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ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 39 Issue Page 39
CONT
ACSMagazine Magazine September/October July/August 2017 Page 40 - 4th Anniversary Issue Page 40 ACS 2019
TENTS
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 41 Issue Page 41
Gregory Hayes page 84
ACSMagazine Magazine September/October July/August 2017 Page 42 - 4th Anniversary Issue Page 42 ACS 2019
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 43 Issue Page 43
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Blank Space b
by Gregory Hayes
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 45 Issue Page 45
ACSMagazine Magazine September/October July/August 2017 Page 46 - 4th Anniversary Issue Page 46 ACS 2019
Ion Popescu page 104
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 47 Issue Page 47
Art by Io ACSMagazine Magazine September/October July/August 2017 Page 48 - 4th Anniversary Issue Page 48 ACS 2019
on Popescu ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 49 Issue Page 49
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Jonathan Nickles page 118
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 51 Issue Page 51
Yondu - Digital ACSMagazine Magazine September/October July/August 2017 Page 52 - 4th Anniversary Issue ACS 2019 Page 52
Painting by Jonathan Nickles
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Nothing Life Object by Young-sung Kim
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ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 59 Issue Page 59
Leslie Parke Page 140 ACSMagazine Magazine September/October July/August 2017 Page 60 - 4th Anniversary Issue Page 60 ACS 2019
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by Leslie Parke
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LOS NOMADAS by Rodrigo De la Sierra
Ramon needs time to think by Carmen
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Li Yao Page 206
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Human Nature by Suzanne Paleczny photo credit Jake Paleczny ACSMagazine Magazine September/October July/August 2017 Page 72 - 4th Anniversary Issue Page 72 ACS 2019
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View this ACS Magazine issue at https://www.acs-mag.com/acsmagazinenovdec2017 ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 73 Issue Page 73
Shveta Saxena Page 220
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ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 75 Issue Page 75
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Bliss by Shv
veta Saxena
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Zelman Lew Page 240
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 79 Issue Page 79
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That Kind of Morning by Richard A Jacobson ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 83 Issue Page 83
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Gregory Hayes ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 85 Issue Page 85
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Gregory Hayes
s
Installatio
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 87 Issue Page 87
Gregory Hayes
Website: www.gregory-hayes.com “Perfection is everywhere. Its limits come from the perception of the thinker,” says painter Gregory Hayes. “Perhaps it is paradoxical that in striving for perfection - and never reaching it - it is there that you actually find it.” Gregory Hayes grew up in Buffalo, NY and attended college to “pursue other paths in life” but “nothing really felt right” so he left for Colorado’s Rocky Mountains. “The few basic drawing courses I took in college had made an impact on me,” he said. “I had done several charcoal drawings of landscapes, so I submitted a portfolio to Rocky Mountain College of Art + Design in Denver and was accepted. He received a Bachelor of Fine Arts degree in painting and was named Most Distinguished Artist. He continued to develop his art while working as a carpenter to make money but soon felt a pull to move to New York City. “I wanted to further challenge my art practice and myself so I went off to Brooklyn for a master’s degree at the City University of New York, Brooklyn College,” Gregory said. “I studied with Vito Acconci and was able to take my work to a deeper level.” After receiving his master’s degree, Gregory was awarded a stipend and artist residency from the Fire Island Pines Arts Project. “This was pivotal for me because I was able to use the money to sustain my living expenses and to keep working on my art uninterrupted for the summer,” the artist said. “I developed a new series of paintings that received attention and helped move things further in my art career.” Gregory soon began focusing on showing his work in New York City and elsewhere. “A break came with my involvement in a Brooklyn-wide studio visit weekend organized by the Brooklyn Museum,” he said. “That is how Victori+Mo Gallery in New York City found me. Other gallery representation soon followed, in New York, Houston, and San Francisco as well as in London, Milan, Rome, and Paris. “It all seemed to come to fruition by just getting my work out there to be seen,” he said. “My creative process has momentum in that the more I work on my art, the more doors open up to show me new ways to take something,” Gregory said of his artistic practice. “A lot of what I do is just ‘hard work,’ diligently working and having a heightened awareness of what I am doing, without putting pressure on myself to achieve a specific outcome.” Gregory explains the inspiration for his work in this way: “I like how a flower can be so expressive,” he said. “The variety of intensity and value in a flower’s color and the complexity of its shape make it seem like each petal is a unique composition, each stem a random happening. Although when you look at it from a different perspective, a majority of the flower’s properties come from a systemic configuration: its patterns, color, and form are built from repetition and regularity. The magic of the flower is the balancing act maintained so well between its systemic and expressive nature. That to me makes looking at a flower an almost endless activity; a single blossom is an abundant display of beauty and mystery. Its shapes and colors constantly reveal the magnitude of details embedded in its mathematically-fashioned form, but within the flower’s complexity there is an aura of effortlessness.” It is this type of balance the artist strives to realize in his paintings. “I want the colors to allure and captivate,” Gregory said, “but also to create tension and disarray; the structure to hold symmetry and balance, but also bend and wane organically. And I want the patterns to keep the viewer’s eye moving through the picture plane, or lead to fixating on a complex grouping of colors.” “However, the paintings are not necessarily about concentration or constant stimulation for the mind, or figuring something out,” he said. “Rather, they are a place where the eye and mind can come across a sense of joy and stillness, a place where color and structure do not need to be thought about but felt.” Gregory admits that as he strives for perfection in his work, perfection starts to look different. “Perfection as an ideal is a limited perspective, but very ingrained in us all,” he said. “So to widen, or change, its hold on our ideas could allow us to use this power to see more of the beauty that is around us every day. It is the imperfect that becomes unique, the flaws that become interesting, the randomness that leads to new ideas.” For the artist, perfection is allowing each mark he makes to reveal itself in that moment. “I have a pretty good idea of what I’d like things to look like, but I let it be open, to bend or flow as it needs to,” Gregory said. “Being OK with that boundary between control and lack of control is what I’d consider perfect.” Currently, Gregory is working on a solo show for Maybaum Gallery in San Francisco. “I will show works from my Color Array series and will include some paintings that have a new color palette. I call this new process ‘ghost.’ It is a technique that not only tries to display challenging color arrangements, but also push the boundaries of the color values using white paint.” Gregory Hayes believes that it was the journey that launched his career. “Slow but steady, taking chances when needed and believing in what I was doing,” he said. “Keeping an open mind but staying true to my vision and most importantly I kept working, I kept making my art. Looking at others’ art. Studying it. Enjoying it. Also, keeping balance in my life. My goal is to paint. There is great freedom in that for me. To quote Robert Motherwell: ‘Art is much less important than life, but what a poor life without it.’”
ACSMagazine Magazine September/October July/August 2017 Page 88 - 4th Anniversary Issue Page 88 ACS 2019
3rd Amalgamation by Gregory Hayes
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 89 Issue Page 89
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ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 91 Issue Page 91
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Untitled (RYOPg) by
y Gregory Hayes
ACS Magazine September/October ACS Magazine July/August 2019 - 2017 4th Anniversary Page 93 Issue Page 93
Untitled (YB) #2, by
ACSMagazine Magazine September/October July/August 2017 Page 94 - 4th Anniversary Issue Page 94 ACS 2019
y Gregory Hayes
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1st Ribbons by G
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Gregory Hayes
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Ion Popescu St
tockholm 2019
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ION POPESCU Romanian sculptor settled to Sweden
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ACSMagazine Magazine September/October July/August 2017 Page 106- 4th Anniversary Issue Page ACS 2019 106 My Horse's
Horseshoe by Ion Popescu
White Snow Fish by Ion PopescuACS Magazine September/October ACS Magazine July/August 2019 - 4th 2017 Anniversary Page 107 Issue Page 107
ACSMagazine Magazine September/October July/August 2017 Page 108- 4th Anniversary Issue Page 108Fish ACS 2019
Monument by Ion Popescu
Ion Popescu
Website: www.millart.se Ion Popescu is a conceptual sculptor who observes and evaluates, often walking in “a space that is rich with ideas” as he chooses one that is the best fit to be materialized – an idea which can be shaped into a three-dimensional or multi-dimensional work of art. Ion was born in Cogealac, Dobrogea, Romania. He was interested in drawing and sculpture as a young child. ”I observed that I could transform a drawing into a three-dimensional form, a sculpture,” he said. After graduating from the Polytechnic Institute, he studied sculpture at the School of Arts in Bucharest and frequented some of the important sculpture studios in the city where he felt a continuous call towards “those forms of expression which are introduced in a strikingly material organization, yet one suggesting an irrepressible spiritual condition.” His education also included engineering studies, which facilitates the technical aspect of his sculptural work. The artist’s sources of information are steeped in the humanities and math. “I look for ideas that contain poetry, philosophy, mathematics, and music,” Ion said. His creative process is derived from these ideas. Although he is fascinated by the possibilities of his sculptural materials wood, stone, and metal - he does not believe in the power of the material to dictate the final result. “I materialize the ideas, I don’t idealize the material,” he said. “At the beginning of my sculpture studies, there was Michelangelo, Leonardo da Vinci, Cellini, Rodin,” the artist said. “As a young sculptor, I was influenced by the work of Constantin Brancusi...and I am related to the great Romanian poet Nichita Stanescu. There is great symbolism attributed to both of these artists and their art: Brancusi was ’The Cock’ who awakened a new art and Stanescu is the ’trumpet’ for poetry. I am the ’flying horse’ (Pegasus) who carries the art further.” An exhibition that greatly impacted Ion’s career was an exhibition at the Carrousel de Louvre in Paris, France. “New ideas evolved from that exhibition and I was on another way in my art,” he said. The artist now lives in Sweden where he continues his sculptural exploration, exhibiting his work internationally. He has also written a book, “Sarcophagus for a Thought.” Science is very important to Ion Popescu and his recent work includes a sculpture that asks the question, “What is Time?” “Everything in the universe is energy and energy is very difficult to represent in sculpture,” he said. The future of the Earth is also of great importance to the artist.“Fish are in great danger of disappearing from the Earth,” he said. To manifest this importance, Ion created The Fish Monument which was exhibited in Stockholm, Hesinborg, and Gallivare in Sweden. ”The fish are my friends,” he said, as he is working on an aquarium filled with numerous ”Fish Monuments.” He is also planning on creating an ensemble monument, called Knowledge Monument.”I have thousands of ideas that are waiting to be materialized,” he said. ”I always try to load my art with meaning and significance,” Ion Popescu said. “I hope that the viewer of my artwork will invest something in order to experience it.”
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2008 by Ion Popescu
Ion Popescu in the studio
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Ektara by Io
on Popescu
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An Elephant Never Fo
Ektara by Io
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Jonathan Nickles
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Jonathan
n Nickles Exbition
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Jonathan Nickles Website: www.jonjamo.art
Jonathan Nickles explores the subconscious through figures and symbolism in a contemporary context: pop culture. Jonathan has been a visual artist for most of his life. Coming from a family of artisans, musicians, and traditional crafters, he was raised in southeastern Kentucky around a culture of cre-ativity and exploration. In high school, he decided to pursue art as a career path, attending Morehead State University in Kentucky, where he earned both a Bachelor of Arts and a Master of Arts degree in studio art. Since graduation, Jonathan has exhibited in many solo and group shows and often attends conventions selling pop culture-inspired artwork. As an artist, Jonathan draws reference from archetypes in history, folklore, and mythology, and brings them into a contemporary context. “The human form is a universal symbol of beauty and creation, yet is very complex,” he said. “Using this as the subject for many of my oil paintings allows me to create a solid, unified body of work. Each figure that is used in my work has its own personality and experiences, exploring a variety of cultures and social classes. While similar in their overall form, they have details and imperfections that separate their character from the rest, spanning the broad spectrum of emotions.” The inspiration for Jonathan’s work comes from the people he meets and their stories, or from pop culture. His southern Kentucky roots draw on the stories and folk tales from the people from the Appalachian region. “I see pop culture as a more contemporary form of folklore and mythology,” he said. “I travel to many conventions along with my wife, who also works in comic book, sci-fi, and tabletop gaming conventions, as either a vendor or a participant. As such, I am engaging with so many people, interested in their fandoms, characters, and properties.” Whether creating paintings or digital illustration, Jonathan begins with detailed graphite drawing on various surfaces, which will form the underlying structure of the work. These are built upon by creating underpaintings that will build tones and value and provide an overall color temperature for the rest of the piece. Layers of paint and glazes are then applied, akin to classical Dutch and Flemish techniques, while more contemporary methods of direct painting are also implemented until each is completed. “These allow my paintings while exploring pop cultures such as video games or television series, to have a classical approach to their creation,” the artist said. “I’ve always been interested in art history, so many artists have inspired my approach to color theory, design, and composition,” Jonathan added. “My favorite artist, Alphonse Mucha, has always been inspiring through his life, his work and his influence in the development of the art nouveau style. Caravaggio is another of my favorites. His compositions, part of the baroque period, used light as a compositional tool in a masterful way, commanding the viewer’s eye.” An opportunity that had a great impact on Jonathan, as well as the public, was creating paintings for AARP’s Portraits of Care program, a private congressional event to raise awareness for caregivers and their patients in future legislation. “Having the opportunity to use my work to promote positive healthcare and the sacrifice that many caregivers give as family members, friends or loved ones was an amazing experience,” he said. “It not only benefited me as an art-ist but benefited the lives of so many people and their caretakers.” Jonathan recently moved to Chicago, where he works as a media specialist and web designer for a Community Mental Health Center. “I have lived in Chicago nearly a year and am con-stantly finding new inspiration, through galleries, music venues and the people I encounter daily,” he said. In addition to pop culture-inspired pieces for conventions and events, Jonathan Nickles is cur-rently working on a series of traditional ink drawings with watercolor washes. “Many of my oil paintings and, by extension, the digital paintings, have an academic approach,” he said. “These experiments with mixed media pieces have been a great way to break from my comfort zone.”
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Killer Queen - Digital Painting by Jonathan Nickles
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Jonathan
Nickles Exbition
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- Digital Painting by Jonathan Nickles
ACS Magazine September/October ACS Magazine July/August 2019 - 4th 2017 Anniversary Page 127 Issue Page 127 Asuka - Digital Painting by Jonathan Nickles
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The Guitarist - Oil on Ca
anvas by Jonathan Nickles
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Flax by Leslie Parke
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LESLIE PARKE
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Field by Leslie Parke
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Leslie Parke
Website: www.leslieparke.com Leslie Parke is a painter who fearlessly follows her creative muse in defiance of an art world that prefers to categorize artists. She started her career as an abstract artist, sometimes making non-objective paintings and other times deconstructing the work of earlier masters, such as Ingres, Matisse, and Giotto. While her search for subjects have led her to explore nature and even some traditional still lifes, her most recent series of paintings and photography are real and abstract at the same time, with themes that have recurred throughout the course of her forty-three-year professional career: themes of light, illusion and a sense of time and a specific place. “As a child, I simply wanted to live inside a painting,” Leslie said. “I would pore over my parents’ art books and imagine that I, like Alice in Through the Looking Glass, could somehow slip into the world on the ‘other side’ of the page. When I became old enough, I would disappear into the many museums of New York City armed with a magnifying glass determined to plumb the mysteries of the paintings there. From those earliest days until today, all art-making for me has been a search into space in the painting and my place in that space.” Education and the perfect “day job” Leslie earned her Bachelors and Masters degrees at Bennington College in Bennington, Vermont, an academic environment she chose for its rich history of artists and art critics. She studied with Richard Haas, master printer and painter of tromp l’oeil murals; Isaac Witkin and Brower Hatcher, sculptors from St. Martin’s School in London; painters Pat Adams and Philip Wofford; and artist/critic Sidney Tillim. She also participated in the Whitney Museum Independent Study Program working with Ron Clark, David Diao, Robert Smithson, and Tony Schafrazi. “Upon graduating I found the perfect ‘day job’ - one that complimented my work as an artist perfectly,” she said of her eight-year working association with German documentary filmmaker, Michael Marton, first as a sound technician and then as an all-around production assistant. “We made films on subjects as diverse as artist Dan Flavin, socialite Marylou Whitney, writer and Holocaust survivor Oscar Pinkus, and boxer Mike Tyson,” Leslie said. The documentaries were aired on PBS and German television and were awarded a Guggenheim Fellowship (for Marton), as well as recognition at the Sundance Film Festival. “My painting was most influenced by the work I did on the film, On the Nature of Music, about the Pulitzer Prize-winning composer Henry Brant,” the artist said. It was Brant’s use of appropriated music that captured Leslie’s imagination and led to her own work in appropriated painting. “While Brant rewrote Beethoven’s last string quartets to be played simultaneously, one overlaying another, I deconstructed Matisse onto shaped canvases,” she said. Henry Brant and Leslie Parke eventually collaborated on a piece called Inside Track for the Holland Festival, the Netherlands’ largest performing arts festival. The Giotto project By 1988 Leslie was painting full-time. She took a giant leap forward in her appropriation work with the creation of a commissioned piece for the Williams College of Art based on Giotto’s Arena Chapel. Using images from Giotto and requiring the integration of the paintings with the architecture, the piece consisted of seven paintings on shaped canvases, six of which were at least eleven feet tall; the seventh measured 18 by 24 feet. “Although I was not initially interested in the religious content of the original work, I found that the subject matter could not be ignored,” Leslie said. “The paintings speak to the viewer in multiple ways; therefore, they had to make sense as a holistic narrative while telling the story in a new and provocative way.” Leslie received the Interfaith Forum on Religion, Art and Architecture Visual Arts Award for the work. After the Giotto project, the artist turned her attention to the nineteenth-century artist Jean Auguste Dominique Ingres, whose glacially-rendered distorted figures offered the perfect juxtaposition to Leslie’s shaped canvases. “The paintings are psychologically charged and are often seen as disturbing,” Leslie said. “They were also some of the most technically demanding work I have ever done; one painting took up to two years to complete.” The paintings have been exhibited in the United States, Europe, and Argentina. France and Claude Monet In 1994, Leslie received the Lila Wallace Arts International Artist-in-Residence grant to spend five months at the Claude Monet Foundation in Giverny, France. “With twenty-four-hour access to the garden and a studio across the street, I could experience Giverny as much as Monet had,” Leslie said. “Instead of appropriating his work, I appropriated his life. For the first time I found myself truly living inside a painting; figuring out what to do with this seminal experience proved to be an artistic challenge.” Ultimately, the artist was seduced by Monet’s garden itself. “Upon my return home I found myself searching everywhere for the features that had transfixed me: reflected light and surfaces, transparency and translucency, and spatially ambiguous landscapes,” Leslie said. “I incorporated these qualities into studies of leaves seen through water, hoarfrost between branches and light on snow.” In 2007 Leslie returned to France, this time to the village of Vallauris. “On nearly my last day there I took a photograph of an enormous almond tree in full bloom,” Leslie said. “It reminded me of Jackson Pollock and I knew instantly that I had found a new road to travel. I wanted to use things in the real world to construct abstract paintings, to deconstruct the solid and known.” Abstracting reality “Trees, china, recycled paper, discarded tin cans . . . these all interest me not for their subject matter, but because they have great lines or cast a particular light or, most importantly, because there is a tension between what is represented literally and a pull toward complete abstraction,” the artist said. “Today I rarely quote other paintings directly. Instead, I reach forward and back in equal measure.”
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Installation Board
d by Leslie Parke
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Portals in paintings and the spiritual in art Leslie has always been reluctant to talk about the spiritual side of her work and instead prefers to describe how she experiences art. “Since I was a child, looking at art was a visceral, engaging experience,” the artist said. “This was especially true of Renaissance paintings that depicted landscapes, and things that were real but unfamiliar to me. Moving in and out of painting was just the way I looked at it. It wasn’t until years later when someone visiting my studio said to me, ‘You know that you are creating portals, don’t you?’ that I considered that this might be part of my practice. I have known since I was a child that I received from paintings information and directives that informed my life. I just thought that’s what paintings do, as it had never been otherwise for me. But so often that is not what one talks about when discussing art. I think that it is easier for people to understand this concept when talking about music. People are aware when music gives them goosebumps when it makes them cry, when it makes them think about situations in their life, when it uplifts them or gives them a sense of the divine. I often think of this as ‘resonating’ with the work. But it is more than that. It can make us aware of things that are beyond the logical.” Over the years, people have relayed stories to the artist about how they experienced her work. “I had a friend working in a large corporation in New York who had one of my paintings in her office,” Leslie said. “One day, she returned to her office to find the CFO sitting in front of my painting. He told her that he often stopped in her office to sit there. It was the only place he felt peace. And another woman, who sat in her office across from one of my paintings for years, described the painting to me in such minute detail, I knew it was a place she escaped to during her day.” Everything is Real The painting series, Everything is Real, was a turning point in the artist’s work. “I had always used photography as an aid in my painting,” Leslie said. “Since my residency at the Claude Monet Foundation, I looked for subject matter that depicted, reflected or emanated light. One day while driving to the grocery store, I saw a long line of cargo piled on pallets and wrapped in plastic in front of the local Tractor Supply. Since it was late afternoon, light was sparkling off the surface. I immediately pulled over and started taking photographs. I felt as though I had found my ‘Japanese pond,’ a thing of beauty in itself, but also something that reflected its surroundings and the changing weather. I returned over and over again on different times of day, in different seasons, and in different weather. I started to make paintings from the photos. They appeared completely abstract and yet they were of something real. I loved the way they confounded the viewer, by being exactly what they were, and yet completely unrecognizable. Since the work appeared completely abstract, this brought me back to my roots. In my heart of hearts, I am an abstract painter, but I loved being able to introduce this sense of ambiguity, as well as a quality of light.” Exploring Photography “When the director of the Bennington Museum and one of my dealers visited my studio, they both asked me why I wasn’t just printing the photographs. I replied, ‘Because I am a painter,’” Leslie said. But it got her thinking. Once she decided to start printing the photos she had taken a lot of technical conversion needed to take place – a better camera, a professional printer, editing software. “I had the good fortune of being able to make large-scale prints with Michael Williams, an artist and former assistant to Kenneth Noland,” Leslie said. “I had known Michael for years and we shared the same aesthetic toolbox. When we made a print, what constituted a good photograph for me was one that appeared to be a painting, where the subject matter was just about completely obscured, one that had nearly no photographic qualities about it. As the print emerged from the printer, one or the other of us might say, ‘It looks too much like a photograph’ and we would throw it away.” “Once the photographs became untethered from the paintings, the paintings began to change,” Leslie continued. “Some of the paintings were still based on photographic imagery, but I felt freer to make the painting be about the paint. A perfect example of that is the series I did base on an image of an almond tree. The first painting was representational, with every blossom painted. Then I made a series of lithographs based on that image, but with the color changing to imitate different times of day. Then I took the different plates I used for the lithograph and made them digital and played with the color in Photoshop. I printed those and used them for the basis of new paintings. At first, I was carefully painting them, but soon I discovered that I could get the same effect by flicking the paint onto the canvas. These were still fairly representational. But then I let the paint open up more. I poured it, scratched it, scrapped it, dripped it. I used industrial paint and metallic paint. On the last one I did, the metallic paint made it possible for the painting itself to reflect the time of day. I hung it in my studio to face a west-facing window and at the end of the day, if we had a particularly vivid sunset, the painting even changed color with the light reflected from the sunset.” A physical challenge inspires innovation As the artist’s use of paint opened up, so did the imagery. “Sometimes they were loosely based on nature, sometimes not, but they always pursued quality of light,” Leslie said. “Ironically, what helped this emerge more quickly was the fact that I developed ‘bilateral trigger thumbs,’ which meant that I could not bend my thumbs, making it impossible to paint with a paintbrush. I was terrified of surgery, so for six months I pursued alternative solutions. I had to keep painting, so I did so by using whatever means possible, including painting with my fingers. This is when I did the ‘circle’ paintings using the silver graphite on blackboard paint.” Current work: drawing with thread Leslie’s photography and her painting are always in conversation with one another. “After I did the silver circle paintings, I wanted to see if I could find circles that I could photograph,” she said. She had made a series of paintings using ballpoint pens but they started to fade immediately. Photographs of the paintings didn’t do them justice. She considered scanning them but was unable to find a scanner large enough. “In thinking of how else I might achieve the quality on these paintings it dawned on me that I might be able to ‘draw’ with thread,” she said. “My girlfriends, who are all avid sewers, gave me bags of thread to work with. Once I had my photographs, I was on a search for a means to achieve the same thing in paint.” In the meantime, Leslie’s hands had been operated on and she was ready to roll with her new series.
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Another View
w by Leslie Parke
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Almond Tree Biot by Leslie Parke
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Embracing the creative journey Leslie openly admits, “I don’t do ‘logo art.’ There are artists who find their thing and repeat it forever. For some it is a genuine expression of their artistic vision, for others, it is a commercial decision. I like what David Smith said, that he was going to do whatever he wanted to and ‘let the curators sort it out later.’ I have chosen that route. I think that there are basically two things going on. One is that I am on a genuine search and I need to go where that search takes me. The other thing is that I have a restless mind, and while I would love to have a motif that I could repeat endlessly, I’m afraid my mind won’t let me do that. Or to put it another way, some artists show the destination, I show the journey.” Despite this artistic choice, Leslie insists that people have no trouble identifying her work. “There is a consistency in quality and an internal DNA in my art that people seem to be able to recognize,” she said. “There are also recurring themes. One is that most of my work is deeply grounded in the study of art history. I think that is true for many artists but it might be a little more obvious in some of my work. I am also interested in how we perceive things. There is often ambiguity between what is real and what is perceived in my work. And I like it when my paintings emanate light.” Studio life Leslie Parke creates in a studio that covers the expanse of the top floor of a nineteenth-century factory building in upstate New York. “I rarely listen to music in my studio,” she said. “When I started out, I listened to a classical music program out of Boston. Four hours of classical music every day for over ten years. It was a great education, and I have my favorites, but I’m done.” “This may sound strange, but I love listening to congressional hearings,” she continued. “Ever since Watergate, it has been considered somewhat of a sport in my family. I will leave the ‘talking heads’ on in the background until I can’t stand them. Sometimes I listen to books on tape, lectures from iTunes U, or videos of artists on YouTube. Painting for me is like a grand meditation. When I am in the zone, I disappear, and the painting paints itself. I don’t need inspiration; I just need to get out of the way."
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Leslie Parke Gremillion an
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nd Co Houston Exhibition
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Leslie Parke
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e Exhibition
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Another Vie
ew by Leslie Parke
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Artist and Model by Leslie Parke ACS Magazine September/October ACS Magazine July/August 2019 - 4th 2017 Anniversary Page 177 Issue Page 177
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Breath by
Leslie Parke
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Bugs by
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y Leslie Parke
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Desert Sky b
by Leslie Parke
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Reading Red by Leslie Parke
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The Last Wall
by Leslie Parke
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Tiger Lilly by Leslie Parke
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The Holy and the Forbidden by Leslie Parke
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Tree and Twiligh
ht by Leslie Parke
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Digital Collage by Li Yao
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Li Yao
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Li Yao working
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Li Yao
Website: www.yorik.red Li Yao is a VR/XR artist, using computer technology to create immersive experiences and games in virtual and extended reality, as well as videos, site-specific installations, prints, and paintings. He earned his Bachelor of Fine Arts from the School of Visual Arts (SVA) in New York City and his Master of Fine Arts in art and technology studies from the School of the Art Institute of Chicago (SAIC). Li was born in Guangzhou, China and spent his adolescence in Shenzhen. “In my early years, I instinctively rejected formal art education,” the artist said. “What I saw in it was all conformity, no creativity; all skills, no taste. I'd borrow my friend's drawing class textbook and teach myself anatomy, but never attended classes. At that time, art for me was an escape from the institution. It represented a getaway from all the senseless subordination that seemed to be replicated everywhere in the society around me.” Li came to the United States for formal art training in 2012, enrolling in Ringling College of Art and Design in Sarasota, Florida, famous for training undergraduates in animation and illustration to the industrial standards for Pixar and Disney. He stayed at Ringling for one year before transferring to the School of Visual Arts in New York. “Although the foundational skill training in Ringling was invaluable, I didn't want to become a faceless worker behind studio mega-productions,” Li said. “I went to SVA to learn more about the New York art world. And I did. I saw how artists were becoming professionalized and institutionalized in order to sustain themselves. The idea of free-roaming artists walking into any Chelsea gallery and showing their portfolio has already become a fairy tale. Over the course of my studies, art became my way of interacting with institutions and entering society. I started to see art as architecture, art history as a designed product.” “Many buildings of famed architects were never built,” Li explained. “Their existences, as proposals and renderings, are entirely virtual. In this sense, virtual environments were rhetorical before they were digital. What interests me about virtual reality technology is that it's the first instance in which creators and viewers experience an ungrounded idea, drawing on the spatial perceptions they use to navigate reality.” Repetition is an important element in Li’s creative process as a VR artist - he re-creates the scenes and models over and over again. “This is done out of necessity,” he said. “I need to see everything assembled in the game engine and to see it from the perspective of the viewers, that's where the flaws reveal themselves. Then I'll take the models back and re-do them. This process feels endless. Sometimes, for each new show, I create a new iteration of the same project simply because I've learned better tricks.” The looming pressure of keeping projects updated, however, is a challenge. “For most of my virtual reality projects, I primarily used the game engine Unity and the animation software, Maya, to create the virtual environment,” Li said. “Some of the textures and materials were created in Substance Designer when they were still in partnership with Unity. The project is displayed on HTC Vive or Vive Pro.” Several artists and writers have inspired Li Yao and informed many areas of his work. “Brad Tromel is an artist and a critic. I’m inspired by the way he sustains himself through various venues, as well as his critique on the art world and art education,” Li said. “Hito Steyerl, a video artist and a media history researcher, inspires me by the way she combines research and art-making and I also appreciate the abundance and vitality of the work of digital media artist Lu Yang. Beatriz Coloumina’s writing in X-Ray Architecture (2019) presents the revelation of the relation between modernist architecture and hygiene. And I’m fascinated by the way subjectivity morphs in the first-person narrative in Edogawa Rampo’s short stories, more particularly The Human Chair (1925).” Li Yao’s work allows him to think through the passive oppression of domestic life, and how this oppression parallels the control mechanisms of institutions and disciplines. Suspension is a site-specific installation that deals with the phenomena of digital surveillance among family members. Warden/Prisoner is a video that recreates the feeling of passing time in a space that represents the educational system in China. Red Oil Wonton plays on the loss of meaning in digital iteration and linguistic translation through digital prints of sequential JPEG degradation turned into a site-specific installation. My Son, My Son, What Have Ye Done is a timebased installation that uses water torture as a physical metaphor for the familial obligation. In more recent projects, Li aims to break away from autobiographical references while still maintaining focus on the mundane manifestation of institutional manipulations. Li's VR installation, Bunker, is a fantasy architectural walk-through created for viewers to contemplate the murderous paradox of modernity—virtue, and terror, peace and total annihilation, progress and the price we pay. Bunker was included in SAIC's exhibition in POSTCITY, Ars Electronica 2018. Another recent project is a VR corporate performance with taste display called Perfect Melon. Perfect Melon plays with the mental association tactic used by corporations that exploits the alienated senses of consumers by claiming its products will “reconnect” the viewers to the romanticized idea of a lost natural world. Perfect Melon is activated by audience participation with real-time audio, visual, and taste components. “As an international person, I often find myself living and navigating between cultures, between institutions, and between different identities,” Li Yao said. “I find this sense of perpetual social mediation resonates in the act of design. Designing for virtual reality is very much mediating between two worlds.”
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Waves by Shveta Saxena
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SHVETA SAXENA
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Bliss by Shv
veta Saxena
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Shveta Saxena
Website: www.shvetasaxena.com Shveta Saxena finds inspiration in nature’s creations and human portraits. She firmly believes that perfection in art is something an artist can strive for but can never achieve, although her mission is focused on that ever-elusive goal. Shveta grew up in Dehradun, “a beautiful town in northern India.” She developed a flair for drawing in childhood and later went on to explore more of her creative side in the world of fashion, with post-graduation studies in fashion communication from the National Institute of Fashion Technology in New Delhi. She was awarded the gold medal by then-President of India, Dr. A.P.J. Abdul Kalam, for scoring the highest rank in her course and later went on to pursue a corporate career as a visual merchandiser in the retail industry. “Even though I worked in the creative fashion industry, nothing gave me more joy than the feeling of expressing myself on canvas,” Shveta said. Eventually, she decided to give in to her childhood passion for creating art, specializing in portraits and exploring different media: oils, acrylics, charcoal, pastels, and pencils. “Although I used to draw, I didn’t start painting until late in life. As a primarily self-taught artist I did not have any time to practice painting, so every single piece of art had to be something that I could be proud of. I struggled until I got it right.” “One thing led to another and I got the opportunity to exhibit in Taiwan,” Shveta said. “That became the stepping stone that helped me immensely in gaining recognition and adding value to my work. The international exposure also enabled me to further enhance my artistic skills. It was an eye-opener in terms of what other artists were doing. It definitely helped my career as I did not have a formal art education and was still building my resume.” Artistically, Shveta soon found herself gravitating towards the beauty of water and immersed herself mainly into painting oceans and various other forms of water. “I found myself getting completely awestruck by the hypnotism of water and its various forms and dynamism,” she said. “I wanted to capture that magic on the canvas. Its vibrant aqua colors create a mystique that cannot be surpassed by any other subject.” Shveta tries to capture various moods through the ever-changing waves of the ocean. “Each painting reveals something new and that gives me immense joy,” she said. “It is the elements of nature that inspire me.” She hopes that through these paintings, she can revive admiration for nature and a sense of responsibility for keeping the resources of this planet intact. Shveta also has a special fascination for human faces. She loves to experiment with realistic portraits with the eyes being the strongest feature. Her “Floral Realism” series explores realism in floral paintings, a continuation of her fascination for all the beautiful things that nature has to offer. “Mostly I get pulled towards exploring realism and that can be seen in all my work,” the artist said. “Within this, there may be variations: sometimes I like to do a combination of realism and abstracts, sometimes I paint with palette knives and try to retain realism even with this unrelenting tool. The challenge makes the result even more precious. The process will keep evolving and that’s the way it should be. Art should not be bound by rules and technicalities.” “Since I pursue realism, photography influences a lot of my work,” Shveta said. But it was the work of Richard Philips that inspired her to take up painting. “His stunning paintings opened a whole new world for me because that is the kind of edgy art that appeals to me,” she said. “I am constantly creating new art,” Shveta Saxena said. “Every piece of work is exciting for me. I love everything that I have made so far.”
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Koi Fish by Shveta Saxena
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Ethereal by Shveta Saxena
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Scrafface by
Zelman Lew
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Zelman Lew
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Zelman Lew
Website: www.instagram.com/zelmanlew.art Zelman Lew’s oil paintings are an artist’s adventure into new and creative ideas through the manipulation of images that have not previously been considered or mastered. Zelman was born in Melbourne, Australia. He began painting and drawing from an early age, inspired by his art studies in high school where he discovered “the wonderful lunacy of Salvador Dali, Magritte, and M.C. Escher.” He carved his career in the world of art as a self-taught artist while managing other careers in photography, graphic design, and publishing. Following high school, Zelman secured a position with then-renowned fashion photographer Athol Shmith and was a regular contributor to GoSet, an Australian pop music newspaper with Molly Meldrum. He later traveled overseas and returned to Australia in 1973, moving to the sunny Gold Coast to paint. There he established a graphic design studio and soon after established a publishing company producing PointOut Magazine and the Gold Coast Tourist Guide, which quickly became the leading publication for the region’s tourism industry. Now living back in Melbourne since 2006, Zelman is passionately painting full time. Zelman’s work as a visual artist is focused on imagery that evokes insight and stirs emotion in a way that is sometimes subtle or quite profound. “The pictures may either be disturbing or contemplative but they are always meant to be thought-provoking,” the artist said. “I hope the viewer is encouraged to discover something more meaningful behind the picture plane and to let themselves be taken into their imagination.” “I’m inspired by many things in nature, however, I'm currently fascinated with the use of flowers that convey the deep connection with women and beauty and how nearly every sentiment imaginable can be expressed with flowers,” Zelman said. His paintings use floral compositions arranged to create female portraits which reveal unique individual personalities emphasizing the eccentric compositions that are profound, evocative, sensual and sometimes humorous. “While I've been caught up in the photorealism/hyperrealism movement for many years I am most captivated by the genius of Chuck Close as an innovator in painting technique with an innate sense of fearless and playful discovery,” the artist said. Ideas for paintings usually begin with photographic images of flowers Zelman captures in season while taking walks in nature or strolling through the local neighborhood. “I shoot a lot of images at various angles in different lighting conditions as future references for any given idea I have for a painting,” he said. “I draw directly onto a primed canvas roughly blocking in the colors I want to use with an oil wash, making any changes to the picture along the way, then overpainting the fine detail using oil paint.” Zelman has held solo shows, exhibited in a many group shows in Australia and has been a finalist in major art awards including SGIO / Suncorp Art Prize, Gold Coast Art Prize, Tweed River Art Prize, Noosa Art Prize, Fishers Ghost Art Award, Redcliff Art Show, Warwick Art Prize, Conrad Jupiters Art Prize, Border Art Prize, Flanagan Art Prize and Bald Archy. “Exhibiting my work is always a rewarding challenge which keeps me inspired to continue making paintings and taking risks for an appreciative audience,” he said. “I have a good selection of outlets that include two gallery representations as well as a number of online representations in Australia. I find it helpful to have a good mix of outlets for my work which has a wider appeal and I'm always looking for more opportunities.” Zelman Lew’s current series, Scent of a Woman is constantly evolving into different scenarios. “I've been playing around with the series incorporating flowers and the female form for a number of years now,” he said. “There's so much more to accomplish and I expect to continue working on this theme for some time to come until I'm exhausted.”
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bluehydrangeafac
ce by Zelman Lew
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bigmouth by
Zelman Lew
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Stepping in to Greatness
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