Art Muzeo Magazine - Issue #4

Page 1





MAGAZINE Art Muzeo is an art, music, and culture magazine. We celebrate artist’s accomplishments and support artists who have just started with their creative careers. Our objective is to give artists and musicians an new outlet to present, market, and sell their masterpieces. We love to discover talent and share it with the world, bringing the art community together. Art Muzeo celebrates all art cultures and support local artists, mom-and-pop shops, and hand-crafters. We keep everyone informed on upcoming art and music events or opportunities.


Tammie Valer


Eric Michael E D I TO R

Veronica An Special thanks to all the artists involved on Issue 4. Without you, this would not be possible. For inquiries e-mail To submit your work for consideration visit FO L LOW U S IG/FB: @artmuzeomagazine TWITTER: @ArtMuzeoMag


ART MUZEO MAGAZINE ISSUE #4 SEPTEMBER 2017 Cover photo by J. Cherie Marriage. Modern Romance Back cover art by Angelly Antinori.

Trazos del pasado


4 6 8 15 18 20 22

24 26 28 30



32 34 36 38 40 42



an effect on people. I do still use canvas from time to time, for a different effect. Q How do you hope viewers will interact with your work? Why do you think interaction is important? A I want everyone to have their own interpretation of my work - it is becoming about the viewer trying to find a connection between themselves and the piece. It’s important to me that my work gives the viewer something to think about and ultimately helps them with self-reflection. Q What do you aspire to do with your work? A I have had pieces in a handful of group exhibitions, where I connected with people over my work. I aspire to do this on a larger scale through solo shows. I would also like to have pieces displayed in more homes and public places. I take pride in knowing that my work is connecting with and possibly inspiring someone on a daily basis.

AMEL JANAE Q Who are you and what do you do? A I’m a self-taught artist currently based in San Diego. I work in various mediums, though my main practice is in a series of figurative oil paintings on mirrors, focusing on self-reflection - both literally and figuratively. Q When did you start painting? A I started working with oil two years ago. My first painting assignment was a grisaille, where I would thin my paint and apply multiple layers to the canvas. This made me think that I wasn’t supposed to use a lot of paint, making me unhappy with my work. Half a year later this changed when I started to develop my own methods. Q What inspires you? Who is your muse if any? A I’m inspired by natural forms and the reflective nature of glass. I don’t have any particular muse; I’m constantly inspired by a keen eye for all art forms, from photography to music, and everything in between.

Q Is there an artist that inspires you? A I’m inspired by a number of artists - it’s too hard to pick one. It’s important to note that artists are a diverse species, coming in the forms of painters, photographers, musicians, and a whole lot more. There’s this quote that I love, by Hunter Reve, “I like art, and by art I mean music, poetry, sex, paintings, the human body, literature. All of this is art to me.” Q Any artistic goals you have in mind for the future? A I would like to start painting on larger scales, maybe even doing murals. A dream of mine is to paint on an enormous mirror, several feet high. I want to connect with people on a very large scale. Q What are you currently working on? A I’m working on my mirror series right now. My more recent pieces have had the subject of human figures, or rather, portions of them. I’ll paint a magnified image on a large portion of the mirror, while leaving small portions of the mirror bare. I find that doing this makes a piece more interesting, and makes the viewer try harder to find a connection to it, which is my ultimate goal. Q What can we expect from you? A You can expect great things. I believe I will develop an immense collection of these works and a variety of others. You can be sure to see them out in the world very soon. I believe in my abilities and my potential, and that big things will happen for me. I don’t focus on when or how, I just keep creating.

Q Describe the thought process in your work. A I like to say that I think like an impressionist and work like a realist. While I’m working, I don’t think about painting or drawing the figures to look like what they are - that’s when I go wrong. I think about the colors I see and try to match them up the best I can. It seems to work pretty well. Q Why did you choose mirrors to paint on versus a standard canvas? A A year ago, I was given the assignment to paint on whatever surface I wanted. I chose a mirror because I wanted the viewers to be a part of the piece. When painting on it for the first time, my most painting methods weren’t working so well. I experimented and found a new way of painting where I could achieve realism. Along with this method, the mirror’s smooth, solid surface adds to the quality of my painting. That’s when I decided to stick with mirrors as my surface. A little later on, I realized this medium can really have


“BOYS, DON’T CRY. I’M COMIN.​” ​ Colored Pencil and Oil on Paper 8.5 x 11

“BLOND​” Colored Pencil on Illustration Board 13.5 x 14

“RUST​”, Oil on Canvas, 6 x 3

“IN2​” Oil on Glass 12 x 12 “SKIN​”, Oil on Glass, 5 x 3


ANGELLY ANTINORI Q Who are you and what do you do? A I am a Peruvian visual artist and an art teacher. I also work in a British school and as a freelance photographer. Q When and why did you decide to become a photographer? A When I was younger, I had a small camera and I loved to take photos. I was always dazzled by the intensity of light. It was something natural in me but I never realize it could become part of my life as a career. People around me told me I should study photography because I had talent but left it behind because I was busy being a full time teacher in a vulnerable area of my country, so far from everything. But I felt something was missing - there were so many things I couldn’t express in words - things that could only be showed and said through a photo. Q What inspires you and your work? A I beleive life is a combination of reality and fantasy. I live between these two concepts. That is why I express myself by trying to show these two languages through illustration and the concrete reality that we all see through our eyes. Q Is there a photographer that you look up to? A Actually, I admire Henri Cartier-Bresson because he had a unique way to capture life. His perspective of composition amused me despite I saw his photos over and over again. Q I see that you use both digital illustrations and photography in your work, can you describe the thought process behind this medium? A When I studied art, I always worked with the concept of memory. At first I tried to represent memories through old photos but after I discovered that memories are an illusion in my mind that couldn’t be represented with a real image so drawing was a better tool to talk about things I remember, things that aren’t real now, things I draw in my mind. For me, it is really important for me that both (the background and the illustration) fit to perfection in the frame so they compliment each other not only conceptual but physically. Q What made you decide to use these specific backgrounds and illustrations on your photos? A As I wrote it before, I always used my own memories as inspiration so every background or illustration is something I already lived. Backgrounds are specific places where I spent time in my childhood, especially in Guadalupe, a small town in the north of my country where my grandfather lives. The illustrations are the most remarkable objects of those special memories. Together, they reconstruct the whole memory in one photo. Q What do you aspire to do with you work? A I want it to become well known around the world.


Q What is the art scene like in Peru? A Art in Lima is getting bigger little by little. There are new galleries opening, trying to break the small, elitist art circle and reach more people. Q Are there any galleries you have displayed in? A I displayed in 2011 in “Galeria del Peruano Japonés” and this last January in “El ojo ajeno gallery”. Q What are you currently working on? A I am learning to embroider because I wanted to explore new methods to represent my work. I am also working on a new project of a reinterpretation of famous paintings. Q What can we expect from you? A I expect you to hear more about my artwork soon.

“Naturagraphy II” ​ Drawn on Acetate Plate/One Exposure/Photography 20.6 X 13.78 $100

“Trazos del pasado” ​ Drawn on Acetate Plate/One Exposure /Photography 31.8 x 21.2 $120

“Naturagraphy III” ​ Drawn on Acetate Plate/One Exposure /Photography 20.67 x 13.78 $120

“Naturagraphy I” ​ Drawn on Acetate Plate/One Exposure/Photography 20.6 x 14.06 $100

“A.temporal” ​ Light Box/Photography in Translucent Paper and Photographic Paper 20.67 x 13.89 $200


ARTLIFE GALLERY Vanesa Andrade founded Artlife Gallery in 2008 to introduce local and international emerging and recognized artists to the South Bay. Artlife's members include fine artists in all mediums, writers, filmmakers and art educators who are all more than ready to unleash their latest work in the inspiring new gallery space. Andrade is most excited about the “art interaction experience" the public will have. In addition to showing their work, artists organize community activities, artist lectures, poetry nights, and other events to engage the public. Every month, the gallery unleashes a new exhibition featuring photography, paintings, sculptures and much more.

“Isidora” ​ Acrylics on Wood Panel 19 x 21 $800

“Dancing, floating” ​ 36 x 36 $1,800

“Affluence” ​ 36 x 36 $1,300


MATT MARTIN Matthew Martin, also known as “Brother Matthew,” is a photographer who explores the reflections of color in his surroundings. Brother Matthew chose this name because he sees himself as a part of a larger group - he also has thirteen siblings. He sees himself as a brother to all and reflects the feeling of brotherhood in his photography.

“Origins of life” 30 x 40 $1,950

“Systems of Dystopia” 24 × 36 $1,850 “Atitlan” 20 x 30 $1,350


“The Davidson Coast” 24 × 36 $1,850

“Bolted top and bottom” 18 × 24 $750



MARTIN Monica Martin has always produced some kind of art, one-of-a-kind costumes to hand painted quilts, stick figures to greeting cards. She usually has no preconceived idea of what the finished product will look like and gets lost in the creation process. She hopes to touch the hearts of those who see her work: to bring peace, joy, comfort, whatever is needed in that person's inner being.

“Force of Nature” 4×4 $4,250

“Person of Color” 24 × 18 $1,900

“Journey” 16 × 20 $800


“Ebb and Flow” 5x3 $4,725

“Intensity” 14 x 14 $500



Sharon is a self-taught artist and has been painting for a decade. She is originally from Canada but lives and works in Los Angeles. She adds depth and dimension to her work using acrylics, sprays paints, oils pastels, resin and various gel mediums. Each step builds on the previous step, leaving room for chance but also for corrections and erasures until the final finished artwork has evolved as a composition of color shape texture and surface. She focuses on the process and act of painting.

“SINGRAY” Resin on Canvas 36 x 36 $1,000

“BLUE WATERS” Resin on Canvas 36 x 48 $1,200


“ISLAND GIRL” 36 x 48 Resin on Canvas $1,200


Q Who are you and what do you do? A I am an abstractor. I look at the world around me and subtract everything into an impression. I should also say I’m easily excitable. The first question I ask from the objects and people around me is, “what does this make me feel?” I also consider myself a painter because I have not found a more direct and natural way to share these experiences. Q When did you start painting? A I started making art (outside of finger painting and doodling as a child) when I was 20. This process began to accelerate when I dropped out of UC Santa Cruz as a pre-law student. Making new work helped me realize that I was telling someone else’s story of me, to myself. That in fact, I would hate being myself if my livelihood depended on the maintenance and manipulation of arguments. Once I came to this conclusion, I knew that if I didn’t continue to make art I would quickly lose sight of myself. Q You mention being a third-generation self-taught painter. What role does your family play in your work? A My grandmother had a room in her Fresno house with a blue tarp laid on the floor and every medium imaginable in racks and on shelves. We would make masks of each other’s faces with plaster and draw from books. One night, we took yarn and threaded it through and around almost everything in the house. It looked like a beautifully colored spider den on acid. She taught me back then that when playing in art you don’t always need to know what you are doing when you do it. Sometimes just the experience of doing something, is enough justification to do it. My grandmother’s father was a private watercolorist and lamp maker. He was going through dementia when I can remember meeting him. I got to see the beginning of this gentle old man’s artwork transition from enchanting landscapes of Yosemite to the blurring emotive textures and movements of tree leaves, bark and mountains. He was by no means an abstract artist but became one, maybe against his will. Every time I look at the work he made in the last years of his life, a part of me understands my own trajectory as an artist within his abstract landscapes. I am approaching realism through abstraction and although this is the inverse of his artistic journey I didn’t have words or an idea of where my work was heading until I saw his later work. Q Describe your thought process behind your work. A My thought process begins with working myself up into a feeling which flips the breakers of thought off. Then I allow my hands to erupt into a gesture that applies paint. Somehow gesturing unlocks and finds the shapes within and of my felt experiences. I like to set up all my paints and supplies in such a manner as to force me to reach for them so that even the choice of loading a brush with color becomes the accentuation of a gesture. I work on one painting at a time and about 90% of my work is completed the day it started. I think this is because I intend my work to convey a feeling and

sensation rather than an idea that you can put aside and come back to throughout time. In order for me to imbue a painting with an honest and vulnerable feeling I need to operate within and while experiencing that sensation. This is also why I do not like to think when painting. Thinking is a process of making judgements and symbols from experiences. When I’m in the act of translating a feeling into form, color and line any thought generally leads my gesture to question the meaning of its mark, this breaks off the full body gesture dance I make most of my work within. OK. So I can say all of that about the making of my work but really it’s up to you whether processing the piece is an emotive or intellectual experience. In fact, it’s probably both for some people. I also include texture in my work because I want you to want to touch it. This which grounds the experience of the work in relation to your hands and tactile senses. Color is chosen to enhance the temperature and texture of the work. Some of my pieces are colored to look like they are scorching hot while others look frigid or underwater. These choices are made with the hope that eventually the viewer would invite themselves within the work and experience the environment of the abstract landscape. Many of my paintings are landscapes of a feeling. The experience the viewer has within each painting in some way reflect the emotional intensity I felt when I made the work. This is the clearest way I have found so far to make tangible my ephemeral feelings. I refer to this body of my work as Psychscapes. I often place a face within a psychscape to highlight the relationship of an environment to our internal experiences. Q Who or what inspires you? A Tactile information inspires me quite a bit. Whenever I’m walking my fingers are almost always running along a brick wall, a painted façade or feeling the air or leaves. I’m creating a library within myself of urban and natural textures that give me strong feelings like years of chipping paint or streaks of rust that resemble a decade’s worth of environmental tears. I’m also inspired by anyone who is doing something natural with their time. This person could be a dancer or a mechanic so long as what they are doing is felt, processed and performed with instinct rather than self-consciousness and hesitation. Q What do you aspire to do with your work? A I want my work to help people read their surroundings more critically and less like sleep walkers. Because my style is naturally situated between abstraction and figuration, the resulting images challenge the viewer to decide exactly what they are looking at. Even when a figure is somewhat obvious, the gender, age and feelings of the figure are not. This ambiguity highlights the


difference between seeing an image and reading it. We see something and then decide what it is. In other words we decide how to see the world. If I can help make people aware and curious of the process with which they see and read the world around them I would know that what I am doing is working. My art aspires to develop a keener visual literacy within its viewers. Q Who is/are your favorite artist/s? A I find inspiration in the countless graffiti and wheat pasting artists that often anonymously bring their work into the streets risking jail and fines to share a thought or feeling. Also, Rothko’s work inspired an evolution in the way I look at abstract art and Agnes Martin is making me more aware of the process with which I see the world. The most powerful work I’ve seen lately was from the Guerrilla Girls, who as a collective, have used art to bring political awareness to gender inequality and representation in many areas of society especially the art world. The way they integrate facts and adbusting techniques to create a poster that at once looks official and completely rebellious is inspiring. For sheer political punch, their work is my favorite.

“Ebb and Flow” 5x3 $4,725

Q There seems to be a recurring theme of faces in most of your work. Describe the message behind this. A The first language we learn to read is that of a face. It’s a universal language, just give a child time and it will know whether the people around them are content or depressed or anywhere between. So much of my work is about communicating a feeling as directly as possible. The face is the most efficient and primal way I know how to do that. There are many faces we see but do not read. I paint figures to help developing a more critical visual literacy for the faces around us so we can begin to mend and understand the many human problems around us. Q What are you currently working on? A Right now, I’m working on developing textures with as much relief and color as possible. I’m also creating my own wooden board canvases with sides that stick two inches off the wall. I’m working on using this area of the canvas to influence the viewer’s relationship with a painting up close and from a distance. I am also working on abstracting the eyes, nose, mouth and ears of a face into calligraphic symbols that can be appreciated on their own as an abstract narrative element and as a whole. I am working on distilling a language of characters from facial features that connote feeling. Q What can we expect from you? A Street art. The project I’m most excited to embark upon is wheat pasting images and sayings that directly question power and promote intellectual and emotional self-reliance. As I listen to the news, it has been increasingly hard to feel like my artistic vision is having an effect through the gallery system. The Guerrilla Girls have shown me that art can be more powerful than politics and I want to tag along.

“Future Ruins” Acrylic and Spray Paint on Paper 20 x 16 $200


“King” Acrylic on Paper 20 x 16 $200

“Reflection” Acrylic on Paper 20 x 16 $200


Q Who or what inspires you or influences your music? A My Dad inspires me. I’m in a separate band singing ‘70s soul and funk music. It's called Illegal Download Collection. Over the years, I’ve had the chance to sing next to my Dad and to be his background singer. His vitality and passion for soul music on stage brings me joy. I’m deeply inspired by my indie peers as well as other seasoned dedicated songwriters and artists like Stevie Wonder, Beyonce, Jason Mraz and Celine Dion. They "walk their talk" with great passion and craft, sharing their art and connecting at a high level. I strive to stay curious and to grow as a person. As that spills over into my art, I hope my journey will inspire others to fully enjoy their unique journey as well. Q Describe your writing process. How do you get inspired? What’s the process? A There are seasons in my writing process; living, reflecting then writing songs about those discoveries. I’m inspired by conversations with friends and strangers about their lives, by museums, by waterfalls and deserts, and by joining forces with other artists who love to create something out of a blank canvas together. My process of creating music is much like enjoying a great meal. I love choosing the dish, the ingredients and then savoring each bite when it's ready. Usually, I pick a conversational topic and then play with all the puzzle pieces that relate to a theme. Speaking is like singing. I like to keep the lyrics as close to natural speech as possible to deliver the truth of the message.

Photo by Niketa Calame Harris Photography Q Who are you and what do you do? A My name is Danielle Wei-Tsung Carter. I am a performing artist and songwriter from the Los Angeles area. I also design a jewelry line influenced by my Chinese and African American heritage. Q When and where did you get your start? A When I trace it back to elementary school. I remember writing a poem about the four seasons and feeling really excited to share it. At the time, I didn’t realize how important writing would become as a career. All I knew is that I loved to sing harmonies and write little fun songs. Q How would you describe your music? A Other people tell me my music is soulful, warm, silky and refreshing. My EP ranges between island soul vibes and jazz-like with a pop-sensibility. A lot of what I’m performing live now is filled with positive affirmations. It’s an easy way to feel good and spread the love. Having just finished a tour in Hawaii, I think my roots might lie here; spreading “one love” vibes.

Q What do you focus your writing on? A I’ve always enjoyed discussing romantic relationships and human potential, as in, what are we capable of once we realize fear is a passing emotion? However, many times I am just a channel for the song and they write themselves. With the single Legacy, for example, that’s one that poured out after realizing that I want my music to unite people together. We are all artists at heart and have something raw to offer to give now and to leave behind to share with those who follow. Mothers create life. Songwriters create music. Everyone is creating some valuable form of life that matters and can add up to shape the world at large. It’s the collective energy that draws me to new layers of family, love and freedom. Q Have you released an EP or album? If so, please tell us about it. A Yes! I’m excited to share the new EP titled INVINCIBLE which is out now on my website and on iTunes. It’s colored with a range of rhythms from tribal soul, island and jazz vibes. The intention with this project is for me and others who listen to feel valuable and be filled with wonder. Since these songs will outlive me, I thought it would be great to have to have lyrics that are affirming and feel good. Getting a song stuck in the back of my head like "Better and Better" or "Amazing" after rehearsal keeps me on my path and helps me through challenging days. My wish is that this EP gives back to others as well. Every time you listen, you’ll hear something new. I had the opportunity to work with a team of incredible musicians who are highlighted in the INVINCIBLE album credits. This includes Stacey


Lamont Sydnor who has toured as a drummer with Motown legends, as well as guitarist and producer Gaku Murata who is incredibly talented. Each musician on INVINCIBLE is truly special and I am grateful for their time, skill and passion. Q Have you played in any venues? A Absolutely, I love playing live and connecting with different communities at venues across the country, from The Waldorf NYC to The Mint in LA. Best way to find out about shows is through events and my newsletter at or via Instagram @ daniellewcarter. I am just returning from the Ukeladies Tour with two dear friends and indie artists Mary Bee and Kate Steinway. Keep a look out for their records as well. The next tour will be along the west coast with the talented Andrew Garcia. Q What do you think makes you stand out from other groups with a similar genre of music? A We all have unique experiences and backgrounds that shape who we are and who we grow to be. I grew up as a ChineseAfrican American female who went to a Japanese Buddhist school, attending temple with monks and other wonderful multi-cultural friends. This has shaped my lens as an artist and is the reason why I write so many love songs these days. Being mixed, I love to mix things up and push boundaries too so there will be some twists and turns ahead. Q What can we expect from you? A You can expect more live shows, new songs, more collaborations with some incredibly talented directors, choreographers in the next couple videos. Also, stay tuned for some amazing partnerships with Indie Jams LA and charitable organizations. I appreciate all the collaborators, supporters and dear friends who are on this journey with me. It takes a village. Truly look forward to sharing more content with you all.




Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.