CREO Fall 2009

fall2009 issue no.1

latin for to create • a quarterly, online magazine that explores visual culture from the student perspective • on a mission to create real-world opportunities for burgeoning artists to explore the collision of art and culture • dedicated to empowering students to interpret their world, cultivate discussions, and inspire others while sharing their own work • a venue for students to be active participants rather than passive recipients of their world.

cover icons courtesy of Svyatoslav Palenyy, Eduardo Recife & Go Media

Share your perspective.

Find out how at www.creomagazine.com

fas eak

part of a health yb r

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Student artists in this issue: Francisco Correa-Cordero Jason Belmonti Jerry Vigil Katy Betz Leeron Hoory Niamh Butler

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Prabha Mallya Quoleena Sbrocca Timothy Daniel Flynn Trevor Ingraham

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reality bytes

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around town

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theme • icons 5

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Stage 1 Rumblings in the undercurrents of society.

Stage 2 The icon explodes onto the scene and captures the mood of the time.

evolution of a cultural icon

*adapted from “Lessons from Cultural Icons� by Harvest Communications, LLC photos by Flickr users freeparking & williac

Stage 3 Collective influence creates mass acceptance and spawns imitations.

Stage 4 The icon becomes ageless and represents a period in time while imitations fade.

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? life e c n ng flue s hopi ce n i i t n s ar o TV influe ed e o v D ra ll ish ll B ife wi st fin The e W at l r ju ey alls fo ct, a th h T e art. sting c t Proj ased r b a A d ow n c ise o p e n t i t l e l i t y s h p r e m y.

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se hou e s i h nc at t d th hed (he ers e n r s a n i mol st le e ow “I ju ill be de ), so th rom the ’ f w Bye ainted ommon d o p c ‘Go to be ru.” it’s it ess ima, Pe u d g e I w allo de out. ctice. L era i s pra uel V in g i M user r k c - Fli

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hed unc a l as e w apolis l b ian Bab It Art he Ind Art. uality f t by eum o high q elated of r s Mu cases ut art- ariety s. w o sho os ab om a v ective p e r vid ects f d pers s, j iew sub ces an v r e s t r t in scene sou s i t as ar the tch hind seums ns, Wa e o mu k b g biti pee arious l exhi spirin e l n v r i ta at ins hat’s e featu y ic the see w tes A n he no you d . s n r s a is t the ive to o he site hich g ation t on urce w inform e o res tional you’r i t add t wha u . o ab ng rg chi e.o l b wat bab .art w ww

s s e l d n e p s o t t s i i n l i a a h r t g e r y l u o t h c i e . p t h i e T t h t a g k o n i o l k a o t m anksy B e e l … tim kes peop ta

c o l o r muse & mutte r

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n arti s M by au ped a Bauh the o l e , Dev Lihs, udent ines t s b ii om ity e r s a y® c i t h W e v i n r t w U iiSp Flash o crea l te o W n g a t r n obe ology , virtu y Eve erythi d .

A s te ve all hn s. ev tec eracti Basic ing r no nizes device d u o t “ y . ac in fin ur hro r an venue t repl m of had sync en yo ant to arch o u r u i e o t ffit ot abo s a fo er to h y ory etw you w just se s, jus a s r b i a g ti ath e m , s n en t i r w t it i graffi y is r terfac Wh ething here i ered i eve hic me all u a t u n o l r w b i c p m o a y e p re so r and mem iiS as an ti a n f Do otogra y to re hing y e W e r o i t . h fil art i l i t t a n t t We l l , een graff tside ” you a p b s a f e e r . i e u s e b ? o as e u l giv evel o world a elf.

- th y imp world kgo s w o r t , a a u n l g r EO digit ual xistin Monta is e v e i n t h i s h e g i n y h a s e® y o R t r C a i t g v t e , at y ct p l e see w out hnolo verno rea ored b produ nt. ere ote lik e cli e web H e c o E e h e r h t thr act, t tion. embe ern ard. W rom t rious ons , this elopm be v p E S o r u u f s n v n f c a b ext er sol u rem free Can er de tes ca ite. o ide rmatio hots o notes to t y d t s s a u i e n b d p b u hel ng. Th ows yo rom info snaps record come ill ect up eir we t n s a i f j e c h m ll Pro d on t tak s, and ideas for a ryth n a ion y. c o a h r s eve icatio ormat e and t d d n p e is fin n goo mak on bo r l f e fou .wi t app ure in nywhe essibl e w I e h c . w a w t c w sp ind cap ally a it ac any o m r work t u s t t e a o r e ak able vi g t tidi tops. n m blo ople s ’ k the search e pe ote Us des ern other ks: our and . v r o E e y d g.” ow t w tim Rea out h berin for w i n with r o h m b o find “reme ebsite als, e’s atio e i Her applic the we aptur a e ar t the w , tutor , and c i t t h e p u t e r, n e t o n t t o s r s d Vi n l o a po a o c o m i l e p h y o u w n o w, w cal sup o d k b m. ni mo things - you oard, ech s foru t s b r e e e om ’ h th embe whit ser etc b te.c u k o s a n m e n s, re ver , r, w ard es o w. e w not ness c rappe rdings w i w o b u s g u m i o r e c e r. a v d on , au whate nd tag s e pag et art, nize a a issue stre n, org N o. 01 e h T

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47N37’16” 122W20’50”

seattle washington

sep/2-4 Bumbershoot

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A single ticket allows you to explore this urban arts festival, now in its 39th year.

Take in the sights and sounds of regional and international music, film, comedy, spoken word, dance, theatre, performance, and visual arts in the heart of the city.

45N31’26” 122W40’13”

portland

37N46’31” 122W25’9”

oregon san fran

09/3-13 TBA:09

Celebrate every form of contemporary art including installations, film, and live performances at the Time-Based Art Festival. Immerse yourself in the only festival of its kind with over a week of emerging ideas and unique, complex programs.

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california

aug 23

34N3’8” 118W14’36”

L.a.

Rock Make Street Festival

california october 24-25

Take a trip to the Mission District for this one day street festival, now in its second year, and support local independent artists and musicians. With free admission, sample emerging Bay Area bands, artists, and crafters in true DIY spirit.

Festival de la Gente Celebrate Dia de los Muertos, or Day of the Dead, in this 10th annual street festival featuring Latino artists and entertainers. Preserve traditions and check out the display of giant paper maché puppets and the community altar exhibition.

38N37’39” 90W11’54” saint • louis

missouri

41N52’46” 87W37’28”

09/26-27 chicago illinois Strange Folk Festival Travel just outside St. Louis (O’Fallon, Il to be exact) to this “festival of social significance.”

Under a canopy of trees, enjoy plenty of eco-freindly craft activities, exhibits, live bands, and local cuisine, including coffee and vegetarian fare.

aug 29&30 Bucktown Arts Fest “Art, in all its forms,” is the focus of this festival. Gather with painters, sculptors, photographers and craftspeople (as well as musicians, actors, poets, and dancers).

And while you’re there, wander the streets and parks of this distinctive neighborhood.

ar oun d t own

event s in your back yard

08/26-30

Atlanta Underground Film Festival View every genre of cinema and support filmmakers who thrive outside the mainstream arena.

This festival also hosts an animation and documentary festival: Animation Attack! and DocuFest Atlanta.

Mid-Ohio-Con Attend this comic book and pop-culture convention that brings fans together with leading comic book writers and artists, film and television stars, and creators and publishers.

third

Crafty Bastards Arts & Crafts Fair Find the work of talented, independent vendors from the DC area in this exhibition and sale of handmade alternative arts and crafts. The fair is all-day, outdoors, and free to attend.

Cut & Paste Digital Design Tournament

Watch sixteen winners from cities around the world compete in the categories of 2D, 3D, and Motion Graphics for the grand prize in the first ever Global Championship.

Picnic Music & Arts Festival

Rhode Island Int’l Film Festival Screen independent works of various types, on a range of subject matters, and in different genres.

True to its title, the festival presents films in venues throughout the state.

Support local, emerging artists and indie musicians in this second annual alternative to the traditional arts & crafts fair. And don’t forget to bring your picnic!

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georgia

ohio october 3-4

dc oct 10•16

maine rhode 09/12 island aug 4-9

vol .

atlanta

columbus

portland

41N49’37” 71W24’31”

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33N45’16” 84W23’23”

washington

newyork

newyork

39N57’44” 83W00’02”

38N53’32” 77W1’27”

40N45’22” 73W59’13”

43N39’17” 70W15’45”

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If you find yourself traveling beyond your own backyard, try one of these exercises to help you explore and document your trip: Photograph letters on signs to spell the city, state, or festival you’re visiting.

Sketch everything you consume on your trip - glue the receipt right next to it.

Choose a color that represents your location. Photograph everything you see with that color.

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Draw a map or diagram of the places you visited on your adventure.

doodle courtesy of Spoon Graphics

Document an overheard conversation.

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sketchbook

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(from left to right)

Janet, graphite drawing Brian, graphite drawing Laser (self-portrait) graphite drawing Milton, graphite drawing (upper right)

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Pop, graphite drawing

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s k e tch bo ok

jason belmonti

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Lincolnshire, IL Milwaukee Institute of Art & Design

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(top from left to right)

Rabbit1, Post 50, Post 91 (middle from left to right)

Post 56, Post 83, Post 54, Cat1 (bottom from left to right)

Post 27, Dog1 Post-It Notes, Hi-Liter速 and Sharpie速 Marker

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速

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s k e tch bo ok

timothy daniel flynn vol .

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Southern California Laguna College of Art and Design

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(top row, from left to right)

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Attack of the Dust Bunnies ink, watercolor and coffee “After a particularly long sneezing fit from an ever-present dust allergy, I had to put down this important aspect of my life on paper.”

Flight of the Hummingbird ink, watercolor and coffee “For some reason it seems logical that a tiny hummingbird with a tiny guy riding it MUST fly to seek treasure in a big, big nose.”

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Throwing the Bouquet ink and watercolor “Flinging a wedding bouquet like that...just might, cause this.”

Deaf People at Charlotte Airport, ink “Being stuck, waiting, in the airport at Charlotte, I was watching people listening to music on their ipods, and the whole idea of music as familiar, friendly noise struck me, which led me to draw all the people I could see and write that little piece on music and what I was thinking at the time.”

s k e tch bo ok

Prabha Mallya Savannah, GA Savannah College of Art and Design

‘‘

The International Day of Peace

2010. Established by a United

day without violence, a Global

provides an opportunity for

Nations resolution in 1981, the

Cease-fire can provide hope for

individuals, organizations and

International Day of Peace was

citizens who must endure war and

nations to create practical acts of

first celebrated September 1982.

conflict; it proves that worldwide

peace on a shared date. Annual

Along with being designated

peace is possible. A cessation of

celebrations of Peace Day high-

by the UN as the International

hostilities for 24 hours can also

light the Decade for a Culture of

Day of Peace, September 21 is

enable relief workers to reach

Peace and Non-Violence for the

also a day of Global Cease-fire.

civilians in need with food,

Children of the World, 2001 to

By acknowledging a unified

water, and medical supplies.

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For more information about Peace Day, visit internationaldayofpeace.org

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09212009

spur de s i g n

design+awareness=change D esign S pur

is a call to action. How can you use your creativity to inspire change? Each issue will pose a design challenge. The goal? To create a solution that promotes awareness in your own community.

call to action Create a rebus puzzle to promote awareness of Peace Day - the United Nations’ International Day of Peace - marked every year on September 21. What’s a rebus puzzle you ask? Think back to your elementary school days and solving those picture problems. You know, NY U for “I love you.” Apply that to a phrase, quote, or merely words that commemorate and celebrate peace.

phot

o by

Flick

r use

r .Di

anna .

Think of interesting applications for your puzzle and photograph it in use. It could be as simple as hanging a poster or a more complex campaign like placing stickers on drinking cups in the cafeteria, student union or cafe.

Deadline Submit your puzzles and promotions in action to editor@creomagazine.com by September 30.

Our next issue will feature some innovative solutions.

o

ne of the most iconic images of 2008, and certainly of the last election, was Shepard Fairey’s “Obama Hope” poster. Reproduced on everything from stickers to pins to websites, this viral image was admittedly based on a reference picture. Fairey googled images of Obama and used a photograph taken by Mannie Garcia for the Associated Press. As a result, the AP says it owns the copyright, and wants credit and compensation. {enter lawsuit}

from Flickr user Daquella manera

Faced with a deadline to accept an agreement from the Associated Press and pay damages, Fairey launched a preemptive strike. He filed a federal lawsuit in February asking a judge to find that his use of the photo did not violate copyright law based on fair use exceptions. Fairey’s lawyers contend that the reference material was transformed into a “stunning, abstracted and idealized visual image that created powerful new meaning and conveys a radically different message” from that of the original photograph. As expected, the AP counter sued stating that Fairey knowingly “misappropriated The AP’s rights in that image.”

As this case goes to court and the banter continues on both sides, we are left to consider how the resulting legal precedent will further define fair use.

Will it be more restrictive and suppress an artist’s freedom of expression, as Fairey argues? Or will it protect artists, like AP photographers, from illegal use of their images?

Either way artists continue to walk the blurry line of lawful fair use. But few understand the ramifications.

questions you should consider before using a copyrighted image under fair use

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copy right s & creat ive comm ons

tribution

ar sh

e alik e

derivativ e

Based on your intended use, you can find material with some rights reserved without worrying about copyright infringement. And the sharing goes both ways.

As an artist, you may choose your conditions and, based on those choices, Creative Commons will give you a license that clearly defines how others may use your work as well. For more information on licensing and to find licensed works visit www.creativecommons.org.

commerc n-

l ia

no

s

at

reserved.” These exceptions work alongside copyright to “allow for free and legal sharing, use, repurposing, and remixing.” Founded in 2001, Creative Commons is a non-profit organization that “works to increase the amount of creativity available in the commons”- a database, millions large, of images, songs, videos, writing, and educational and scientific content. There are six licenses available ranging from most to least free that address attribution, sharing, derivative works and commercial use.

no

In our copy and paste world it’s easier than ever to find and use reference material as a starting point for creative work. Too often, though, issues of copyright are an afterthought leaving one artist open to lawsuits with the other losing control of their intellectual property.

Entering into the blurry territory of fair use may leave you on the wrong side of its mobile boundaries. Wipe the mud from your eyes and consider a clearer solution: using works that have Creative Commons licensing with “some rights

• Why am I using the copyrighted work?

• How am I going to use the copyrighted work?

• How much of the original will I change?

• How will my using the copyrighted work affect the value of the original?

Find out if your answers fall under “fair use” at The Fair Use Project. helpful hint: organize your reference material by naming your file with the creator’s name and license type or add that information to your tags.

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How did you prepare for admissions?

Was your first year at an art school what you expected?

Why did you choose Savannah College of Art and Design? vol .

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I chose SCAD not only because I could carry on my swimming career at an art school, but because of all the opportunities SCAD offers. It doesn’t matter who you are or what you do, they always has amazing opportunities for every student.

My first year wasn’t what I expected it to be at all - only because I was a student athlete. I swim for the SCAD swim team and traveled every single weekend for meets.

Not being able to finish my projects the way I really wanted to did upset me for a while - especially since it was my first year and I had never experienced so much work in my entire life.

I prepared for admissions by making sure I planned a visit and had all my paper work done ahead of time. It was so much easier to have everything finished by the time visited because I could spend more time checking out the school and getting a hang of the way the campus was set up.

I chose to submit a portfolio - you don’t have to in order to get into SCAD. I made sure I had it set up in the easiest

way for the school to go through it because I’m sure they have thousands a day.

When I went up to the school for my second trip, to sign my scholarship papers, I set up an appointment with an advisor to give me some feedback on my portfolio which ended up helping me out a lot. I had plenty of time to go in and fix pieces before I submitted my final portfolio.

r eali ty by tes

refle ction s of a stud ent’s fir st yea r in a rt scho o l

What do you wish you had known to better prepare you for your first year?

I wish I would have known how much work art school was going to be.

I spent my whole senior year working somewhat hard and my art teacher in high school was always pushing me and telling me how hard it was. I wish I would have listened to her and not have been such a procrastinator; I think that would have helped me out a lot more.

With a year under your belt, what are your goals now as an artist?

Are they different than when you started?

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My goals for next year are to spend more time practicing my techniques, trying not to rush projects so much and organizing my time much better so that swim practices and meets don’t hurt me so much in the future.

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With a year under my belt I can say I have learned so much! It is amazing how much I’ve learned about what professors look for in critiques, craftsmanship and being organized - they expect a lot.

And they sure do let you know that, too.

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What have you learned at SCAD that you think is unique to that school? In other words, is there anything you learned there that you don’t think you would have elsewhere?

One of the things I learned at SCAD that I don’t think I would have learned anywhere else is that everybody is really treated equally.

They don’t allow sororities or frats because the school feels it’s unfair, which if you think about it, it really is. I have not once felt left out or alone because everybody at the school is there for the same reason.

Everybody is creative and has something that’s incredible about them. I also got to learn what it is like to live with somebody which was probably the most stressful part of my experience at school.

But now I’ve done it and know I can live with it.

What are some of the resources at SCAD that you want to participate in next year?

SCAD offers so much for their students. Some of the resources I want to experience are studying abroad, maybe over one summer. They now have the Lacoste campus and SCAD Hong Kong. I would love to experience both. I will also use as much exhibition space as possible for my own work in the buildings. I was always scared to do that but now I realize it really does benefit your work.

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Kaycee Corso is currently a sophomore at Savannah College of Art and Design. She balances a full class load while continuing her swimming career. Last March, the women’s swim team captured the 2009 NAIA Swimming and Diving Women’s National Championship.

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What advice do you have to students who are considering art school?

If I could give other students who are considering art school advice, it would be this: Art school is nothing what you would think it will be. Yes, it is hard; there will be days or weeks that you don’t sleep. Use your resources because they do help. And you only live once so try everything in school. It’s so much fun and extremely rewarding!

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mini collagraphs

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q : how many cups of coffee does

it take to put together a magazine?

Glue a couple of cards together to make a thick base. Next, add textured items to create a low relief. Use things like cut-up cereal boxes, bubble wrap, aluminum foil, guaze‌you get the picture. Glue these down with pva glue.

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a : well, we weren’t really counting, issue

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but we picked up enough free downloads to put together a two hour playlist and an art project!

s ome as sembly r eq u ir e d wo rks in prog r ess

After the glue has dried, spray paint your plate white - this will let you see the ink later. Then, seal the entire plate (front and back) with shellac, varnish, or gloss gel medium.

Apply two coats.

Use a manual pasta maker to print your collagraph.

Step-by-step instructions for printing with a pasta maker can be found on the Happy Faces Chicago blog.

Niamh Butler Lupien, graphite

Projects open for participation 10,000 People Project you create a representation of a given word…

10,000 other people are doing the same postmark deadline: september 1 The Sketchbook Project: Librar y fill a sketchbook and donate it to a collection that will tour galleries across the co untry deadline to sign-up: octobe r1

Original Motion Picture make a flipbook based on the theme “original motion picture” deadline: November 1 When you where younger, your community consisted of the few blocks your mom would let you ride your bike by yourself. That short jaunt down the street to buy a slushy with strict, “Don’t talk to strangers,” orders. And within that naïve boundary, your community also hosted many art cooperatives: your refrigerator, the sidewalks in front for chalk, and the infamous bulletin board at school. All kids participated; everyone had something to say and the venue to share their work.

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Today, our community is nearly 200 million square miles. Ironically, with social networking, it’s now normal to talk to strangers. And with the world at our fingertips, the internet has provided a new class bulletin board where everyone can hang their work.

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This concept is at the core of Art House, a gallery in Atlanta that uses the Internet and social media to organize projects and exhibition opportunities. The idea, “an art show open to anyone,” grew its roots in 2006 while founders Steve Peterman and Shane Zucker were students at

c o mmun i ty • crea tiv ity•co lla b o r a tio n art hous e • atlan ta

Atlanta College of Art. They found the right formula with the first “A Million Little Pictures” project that drew 150 participants through Craigslist postings and Internet word of mouth alone.

In addition to their nationwide (international, actually) projects, Art House continues to sprout new community roots and develop opportunities for emerging artists. A one month residency program provides a live/work space and a means for artists to create and exhibit work. The communal print shop is outfitted with a variety of options from textile printing to etching to photography. And a second venue, Open Space, is available for community-created exhibition ideas.

This new neighborhood, beyond which you can ride your bike, revolves around accessibility. And even though the boundaries can no longer be seen, Peterman and Zucker have revived our beloved bulletin board. And let’s face it, we still love to see our work on the walls.

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Shane Zucker (left) and Steven Peterman (right) of Art House Co-op. Photo by John Ellis.

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Three years later, Art House has brought together over 5,000 artists from around the world. While their Atlanta location hosts most of the project exhibitions, they have taken their community-based philosophy on the road. Select projects have traveled to galleries and museums across the country, providing more exposure for participating artists. And to broaden the scope even further, their current “10,000 People Interpret One Word” project will boast a published book.

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The story of Babel, according to the Bible, explains the creation of human languages.

If the tale is true, then maybe the need for visual communication began at the same time – a need to communicate on a different level.

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Imagine that scenario occurring today.

Without warning all your words turn to gibberish, muck in your mouth. The sentences you’re now reading wouldn’t make sense; letters turn into symbols for sounds

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that aren’t familiar.

How would you communicate? What would represent your ideas? Conversations would be an ongoing game of Pictionary, icons for our thoughts.

Until, once again, pictures would represent sounds, sounds would turn into words, and languages would emerge.

Arguably our world today, some seven thousand years later, is more visually saturated than ever. But as our means to create imagery becomes more varied, so does the complexity of our images, in both concept and creation. Pictures

we create as icons now come in more interpretive packages.

Iconic images today are representative of our personal experiences.

Consider this as you look at the work of nine student artists. And as you read the interview with Michael Ferris, Jr., weigh the importance of art history to our creation of icons.

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This label of icon is not only given by those who create, but formed through the imagined ideas of others.

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Burning Series, digital photography

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This series is about “how people tend to hold on to objects that they deem pretty or cute which have no value whatsoever. The immolation of the cartoon-like toys is a representation of the eventual discarding of these objects when it is realized that they hold no real value.�

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Trevor Ingraham

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San Luis Obispo, CA California Polytechnic State University

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Niamh butler

Montrose, NY Lyme Academy College of Fine Arts

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(left)

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Satori, oil on panel; (right) Dare, oil on panel

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Katy Betz

Riverside, CA California State University, Fullerton

Window to the Future, oil on illustration board; Hot Stuff, oil on illustration board; The Romance of Vienna and Prague, oil on wood panel; Radiance of the Renaissance, oil on wood panel

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(clockwise from top right)

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jerry vigil

Denver, CO Front Range Community College

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303, carved wood, polymer clay, epoxy, and acrylic paint.

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Francisco Correa-Cordero New York, NY Hunter College

Yankees photograph, chromogenic print Angel de mi guarda photograph, chromogenic print

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On Your Mark, digital photography; (right) Chilling at Sunrise, digital photography

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Quoleena Sbrocca

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Miami, FL Academy of Art University, San Francisco

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Crosspaw, digital illustration

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Hole, digital illustration

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Timothy Daniel Flynn

Southern California Laguna College of Art & Design

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HandsTri, digital illustration

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leeron hoory

Raanana, Israel Bard College at Simon’s Rock

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Self Portrait metal, wood, fabric

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s t i cker pr oject

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warning: Defacing public and private spaces is vandalism and subject for fines. Let’s be clear, CREO magazine does not support vandalism. We do, however, advocate common sense. Have fund and be safe!

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Instructions: 1. Print the cut-outs on your printer.

2. Add your own doodles and drawings (remember to use waterproof ink!).

3. Cut them with a knife or scissors.

4. Apply glue‌wheat paste is a great adhesive (recipe is on our website).

5. Have Fun!

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‘‘

My intent is to render an accurate likeness of my subject however what I find more compelling is communicating the sitter’s “ inner world.”

I do this by contrasting the sculpture’s stoic, classical form with its complex multipatterned surface.

Ultimately my aim is to express the psychological and spiritual complexity of my subject.

I am interested in creating a dialogue regarding the use of recycled materials and ecologically minded art making practices.

– Michael Ferris, Jr.

artist’s statement

narratives

an interview with Michael Ferris, Jr.

You’ve been practicing art for over 10 years. When did you first realize you were an artist?

Both my parents are artists. Because of them I became interested in art when I was very young. Some of my earliest memories consist of going to museums and art galleries with my parents. I also would often watch them make their work. I spent many hours as a child working on my art projects beside them as they were working on theirs. Because of these early experiences, I never reached a point of realization that I was an artist. I always felt like one.

Where do you find your greatest inspiration?

I am not a religious person but I do believe in some kind of spiritual presence. My “spiritual feelings,” for lack of a better term, motivate and inspire me to make my sculpture.

What do you want people to walk away with when they see your work?

I would like people to be moved on an emotional level.

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Terrence, 2008 recycled wood/pigmented grout 16.5”x9”x12” Image courtesy of the Artist and George Adams Gallery, New York.

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What role does the use of recycled materials play in your sculptures?

I use recycled wood. Just about any kind of wood that I find or is given to me.

I started using recycled wood when I began making this work in 1993.

Back then I didn’t use recycled wood exclusively but a few years later I began to fully embrace the idea that the use of recycled wood was very important to my work. More than anything it just felt right. I liked the idea that my sculpture consisted of someone else’s garbage. This notion fueled my desire to transform this refuse into something that was beautiful.

I have no problem finding wood. It is in the form of futon frames, tables and chairs as well as discarded raw lumber. I find it everywhere.

Pattern and texture are important qualities in your work. How does your process of creating such detailed designs begin? Do you visualize it first or does it develop as you create?

My process can get very involved so I like to address the making of a sculpture from a variety of points of view. I like to be spontaneous as I develop the sculpture’s form and

Your work has transitioned from what seems to be the more whimsical, folk art aesthetic of your earlier work, to a refined, accurate likeness of your subject. What prompted this change?

The change happened because I began to see the potential of what I could do and what my work could express. The more whimsical or outsider art aesthetic lacked an emotional presence. I realized for my work to get where it needed to be I had to make the patterns more complex, vary the surface quality and make the form more accurate. I wanted to make my sculpture more intense and more human.

I am currently working on several larger than life full figures. They are proportionally accurate and quietly gestural. Working on these pieces has been a wonderful challenge.

This is another reason my work has changed. I like to make work that I have not made before. I like to not know exactly what I am doing and then work to figure it out. It’s part of how I grow as an artist and a person.

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I think process is a key component for an object to embody a quality of otherness.

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Yes I think my portraits are iconic but I like to use the term “otherness” when thinking about or describing my work. I think both terms mean more or less the same thing but “otherness” is a broader term and has more mystery for me.

patterning but at the same time I make very detailed drawings as the process unfolds. I think of these drawings as just part of the process, they don’t necessarily represent at all how the final piece will look.

I am interested in the dialog that happens between the drawings and the sculpture. They inform each other. This process is very beneficial to opening up new ideas and moving forward.

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Do you consider your portraits iconic? Why? What do you think needs to be present for an object to be considered an icon?

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Vincent, 2008; recycled wood/pigmented grout, ceramic; 19”x15”x16” Private Collection. Image courtesy of the Artist and George Adams Gallery, New York. (previous page)

Rosemarie, 2008; recycled wood/pigmented grout; 44”x30”x19” Private Collection. Images courtesy of the Artist and George Adams Gallery, New York. (this page)

There are obvious parallels to classic Greek sculpture and Byzantine mosaics in your recent sculptures.

How important do you think it is for artists to know about art history, and why?

Knowing art history is critical. Not only is art history a window into human culture and human history but it speaks to us in a very personal way. I feel humbled by the great work in the history of art. It challenges me to become better at what I do.

Imagine yourself as one branch in a “family tree” of artists. Who makes up other branches? Who in particular is part of the trunk?

My mom and dad had a very interesting collection of art. Some very good outsider art, African masks and two Syrian inlaid gaming tables that my dad got many years ago when visiting his family in Lebanon. These three types of art make up the trunk of my tree.

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The main branches of my tree are Greek and Roman sculpture, Late Gothic painting (Van Der Weyden, etc.), Bernini, and Kienholz. I got the opportunity to see Kienholz’s The Beanery in person once. It was one of the most moving art experiences I have ever had.

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How do you define success in terms of being an artist?

Success as an artist for me would be having the opportunity and the ability to make art the rest of my life.

What advice do you have for students who want to become professional artists?

My advice would be to learn the basics to the best of your ability. I believe becoming very good at observational drawing is critical. Also, learn to be disciplined.

Being a professional artist is about making art above all else. When you boil all the B.S. away, it’s still all about the art. §

For further information about Michael Ferris, Jr. and his work, visit www.michaelferrisjr.com.

Upcoming solo exhibitions can be viewed at Edinboro University, Hope College, and George Adams Gallery, New York.

Julian, 2008 recycled wood/pigmented grout 21”x13.5”x16.5” Image courtesy of the Artist and George Adams Gallery, New York.

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Share your perspective.

Visit www.creomagazine.com forissue details. 57 N 01 vol .

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photos by Flickr users eseering & amanda voss

winter 2009 coming November 1

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photo by Flickr user HAMED MASOUMI

i d eati on

un) i•de•a•tion [ahy-dee-ey-shuhn] (no or images the process of forming ideas

As a participatory art project, Ideation

starts with a single image. The idea is that everyone uses the same picture to create a new piece of work.

Print it out and draw over the top of it.

Import it into Photoshop and create a digital collage. Use it as a reference to spark a new idea. Whatever floats your boat!

You can download the file from our website at www.creomagazine.com. Send us

pictures showing how you used the image

and we’ll feature them on the website and

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in the next issue.

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share your perspective

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