic, but more intuitive, gestural, fluid, and it is created by experimenting with figure-ground relationship, proportions, harmony, contrast, overlaps, layers, movement, and by analyzing and altering the behavior of colors, fields, shapes, lines and segments.

All my artwork, despite which diverse approaches it originates from, shares many common stylistic traits and characteristics, and belongs to a broad style I identify as "polychromatic fragmentism".

I find acrylic to be the medium that best expresses my ideas and theories. However, I also work with colored pencils and pastels, pen, markers and collage. I also extensively utilize the computer to generate patterns, shapes and compositions, and to alter/enhance paintings and drawings.

instagram.com/riccardoliotta.art/

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How did your artistic career start?

My career as an artist started in architecture illustration while working on my master in architecture. that is where I started painting and discovered acrylics.for my school projects and my thesis I began producing architectural paintings, but in a very abstract, interpretative way.

From there I transitioned to pure geometric, abstract compositions, gradually abandoning the architecture influence.

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What is your studio practice like?

I am still a practicing architect, so I usually split the day between architecture and art. I typically work on my artwork in the afternoons and evenings. many days, having not much time to devote to an actual canvas or composition, I find myself working on smaller drawings, collages or mixed-media work, or just sketching. quite a bit of time is also spent on just creating and analyzing forms – painted, drawn or cut-out - that will either be used on or as starting points for actual compositions. I also spend a fair amount of time writing about my work process, or to analyze ideas.

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You have such a specific style. How did you develop it?

my architectural thesis project was based on particle physics and quantum mechanics, the concepts of randomness, chance and probability, and the application of these principles to the design methodology. this, along with my interest in mathematics and geometry, led me to develop a series of mathematical/geometrical experiments that generated what I called the “eigencompositions”: analytical, polychromatic abstract compositions consisting of simplified yet very dynamic geometrical shapes, fields, lines and segments, derived from the superposition of different forms generated and arranged systematically by these experiments.

Later on, I started using new mathematical concepts and mechanisms to generate different compositions. I also had different opportunities to learn and experiment with a variety of techniques, methods, and tools that have allowed me - if not forced me - to diversifying my modus operandi and to generate art using new processes, different from the abovementioned systems.

All these approaches, along with continuous artistic research, evolved and developed into what my art is today: less rigid, less systematic, but more intuitive, gestural, fluid, also influenced by comics, graphic design, diagrams and photographs of particle collisions and electron microscopy.

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What has been the most memorable moment of your artistic career thus far?

In recent months, my work is regularly being published in different magazines and catalogs, as well as being recognized by some of the most important art sale and collection sites. being invited by important galleries and art fairs to exhibit with them is also quite rewarding.

What first drew you to working with geometric shapes?

When I started painting, my artwork was related to or influenced by architecture. but my architectural projects were all based on mathematics, geometry and physics. so, directly or indirectly, that is always been the foundation of my work. but I also think it is all simply driven by my innate, genuine interest and fascination with geometry.

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You use such bold colors in your work, how do you choose your palette for each piece?

At the early stages of composition it is very intuitive. typically, I already have a chromatic scheme in mind right from the beginning, derived from magazine clippings, a photograph, comics, graphic design, other artwork, or by simply sketching with color pencils. I then analyze these color combinations as the work progresses, to make sure they are right for the shapes and that they work as a whole, and add smaller amounts of complementary colors as I move along.

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When starting a new piece do you typically have a plan or do you plan as you go?

I always have a plan as the starting point for each work, a way to generate the shapes and the relationships that make the composition.it could be a simple drawing – for example, a sketch of a piece done at a museum – a diagram, or a “spontaneous” assemblage of paper clippings and fragments that form an interesting whole. the main colors are also already loosely established.

As the work develops, through a variety of operations new shapes inevitably appear, some get altered, and others are hidden or eliminated.and so the original plan is constantly being modified until there is only some of it left. it’s a process where I let the composition take its natural course, but still within the parameters of the original plan.

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Jaime Brett Treadwell at Pentimenti Gallery

The paintings on view in shift alt delete point to a slight detour from previous directions. Experimentation with new ideas, specifically architectural and mechanical drawing methods, combined with my persistent 1980’s childhood influences, including MTV graphics, digital synthesizers, and Miami Vice, has resulted in a deeper complexity of interwoven parts. I chose the exhibition title shift alt delete after recognizing the correlation between keyboard functions and the shifting realities present throughout this body of work. The shift key is designed to shift from one version to another, such as lower case to upper case. Alt, short for alternate, is designed as a modifier key to adjust or alter change. This ability to change or manipulate reality parallels my recent investigations regarding visual deceptions and spatial ambiguity through line, shape, color, and space. Similar to the key functions, elements in my painting often serve multiple roles. For example, a thin line may operate as the edge of a shape and also contribute to a repeating pattern of lines, later to return as a single line that cuts through another form or shape. These moments of co-existence throughout the painting disrupt the viewer’s perception of truth, often bending reality. Similar to pressing the shift, alt or delete key, these paintings can quickly switch identities back and forth, as they suggest alternate realities or a fictional universe.

www.jaimetreadwell.com


Pentimenti Gallery 

Nov. 10th – Dec. 20th

Philadelphia, PA 

Anna Teiche

Working in large-scale oil painting, Anna Teiche’s work centers around explorations of human and cultural relationships through use of vivid color, light, and pattern. A graduate of the BFA Art & Design program at California Polytechnic State University in San Luis Obispo, Teiche has recently relocated to Seattle, Washington, her hometown. Growing up in the Pacific Northwest, Teiche was always fascinated by color and pattern, especially influenced by her grandmother’s stories of her Scandinavian heritage, and the many Renaissance and Medieval paintings she saw at the Seattle Art Museum as a child. Recently, Teiche completed a public wall-hanging sculpture commission for Cal Poly, which is now on display as part of the permanent collection.

Using bright patterns and vintage fabrics Anna Teiche creates large scale oil paintings and fiber sculptures that feel inviting and friendly at a glance, but allow for more ambiguous, uncomfortable revelations upon further investigation. Through color, pattern, and light Teiche analyzes how bodies interact with each other and the spaces they inhabit, creating narratives that reveal how body language can suggest the underlying psychology of a scene. The work fluctuates between abstraction and figuration, forcing the viewer to find a coherent image in the saturated combinations of fabrics. Using combinations of plaids, stripes, and vintage floral prints, patterns are combined based on color relationships, creating environments that feel pulsating with warm light and pattern, pushing the compositions more towards abstract fragments than real spaces. Referencing the figurative poses found in Medieval and Renaissance painting, Teiche intertwines fabric, color, and seemingly severed limbs to create compositions that are reminiscent of historical paintings, but quickly disintegrate into chaotic scenes of fragmented bodies and dislocated pieces.

Sofie Pihl

I'm interested in the concept of reality, how it is perceived and filtered, and how it is in constant fluctuation between what was and what will be.

 I'm intrigued and fascinated by the technical aspects of the photographic medium, and in my work I seek to experiment with and push the boundaries of conventional photographic technique. In my process of mechanical experimentation (in camera) combined with digital experimentation in the post processing phase, I want to free the photograph from the constraints of documenting reality as we usually know it. 

Traditionally, a photograph captures a single moment in time. In my work, I try to expand that instant, by letting movement draw itself into the picture. This way, the instant can stretch itself towards infinity, and the picture becomes a living scene that you can enter, leave, and come back to again.

I’m also very interested in filtering, sublimating and transforming my original images, by cutting them up and reassembling them, or by perforating and embroidering them with patterns. 

The embroidery breaks the surface of the print and enters a visual dialogue with the photographic image, at the same time merging with it to become a new entity of its own.

I work with both Nikon and Hasselblad cameras.

www.sofiep.com

Studio Sundays: Chloe York

Abstract painter, Chloe York earned her BFA from Memphis College of Art in 2012. She has displayed her work in over 100 group and solo exhibitions throughout the mid-South and her solo exhibit, Decorators was named one of Memphis’s top ten visual art exhibits for 2013. She currently resides in Birmingham with sculptor, Eric Quick and ferocious daughter, Echo in their shared home and studio.

“My work explores identity, outward appearances, and the manner in which we decorate ourselves.”
— Chloe York

Submit to next week's Studio Sundays feature:

Isolation and Female Empowerment: Interview With Emma Repp

Emma Repp is best known for illustrative, bright, and highly patterned portrayals of monotony and adaptation. Originally trained as a printmaker, she employs a similar calculated process and layered aesthetic to create whimsical images out of a combination of handmade and digital elements, but chooses to create with whatever she can find.

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What is your story as an artist? When did you first decide to pursue printmaking and illustration?

When I was a kid, I did draw, but it was after I filled up notebooks writing stories about what I was drawing. I also made my own clothes, a boat for my guinea pig, some really weird baked goods, a lot of deep holes in the dirt, a series of giant stick puppet structures in the woods, and plenty I only remember when my mom reminds me.  My grandma was a painter, my dad went to art school, and my mom was a freak who loved that I was also a freak. I definitely had the kind of environment that pushed me to be a maker.

But as it happens, I wound up confused about what being a human meant, and super driven in areas unrelated to making. Luckily, though, after a lot of wiggling around and crying, I fell into printmaking. I made heavily patterned copper plate etchings, which eventually translated to heavily patterned ink drawings, which eventually translated to what I'm doing now. I keep calling what I make now "drawings," but maybe they are something else. Maybe they are lizards.

The weird thing is—I didn't feel like I was allowed to call myself an artist until... maybe last week. I think I called myself an artist last week. I've just made things because I felt like I would stop existing if I didn't.

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Tell us about the inspiration behind your work:

Everything I have made in the past year or so is working to capture a feeling of loneliness and isolation in a state of excess, or female empowerment despite the environment. Those seem like two separate things, but they really came out of just being a female identifying human breathing in the world—and watching other people try to breathe in the world. 

Honestly, a lot of my inspiration came from riding the bus at rush hour after spending the day trying to convince humans (primarily men) that I am also a human. Existing is so bizarre right now, (and I know I've had it easy comparatively) but I want to capture that bizarreness.

I also love slurping up old photographs — the pictures we took when we couldn't see what they looked like until they were developed — I get a lot of visual inspiration from what we thought we wanted to see.

The colors and patterns are mostly just inspired by Nicki Minaj. I mean, maybe there is some kind of divine force telling me to use chartreuse, but I need to be listening to Nicki Minaj to hear it. If I ever meet Nicki, I would love to tell her how much I need her.

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What is a piece of advice or a personal motto that you carry with you?

Don't fight your flow! It's flowing for a reason.

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Tell us about a typical day in the studio.

My process has a few steps, but I have something going at every step so I can work according to my mood. The pieces start with line drawings on layers of tracing paper and watercolor paintings. When I get the paper substance finished, I scan and layer the drawings in Photoshop. I do a lot of coloring and crying at this point.

When I complete the image digitally, I transfer it to wood, and it gets its final details with paint. This is a new part of the adventure; I had been leaving my work in its digital state, previously.

Having a multi-step process came out of the printmaker in me — but it also came out of having big ideas in a little apartment while I had a day job at a tech company. For now, I still don't have a dedicated studio space, but I love that I can work on a piece on an airplane. I carry my notebook with tracing paper with me everywhere.

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In your statement, you mention that you create with anything you find. What are some of your favorite materials to use and why?

GLITTER.

But what I really meant by that is that my process just sort of happened with what I had access to. I think because my grandma was a painter, I thought I probably had to use oil paint for someone to tell me my art is art (although, she never would have wanted me to feel that way). I didn't have space or ventilation for that, but I still wanted to make 2-D art objects, so I made some work-arounds. It has taken a lot of self-help books, but I love the final result. I can get so much detail and depth.

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What are some things you hope viewers take away from your work?

I want it to feel like you are dancing really hard alone to your favorite song — in your underwear — while eating a salad with your hands (and not choking on the salad).

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What do you have planned for 2018?

It'll be my first full year where I am allowed to call myself an artist! I have a couple of shows lined up, and hopefully some illustration work, but I'm most excited about exhibiting during the Frieze Art Week in New York with Superfine! in May.

 

Moody Animals: Interview With Heather Gauthier

Heather Gauthier's style is the culmination of many years of experience in drawing, painting, graphic design, sculpture, and showroom display. 

After a decade of living and working in Chicago and Africa, Heather and her family now reside in San Antonio. She works from her home studio, where she is presently focused on painting. Heather is represented in galleries from New Orleans to Napa, and she has a permanent collection hanging at the children's museum in San Antonio. She has been featured on the PBS show ARTS, as well as HGTV. 

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Statement

My first desire as an artist is to create art based on what I imagine and find to be beautiful. I appreciate and often implement symbolism and visual metaphor, but beauty alone gives a finished piece value to me. My work is influenced by the time I spent living in places from downtown Chicago to a strawberry farm in South Africa, and my favorite paintings are ones that balance urban and rural elements. A damask patterned background styled after old wallpaper helps echo the classic, vintage portrait, but I employ animals as models. My animal subjects are collectors. Among other things, they collect flowers, china, books, and baked goods. My subject matter is unlimited.

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Tell us about your creative journey. How has your work evolved over the years? 

“Art” was always the one thing I could do. I’ve painted and drawn my entire life but I wouldn't have called myself an artist. But some time around 2010, it began stirring in my mind. “Its time to be an artist”. And so I started work on my first “collection”. It took a while to find my style and establish a good work ethic, but I did it. I had a little cafe show in January of 2014 and I’ve been painting full time ever since. I made it through approximately 52 days of art school in the 90’s, so I always tell people I took the long road. But when I arrived, I ARRIVED. 

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How does each piece come to life? Tell us about your process from inspiration to execution. 

I am a portrait artist. I often end up with a serious look and a ridiculous message. That message being “give your hippo some cake. Make him happy. YOLO. Or HOLO...”I love moody animals. Miffed cats. Hard-core owls, confused dogs. I paint the animal and then decide what it needs. Do you need flowers, fuzzy donkey? Do you need cake? It’s not always overly intellectual. 

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You mention that you had to frequently move and travel. How do you think these experiences influenced your art?  

My husband and I married young and didn’t have kids for 13 years. We lived above a pizza parlor in Chicago and on a Strawberry farm in South Africa. I’ve never had a studio. I’ve had to squat in a corner next to the camping burner and paint off the floor. I think if there is anything I’ve learned, it’s to make do with the time, space and equipment I have. And also, don’t pick up hitch-hikers. I learned that in Masiphumelele....

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How do you recharge and replenish your creativity?  

I take naps. I look at Architectural Digest. I keep the wall above my sofa bare, and when I’m having a mental block, I paint for that space specifically. It’s something different every time. 

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Describe a perfect day in the studio. 

Now that I finally HAVE a studio....Coffee. GREAT sci-fi on Audible. Cat on my lap. I paint up to ten hours a day, 5-6 days a week. And I have little boys. If I can make it through the day without stepping on legos or having my paint-water kicked over, I’m stoked. 

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What contemporary artists inspire you?

Kehinde Wiley. Kevin Sloan. Scott Listfield, Conor Harrington, Anne Siems

Share the best piece advice you received that helped you in your art career so far. 

Paint, paint, paint! If you don’t have inventory, you don’t have....well, art.

Carla Kranendonk's Collages at Rebecca Hossack Art Gallery

Carla Kranendonk creates large-scale collages that are informed by both her experience of the African diaspora in her native Amsterdam and her travels to West Africa and the Caribbean.

Paper painted with bright patterns is combined with embroidery and beadwork, as well as photographs of figures from African culture and Kranendonk’s own family. The resulting works represent a travelogue, a collection of memories and references.

The works are not simply a record of the artist’s experience of Africana, but also an interpretation. Perspective is manipulated. Figures are flattened into a two-dimensional format set against panels of texture. Shading is replaced by thickly-painted lines.

The collages are studies of colour and pattern, which foreground the strength and expressiveness of femininity in a light-hearted visual language. Jewels and handbags assert the individuality of each woman, whilst talismans cast them as spiritual leaders. The recurrence of shoes evoke movement, the prospect of a journey. The compositions are completed with traditional domestic props, such as teapots and flowers, which the women interact with in state of rest.

Kranendonk’s works have been exhibited in the Netherlands and the UK, as well in Miami, New York and Los Angeles. This is her first solo exhibition with the Rebecca Hossack Art Gallery.

On view from February 28 - April 14, 2018 in London. 

Learn more

Elise Wehle

My process revolves around the time-intensive act of cutting intricate patterns using a utility knife. Moving my hands in the repetitive movements required by my work transforms my art practice into a meditative experience.

The themes of my art are centered on my attempts to connect my physical surroundings with the rich, complicated, internal and spiritual environment experienced within. The cut-out pattern interferes with the representational imagery, obstructing the seen with the unseen. No matter how many paper layers intersect with the representational image of the photograph, the cut outs ultimately act as negative space, forming lines and shapes out of nothing. Despite the patterns’ clearly defined edges, they are actually invisible, like the experiences they represent.

www.elisewehle.com

Sierra Barber

Sierra is a self-taught encaustic artist and has been working with the ancient painting technique for nearly 10 years. Her practice explores the natural characteristics of beeswax as a material, creating a seamless bind between reality and the imagined. Her process involves a repetitive build-up of thin layers of melted wax that create mesmerizing forms specific to how the material was applied at the time. The layered process allows the wax to gradually grow and change on its own, transforming into controlled chaos that appears to have happened organically.

Throughout her professional practice, Sierra’s work has explored themes of preservation, transformation, the collection of memory, virtual nostalgia and curiosities of time. These concepts are re-imagined and retold in beeswax, pulling them back into a natural world to be analyzed and interpreted.

Ana Vieira de Castro

Ana Vieira de Castro is a portuguese photographer. She was born in May 6th, 1995. She currently lives in Fafe, Portugal. Ana got a college degree in Visual Arts and Photography from Escola Superior Artística do Porto University, class of 2017. During her degree, Ana worked for independente clients, shooting events such as music festivals and she also worked on her personal portfolio, which is still under development. Ana participated in Guimarães Noc Noc in 2016 and 2017, a cultural event that showcases the work of artists in many fields. She also took part in a group exhibition in 2016 called “Cultura d’Imediato”, which took place in Armazém da Alfândega in Porto, as well as “When Deadline Becomes Form” in 2017 on her university. In November 2016, Ana is selected by the editors at Photo Vogue platform, at Vogue Italia, and travels to Milan to have her portfolio reviewed by professionals of the field. In 2017, she is nominated by the local newspaper, Notícias de Fafe, for the Ardina d’Ouro award, that recognizes the achievments of Fafe’s natives in various fields – in her case, the Arts category. Some of her projects have been shared by Organica Magazine, Pawn Magazine, Austere Magazine and Paradise Magazine on Instagram, and the tumblr of San Francisco Museum of Modern Art also shared one of her images. She also had some projects published on Stop Magazine and PUMP Magazine where she also got featured on the cover. Ana Vieira de Castro has given some interviews, where she shared her work and professional journey with the audience.

Statement

My images are portraits and self-portraits photographed in natural and humanized places, where I study the behaviour of the human body as an identity in each of these places, where the body has the main focus. Every piece is photographed with a digital camera, and they're always part of a series and not a unique piece. These works have a big surrealist influence because of the body positions and because of the way it relates with what surrounds it. All these images have common characteristics, such as the lightly color desaturation, the use of texture, patterns and a lot of color.

Studio Sundays: Tahnee Kelland

I'm 34 and living in Dawesville, Mandurah Western Australia. I'm a self-taught artist and failed art in high school. Actually, I think I relieved an "E" on the report card. Is that worst than an F? Who knows. Could have had something to do with me painting/drawing what I wanted, not what I was told. Not much has changed. For the first 10 years After leaving high school, I hardly painted or drew a thing. My confidence was low and I never finished anything I started. At around 27 I picked up my pencils and committed to finishing anything I started. I promised myself to finish anything I started even if I hated it. I'm so glad I did that because it taught me about " the ugly stage". I feel like everyone has that ugly stage in their work where it's not quite looking it's best and all the fear and doubt creeps in over if it will even work. Then you push through and of course it does. I never knew that. I gave up before even trying. Now things are different and I've over come that hurdle.

Then there was the next challenge. Style. It's taken me about 6 or 7 years to find "my style". I was always looking for a short cut and hoping I'd find it over night. But all the advice I received was, unfortunately, correct it takes a lot of work and a lot of time. I also get bored easily so I'm not sure if that helped or hindered.

My most recent work feels like the closest to "my style" I've ever got. I love patterns on patterns, muted, dirty colors and fabric. So they feature heavily in each work. The women in the painting represent myself I guess. I've always been content in my own space with my thoughts, I can go weeks pottering around the house without seeing another human. A lot of people have questioned if this is healthy for my mental health and shone a negative light on having so much alone time. So I wanted to celebrate it. It doesn't have to be a bad thing to want to spend long periods with just yourself. I find that I grow as a person in the stillness.

www.tahneekelland.com