Peripheral ARTeries, Special Edition

Special Edition

CONTEMPORARY ART REVIEW Biennial Edition Installation • Painting • Mixed media • Drawing • Performance • Public Art • Drawing • Video art • Fine Art Photography

EMILY TSAI DEBORAH KENNEDY JOSEPH BLUMSTEIN ANDREEA RUS CHAKALAH CRAWFORD ALEXANDRA FRANCIS TOMMY OROSCO JESSICA FELDMAN MAGRIET VAN LOGGERENBERG Jessica Feldman (Mexico)

Andreea Rus

Be that as it may, this catalog or any portion ther eof may not be reproduced or used in any manner whatsoever without express written permission from Peripheral ARTeries and featured artists.

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Contents 78 Alexandra Francis

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Lives and works in Mexico City, Mexico

Lives and works in Leeds, England, United Kingdom

Lives and works in Johannesburg, South Africa

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lives and works in Leeds, England, United Kingdom

Lives and works in Southern California, USA

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Lives and works in Romania

Lives and works in Rye, NY, United States

Magriet van Loggerenberg

132 Andreea Rus

Lives and works in the United States

Lives and works in Los Angeles, California, USA

Special thanks to: Michael Betancourt, Teresa Wells, Jared Schaffer, Jean-Claude Bise, Ashley Cassens, Hildy Maze, Karissa Hahn, Juliana Pepper, Jane Sheiko, Max Savold, Julia Ăœberreiter, Deborah Esses, Margaret Noble, Joseph Goddard, Nathalie Borowski, Marco Visch, Xavier Blondeau, J.D. Doria, Matthias Callay, Luiza Zimerman, Kristina Sereikaite, Scott D'Arcy, Kalli Kalde, Carla Forte, Mathieu Goussin, Evie Zimmer, Dorothee Zombronner, Olga Karyakina, Robert Hamilton, Isabel Becker, Clare Haxby, Carrie Alter, Jessica Bingham, Agnieszka Ewa Braun, Fabian Freese, Elodie Abergel, Ellen van der Schaaf, Courtney Henderson and Francine LeClercq

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Peripheral ARTeries meets

Jessica Feldman Lives and works in Mexico City, Mexico

In todays society we are very concerned about fast comunication but we are entirely detached from the people around us. They are just there but almost invisible. We just see parts of moments but are unaware of the big picture. The closeness we feel with someone we cannot see but only write is far more that those sitting next to us and thats increasing in a very fast rate.

I paint women because i project my feelings thru them conveying this idea, and at the same time giving them voice. Sometimes they are in fragments giving the sensation of how we make the other person feel or sometimes they are complete but somehow inside waves or geometrical cinetic forms representing the constant movement of life in a hurry and growing telecomunication. Everything today is about social media but there is no real social comunity.

With my works i want to give the idea of change, that we can always stop and decide to make things different each day. To give our family, colleages and friends all of our attention and try to find happiness with our surroundings. Each day can be better if we can make some changes in our way of life and modify our minds to reach out and connect.

I paint in oil on canvas and its a fusion between cinetic and figurative art. Thats what makes my art stand out and be recognized.

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you to develop your attitude to experiment?

Moreover, how does your cultural substratum direct the trajectory of your current artistic research?

peripheral.arteries@europe.com

Hello Jessica and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production we would like to invite our readers to visit http://www.jessicafeldman.com.mx in order to get a wide idea about your artistic production and we would start this interview with a couple of introductory questions. Are there any experiences that did particularly influence your evolution as an artist and help

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Ever since I was young I’ve had a fascination with structures, patterns, and puzzles so I think those elements are very distinctive in my works.

I can see those elements even in my paintings as a kid. Also, I think that traveling has been a key element in all the evolution on my art, everything that I see around me that’s new can transform my thoughts into a new idea and I make it my own because like they say “there isn’t an artist that can see the world as it is

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I’m sure that all of my work is related to a personal experience. Even though every piece has a story of its own I really like it when I hear other people talking about the pieces because they create another story all together. The viewers are part of the puzzle, it’s the piece that’s missing to make the painting whole because I strongly believe that it’s a passive collaboration.

because if he did he wouldn’t be an artist”.

When I paint it’s like a trance that I submerge myself into in order to express all of my feelings, emotions, thoughts, and vibes that even though we cannot touch we can certainly feel, so it’s in this state of trance that those pieces emerge.

We have appreciated the way the results of your artistic inquiry into the idea of change conveys such a coherent combination between emotional intuition and a rigorous sense of geometry and the body of works that we have selected for this special edition of Peripheral ARTeries has at once impressed us of for the way you provide the viewers with such a multilayered visual experience. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes?

When I have a lot of new ideas I usually write them down for me to do later but I prefer to paint as soon as I have an idea because the energy that I have in that particular moment I express it through my paintings and I’m sure that the viewers can feel it too.

It’s a very personal experience that I share with the world because it’s all about what I’m feeling and absorbing in that moment and so it’s true that with each piece you take a little bit of me comes with it.

Inviting the viewers to rediscover the presence of people who are just there but almost invisible, we daresay that your artistic practice seems to aim to look inside of what appear to be seen, rather than its surface. Austrian historian Ernst Gombrich once remarked the importance of providing a space for the audience to project onto, so that they can actively participate in the creation of the visual experience: how important is for you to trigger the viewer's imagination in order to address them to elaborate personal associations? In particular, how open would you like your works to be understood?

I use art as my language, my own way of conveying my thoughts to the world and as complex as my work can seem to be to others, to me it comes very easily in my mind. I’m not always sure about the geometric patterns that I want, but when I start to work everything comes into place. Sometimes the picture I thought of at first is not exactly the final work, it’s a process of thinking and materializing that particular idea.

In the end, it’s all about creating a piece that translates into an expression, it’s an idea transformed into a summary.

Really talking about understanding a certain work I always say that first you have to like what you see because that’s the reason that a particular piece speaks to you. After that you can try to relate as to what the artist is trying to say, but as I said earlier, it’s a collaboration. You

How important is for you to draw from your personal experience, in order to create? How does your everyday life's experience fuel your creative process?

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can have different interpretations about my work

defined as one particular thing because all my

that can also be true even though they weren’t

pieces talk about a lot of things in one place, It’s

intended in the first place. I don’t like to be

a very compressed story. Of course, I depend

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always on the imagination of the viewers so I

idea of movement, something fun that attracts the eye and shifts their view.

make them participate with my pieces with the

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same until now, more women figures. But this is the thing, almost all painted by men. I can fairly say that sometimes I don’t even find a painting made by a woman and when that happens it makes me think that we are no different than the society before our time. We still have the same structures even though, as women, now we can do anything we want in a lot of places around the world. Of course, there are more women artists than before but we still don’t have the same recognition.

As you have remarked once, you paint women because you project your feelings thru them and at the same time giving them voice. As one the most recognized pioneer of feminist art, Italian painter Artemisia Gentileschi, your characters not fall prey to the emotional prettification of a beloved subject. In this sense, your artistic production is a genuine tribute to the issue of women's identity in our globalized still patriarchal and male oriented societies.

How do you consider the role of women artists in our age? Do you think that you’re being a woman provides your artistic research with some special value?

I paint women in a different perspective because obviously as a woman I’m sure I give a different point of view, but it’s also important to give women a place, not always as beauty objects but as women speaking through a woman.

When I go to museums the quantity of female figures in all the paintings always attracts my attention. Sometimes, I even tend to count the women vs men ratio and the score remains the

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We like the way your artworks convey such a subtle still effective socio political criticism

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Today’s era is all about technology and very fast living. We want everything now and we are losing the ability to be amazed. It’s a constant battle to think of something very unusual and new to attract the people of this generation and even so for a very short time. I think texting is a very useful tool and the way we can communicate through that technology is incredible, but that said, we are also losing the ability to talk to each other face to face. I think that behavior is something we have to change in order to be closer to the people around us and my way of saying that is through art.

about the paradoxical situation of being concerned about fast communication and the emotional detachment from people around us.

Mexican artist Gabriel Orozco once stated, "the artists' role differs depending on which sociopolitical system they are living in.' Do you think that your artistic research responds to a particular cultural moment? How do you consider the power of contemporary art to tackle sensitive cultural issues in order to trigger social change in our globalized societies?

Art is the key to change in all aspects of life.

Society has transformed over the years and it is art that has made the difference. Art has had many uses, as an educational tool, for protest, and for behavioral modification just to name a few because art changes the way people think and it’s also a reflection of the way we are living.

Marked out with such a unique visual identity, your artworks feature such effective fusion between kinetic and figurative art, to create such an oniric atmosphere: how would you consider the relationship between abstraction

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I think is that we are all a fusion between abstract and figurative because we are composed of both of those elements, Our body and our mind. So, in putting those elements together I’m simply displaying different states

and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

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in one work. The geometric forms that I use to make the kinetic art are the ones responsible for movement and also the idea of waves or particles that translate into this era of technology. The figurative part are the women

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stating a different kind of emotion that can go from being calm, happy, angry and so on. My art is really a materialization of my thoughts into something that people can see and have fun with. I strongly believe that we all ought to have

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fun in life and the only way to achieve it is by

production: in particular, we like the way your artworks show that vivacious tones are not indispensable in order to create tension and dynamics: how does your own psychological make-up determine the nuances of tones that

playing together.

We have really appreciated the vibrancy of the nuances of that mark out your artistic

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you decide to include in a specific artwork in order to achieve such brilliant results?

The funny thing is that I love color so much that sometimes I need to restrict my pallet and try to use it wisely. If not, I would have lots of colors in all my works and they would not be convenient to express the way I feel and the idea that I want to reflect. I don’t know if all artists do this but when I have an idea the first thing that comes to my mind is not an image but a color. It’s like if that feeling I can translate it into a color that I see and so then I add some more to have the aesthetic part of the piece. Sometimes I really want the viewer to feel that vibrations and I think about those pieces as more serious thoughts or more energetic ones so I use black and white in them and that way I won’t distract them with colors.

You are an established artist and over the years your artworks have been showcased in a number of exhibitions: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks?

I think that the first thing that the audience feels is curiosity and that makes them stand still, evaluate the painting, and start to make sense of it. That way they are having a good time with the piece and they are having a conversation with it.

I don’t think of myself as an educator but it’s very important for me that when people see my paintings they can start a dialogue that can provoke a change in the way they think even just a little bit. They can have a conversation about a piece and maybe get a different idea that I hope will be useful. Almost all of my paintings relate, not only to empowerment and todays life, but also to personal growth.

I would really like for the viewers to try to find my voice and to see each piece telling a story, not my

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story but the one inside each one of them. Even though I’m sharing my points of view in my worlds and my visions they, the viewers, will be the ones that translate them into a great piece.

like to thank you for chatting with us and for sharing your thoughts, Jessica. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would

I’m very grateful for letting me share my work with all of you. It’s been my pleasure and really a

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great experience. For now, I can tell you that I’m

satisfactory so I will share those works in my next exhibit in Mexico City.

preparing a new kind of series experimenting with different materials and trying to expand my

It’s been a crazy work year and as much as I like my past pieces I’m always evolving and learning new things that will nurture my art so the only

work by also making sculptures. That’s a very new kind of art for me but it has been very

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thing that I’m sure of is that I will have fun

want to include in next projects because it’s a very important global problem that needs to be addressed.

making them.

Also, I would like to explore the possibility of expressing the importance of caring for our planet and our environment. This is something I

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Peripheral ARTeries meets

Alexandra Francis Lives and works in Leeds, England

I am an interdisciplinary artist based in Leeds, England, with a primary focus on the creation of sculptures and installations. The artwork that I tend to create are often audience interactive and revolve around the concepts of fluctuation, natural forms and biomorphism. With my fascination of the natural world, it is not a surprise that I incorporate natural patterns, layers, formations, colour and geometry in the work that I produce.

My sculptures and installations are eye-catching, playful and child-like, with the use of bright colours and certain materials, in order to attract attention from an audience of all ages.

Recently I have found that I am fond of experimenting with the art form photography.

Photography allows me to capture and compare my work as both an image and an object, which provides me with the opportunity to explore my work within both 2D and 3D surfaces.

Alongside exploring surface within my art practice, photographing the art that I create within various settings encourages me to also take into consideration the location, lighting – whether natural or artificial, and the presence of an audience.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

substratum direct the trajectory of your current artistic research?

peripheral.arteries@europe.com

It wasn’t until the age of eighteen (I am now twenty four), that I began to consider a career for myself as an artist. Being an artist had never appealed to me despite having created paintings from a young age. It was my family that had encouraged me to pursue this as a career, and I’m now glad that they did.

Hello Alexandra and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production we would like to invite our readers to visit www.artistalexandrafrancis.online in order to get a wide idea about your artistic production and we would start this interview with a couple of introductory questions. Are there any experiences that did particularly influence your evolution as a multidisciplinary artist and help you to develop your attitude to experiment Moreover, how does your cultural

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Up until the age of sixteen I had never experimented with different forms of art. My high school primarily taught painting and drawing, which now as I reflect back on those early days, was ridiculous. I began to realise my artistic potential through experimentation

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with various materials and art forms, whilst studying at Leeds City College, and later went on to study on the BA (hons) Fine Art course at Leeds Beckett University, which I graduated from in 2018.

I suppose what influenced me most as an artist was having the opportunity to work as a Programme Assistant at The Tetley contemporary Art Gallery, in Leeds. The first exhibition that I ever invigilated was called ‘Painting in Time’ (2015) and was co-curated by Sarah Kate Wilson. Painting in Time exhibited a variety of works from artists such as; Sarah Kate Wilson, Polly Apfelbaum and Yoko Ono, that focussed on the Expanded field of painting and the state of flux/fluctuation. This would later prove to have been a major inspiration to myself, with the creation of audience interactive art installations that fluctuated over time. A good example would not only be my installation ‘I Instruct you to Pop a Balloon’ (2018) but also ‘I instruct you to reconfigure the Space part 2’ (2018).

Reconfigure the Space part 2 was comprised of ten sculptures that were created out of strips of foam, and spray painted various colours. These sculptures were exhibited in a space, for an audience to reconfigure as they pleased. Of course, this meant that with every participant, the work changed within the space. I had no control over what the audience did and I enjoyed that feeling.

For this special edition of Peripheral ARTeries we have selected I instruct you to pop a balloon, an interesting project that our readers have already started to get to know in the introductory pages of this article. What has at once impressed us of your insightful inquiry into the concepts of fluctuation is the

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I Instruct you to Pop a Balloon

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I Instruct you to Pop a Balloon

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way you sapiently combined element from reality with captivating abstract sensitiveness, to provide the viewers with such a multilayered visual experience: when walking our readers through your usual workflow and process, we would like to ask you how did you develop the initial idea for I instruct you to pop a balloon.

I am a very spontaneous individual. If I plan an artwork; how it will look, what materials I will use, how long it will take to create, then I get bored and lose interest. If I plan an artwork or even a project (with the exception of commissions) then I feel as though I am limiting myself to what I create and that’s not always a good thing. So, I just create. I don’t plan. I don’t think about what I’m going to create. I just do it. Take a piece of paper and a pen, for example, and draw something. It doesn’t matter what you draw as long as you do something. Mark the paper. Do anything. You never know what will happen if you do – it’s a huge surprise to your audience and yourself and that’s exciting, isn’t it? At-least I think so.

That’s not what happened with I instruct you to Pop a Balloon however. You see, I created this installation as part of my degree show on the BA (hons) course, and as it was part of the course itself, I was required to send forward a proposal in advance. I struggled to think of what to do for this, but one night, laid in bed, I had what you could call a vision.

An image in my mind’s eye of what my installation would look like, and I just thought it looked good. I thought ‘why the hell not?’ And so, the concept for the installation was born.

I instruct you to pop a balloon is structured

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Flowers that Bloom Outside

in order to provide the viewers with an immersive, almost surrounding visual experience: what were you aesthetic decisions in relationship to the exhibition space, in order

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to provide them with such visual qualities?

In 2015 I had the pleasure of visiting the Venice Biennale, and it was here that I was first

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introduced to the work of Katharina Grosse.

As I walked through the installation of pigmented dirt, I couldn’t help but feel overwhelmed. Her work, ‘Untitled Trumpet’

(2015) had blown me away – and had left a lasting impression on me. I loved that feeling of not knowing where to look, the explosion of colour, the joy I received of being a part of it

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Flowers that Bloom

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SPECIAL ISSUE Coloured Foam Sculptures

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point between the imaginary and the figurative, I guess.

by just walking through the space, and I wanted to recreate that feeling for not only myself, but for an audience.

By entering into the box like space where I instruct you to pop a balloon was first exhibited, you were confronted by balloons suspended at various heights, filled with sand and hanging from fishing line. I wanted this installation to also leave a lasting impression on my audience, and I felt that I succeeded in doing that.

Footprints were left in the coloured sand that covered the floor of the space, from previous participants – which indicated and was symbolic for a journey through time. It was quite a tight area really, but I felt that only added to the experience, for it made it all that more personal.

Investigating the dynamics between the audience and its surroundings, I instruct you to pop a balloon features such effective combination between physical space and captivating abstract feeling, whose background create such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

Merge them both together I say. It’s like a dream, you’re in a field – something that you would recognise anywhere – but you’re being chased by a purple cow. It’s strange. It’s odd.

It’s different. It’s not completely made up but it’s not really all that realistic either, it’s a nice balance between the two. You find comfort in what you recognize, but you may be left confused, frustrated or intrigued by the strange and the unusual. It can’t be real, right? But it’s there, as a sculpture, and it’s happening. I just try to introduce the audience to the middle

Marked out with such unique seductive beauty on the visual aspect, your artworks are often audience interactive. Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood?

It is VERY important. My work revolves around personal interpretations! I am not going to tell people what to think or how to feel about my work. That is up to them. I will give them the tools they need to explore the artwork that I create, but that is all. It’s all about their own personal experience, a teacup is only a teacup because we are taught that it is. We are taught that the first is number one and the second – number two. Time exists because we are taught from a young age that it does. You cannot teach people about my art installations. It’s not to learn about - but to experience. If you overthink my work, then you may lose the feeling of experiencing it. So, don’t over think it. Just enjoy it for what it is. There are no boundaries and no limitations.

It’s like with my sculpture ‘Solitude’ (2018) that was created (and consequently led to the generation of ‘I instruct you to reconfigure the space part 2’), as part of the Don’t Sift Just Stir workshop and exhibition in Leeds, England. A group of artists got together and created artwork, both independently and collaboratively. This led to a one-day exhibition event – situated across a variety of outdoor

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Coloured Foam Sculptures

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spaces between the three major universities in Leeds; University of Leeds, Leeds Beckett University and Leeds Arts University.

I didn’t know what to create as part of this event.

Foam was accessible at the time, as was red spray paint, and so I spent less time thinking about what I was doing, and more time actually doing it. A biomorphic, organic like shape emerged, and was used to dominate the street that it was exhibited on, by hanging from a signpost outside Leeds Beckett University’s Portland Way building, and blowing uncontrollably in the wind. As it didn’t depict anything in particular, people weren’t all that sure of what it was, but they seemed to enjoy the experience of seeing and touching the sculpture, and really, to me, that’s all that matters.

We can recognize such a subtle still rigorous sense of geometry that pervades your artworks and that creates such a coherent combination between sense of freedom and unique aesthetics: do you conceive you works instinctively or do you methodically elaborate your pieces? In particular, how importance does spontaneity play in your work?

Spontaneity is incredibly important in my work, as it is in my life outside of being an artist. I’ll wake up in the morning and decide to get on a bus – without planning where I intend to go. I definitely got this little trait from my family. They all do it, which I think is great. I feel as though being spontaneous means that you’re always in the ‘moment’. Where are you going? Who cares.

Just go, and enjoy it. You have to find the little pleasures in life, and this, to me, is one of them.

We have really appreciated the vibrancy of the intense and at the same time delicate nuances of

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blue that mark out I instruct you to pop a balloon and your artistic production, in general: in particular, we like the way your artworks show that vivacious tones are not indespensable in order to create tension and dynamics: how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork in order to achieve such brilliant results?

My artworks often revolve around the use of bright colours, mainly to attract attention. I also use colours and tones that I find appealing personally, because I want to like what I see and work with, but then who doesn’t? As for the actual colours that I use within my work, it is all very random – like myself. It incorporates the colder colours – the blues, the greens, the purples, which are balanced out by the warmer colours – the reds, the yellows, the oranges and the pinks.

I am a big believer in colour therapy and the symbolism for colours also – which you may have already guessed. How different colours can affect people and their moods always surprises me. How a bright red can not only be symbolic for love, but also for danger. I suppose that is why I often try to incorporate all the colours and tones within my work – because it feels wrong to leave any out! The work doesn’t feel complete unless I incorporate everything. And yet, in a way, that is simply only in my mind – though others may agree with me.

With their tactile qualities, your artworks unveils the fact that we sometimes tend to ignore the fact that a work of art is a physical artefact: how do you consider the relation between the abstract nature of your creative process and the physical aspect of your daily practice as an artist?

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The Reveal

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The Reveal

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Touch is an important sense; as is hearing, sight, smell and taste. To understand an artwork, I like my audience to experience the work in as many different ways as possible. (Though I would not recommend eating the sand as part of the installation; I instruct you to pop a balloon.)

‘Dreamland’ for example, is an interactive sculpture that I created out of silver bells, that hung from a body of crocheted wool, and was decorated with red artificial flowers. I wanted the work to ring out across a gallery space as people passed it, or physically touched the sculpture. I’m hoping that this was the case, when Dreamland (2018-19) was exhibited as part of the Mechanical Circus exhibition at the 3rd on 3rd Gallery, in Jamestown, New York (2019). The Mechanical Circus was curated by artist and curator Debra Eck and revolved around – you guessed it – a circus theme.

If you want to talk a work of art as a physical artefact, then we just have to look at the work of artists such as Yoko Ono, Marcel Duchamp and Claes Oldenburg. They all incorporate everyday objects within their artist approaches – which I think is fantastic. But really, I believe that everything is a work of art, even if other people do not agree with me. Most things start with a sketch, an initial design – which then leads to the construction process. Isn’t that similar to the creation of a sculpture? Also, a sculpture is a physical, often three dimensional object – aren’t artefacts usually the same?

There’s a lot more similarities then there are differences between the two. We might as well merge them together.

I think we can make something abstract through colour and design. You could make that purple

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from this installation, and future installations to come.

cow out of paper mache and acrylic paint, and exhibit it in woodland, or a field, or whatever.

There’s nothing stopping you from doing it. It’s really all about just being openminded. Your work doesn’t have to make sense. To me, it just has to be fun, visually pleasing and aesthetic.

The digital world is a great place for advertisement – but everything seems to be on the big wide web now! It annoys me really. I like the physical; I like the raw and the gritty – but an artwork can be lifted to perfection in different software’s online. It’s not the same I think.

And what do you hope your audience take away from I instruct you to pop a balloon ? In particular, how do you consider the role of emerging online technosphere in creating new links between artists and worldwide audience?

As for the advertisement itself, like I said – it’s great. Things go viral all the time. The messages that my work create can be conveyed faster than lightning - with the right people sharing it online. The only problem is that they do not get to experience the work physically and in person, and that’s a damn right shame.

We need to work together. We need to collaborate more. Not only as artists, but as individuals – and as human beings. She’s a retail worker and he works in finance – yet they never seem to talk – because they do not know each other, and at first glance, may have nothing in common.

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Alexandra.

What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

It doesn’t matter the colour of your skin, the sex you associate yourself with, your religion, your age or your background. It doesn’t matter if you’re rich or poor, if you know a lot about art or if you know absolutely nothing.

Oh, you’re very welcome. It’s been an absolute pleasure. Thank you for having me.

Installations like I instruct you to pop a balloon have been created to bring people together.

People from all different backgrounds arrive from all different areas, cities, and countries, to one single space. They may not have met before, but I instruct you to pop a balloon allows them the opportunity to form a conversation with one another about the work. To maybe even make a new friend. To bring people together.

That is what I hope my audience takes away

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I am currently working on the exploration of nature as artwork, and how sculptures can be exhibited in both interior and exterior spaces.

It’s really just a work in progress right now so I won’t say much about it.

As for the ideas for the future – that’s a surprise. I’m not really sure yet as I have nothing in particular that I want to focus on

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apart from my present art project.

I suppose I’ll end with a quote that I often find inspiring, by the great, late, George Harrison. “If you don’t know where you’re going, any road’ll take you there.”

Let’s just say that it will be interesting. You can find out more by checking up on my work in the future on my website: www.artistalexandrafrancis.online

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And he was absolutely right.

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Magriet van Loggerenberg Lives and works in Johannesburg, South Africa

After a lifetime in television, I became a professional artist. I have held numerous solo exhibitions and taken part in many group exhibitions. My works are displayed in homes and galleries in South Africa and internationally. At heart I remain an Impressionist, but my forays into the abstract have been both exciting and rewarding.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

the arid Karoo, the dusty brown bushveld.

Juxtaposed with the bright colourful Malay quarter of the Cape, purple explosion of jacarandas in Pretoria and the lush ferns and pines in deep forests of Mpumalanga.

peripheral.arteries@europe.com

Hello Magriet and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production and we would like to invite our readers to visit https://www.artjobs.com/magrietvanlog in order to get a wide idea about your artistic production, and we would start this interview with a couple of questions about your multifaceted background. Are there any experiences that did particularly inffluence your evolution as a visual artist?

In particular, how does your cultural substratum due to your previous lifetime career in television direct the trajectory of your current artistic research?

Another part of my youth was spent in Rome, Italy. I embraced every ounce of magic and have carried it around with me ever since. While in Rome, my father began to paint, and inspired me to draw. And I never stopped.

I have always had a huge amount of imagination, a fascination with fantasy.

Logic has never made sense to me.

No wonder I carved my niche in Television.

Making a TV programme is a lot like painting. Filling x amount of time with content that never was and giving it a story is like being confronted with a blank canvass. It keeps you humble, on your knees and the only limits are those of your imagination. A sequence of frames is in itself a series of paintings. The rules are the same. There is focus, content, colour,

From the moment we are born, every impression we form, every person we meet, becomes part of our identity and serves as inspiration for our unique creative output.

I was born in South Africa, a landscape of contrasts. The faded, sun drenched hues of

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Sunday Walk

depth, contrast and design. And every image has a story to tell.

genre and can be combined with great success.

Within the industry I moved from the fantasy of music and music videos to documentaries, and eventually to current affairs. This was a shock to my wayward imagination. But I realised hard facts and artistic portrayal are possible within one

This is perhaps why, in my paintings, there is always an element of realism in the abstract, and impressionism in reality.

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The body of works that we have selected for this special edition of Peripheral

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ARTeries and that our readers have already started to get to know in the introductory pages of this article has at once captured our attention for the way you have provided the results of your artistic inquiry with such a coherent combination between emotional intuition and a rigorous aesthetics. When walking our readers through your usual setup

and process, would you tell us if you think if there's any a central idea that connects all your artworks?

If you are looking for barbed wire and angst, don't come to my door. I appreciate a social conscience in art, I prefer to portray it more as a by-product than the main theme.

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This does not mean I have never experienced violence and hardship. Rather, l see no point in carrying it around and putting my burden on someone else's wall.

Instead, my glass is almost always half full.

In life, I am an incurable optimist and even in the darkest of times, I see hope in a pinprick of light.

I see the joy of life in lines and colours and movement and loose brush strokes.

I love beauty. I see it in the dandelion and the lines around the eyes of an old face. But there must be more than beauty. The portrayal of mood and atmosphere separates a painting from a mere picture.

Every image has a story - with signs of a past and a glimpse of the future. Rather like a moment frozen in time. It could be the drama of that moment, but at times it is a small thing that catches my eye. The way the light falls, the juxtaposition of interesting colours or the dappled shade on a pavement.

It is sometimes that visual trigger more than the actual subject, that gets me going.

Intuition is a scary tool. It has let me down and at times, shown me the way.

I'm a messy artist. I have never been able to meticulously organise my painting environment and I envy those who manage it.

But even in the midst of mess, I manage to enter a zone while painting, as if I can climb into the picture and belong there. Then I know I'm on the right track. It don't know if it is intuition or sheer determination.

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Blue wildebeest in the storm

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Impression of a landscape

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My work is always evolving, always moving from one theme to the next. No experience in life and nature can be contained in one subject.

But core elements remain in my choice of pallet, brushwork and technique, be it naive, impressionist or abstract.

Featuring such effective combination between physical space and captivating abstract feeling, Riel Dancers is pervaded with such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice?

In particular, how does representation and a tendency towards abstraction find their balance in your work?

Riel dancing originated with the Khoisan people of South Africa. It is different from other dances like the trance dance of the San people. Though the Riel has traditional roots, this celebration dance was performed by farm laborers and sheep shearers in the 1940's. It has grown in stature, taking on elements of other cultures. Today there is even a national competition held every year.

My main aim with the painting was to translate colour, light, brushwork into movement. In so doing also taking on a more abstract feel, doing away with irrelevant detail. There is a certain naivete in the choice of palette and the sketchy execution adds to the joy and exuberance.

We have really appreciated the vibrancy of thoughtful and delicate nuances that mark out your artworks, and we like the way in Sunday Walk they create tension and dynamics: how did you come about settling

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on your color palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork?

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The paintin "White on white" by Kazimir Malevich has obviously left it's mark. As much as I love colour, I sometimes prefer to use colour more as accents than the

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main body of the painting.

In "Sunday Walk"a few elements came into play. The effect of light on the figures, the washed out glare of a sunny day.

I also wanted to incorporate a retro look in the figures and architecture, using faded colours and giving the scene a nostalgic atmosphere.

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Riel dancers

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Bringing in the snoek

I rounded the figures off with a few sketch lines to give more impact and movement.

All the figures are walking away, except for a little boy. A reminder that it is sometimes a good thing to turn against the tide.

inside of what appear to be seen, rather

With their captivating Impressionistic feature, your artworks seem to aim to look

to invite the viewers to elaborate personal

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than its surface, providing the spectatorship with freedom to realize their own perception. How important is for you meanings? And in particular, how open

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would you like your artworks to be understood?

emotions, or they could be in sync with mine.

Like many artists, my work portrays the essence of my culture, experience, taste and the language of my creativity.

This is my point of departure.

A connection that is sometimes not explained in words.

This is the miracle of art.

Innocence is marked out with geometric patterns, that you sapiently combined with unique variety of tones, that provide your works with a unique aesthetic identity. New York City based artist Lydia Dona once stated that in order to make

But when a painting becomes part of the public domain, the work is set free and is created in the eye of the beholder.

The person who connects with that work could find their own memories and

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Nguni cattle

art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes?

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"Innocence" was a work in progress. I literally began with the eyes and worked my way outwards, adding layers as I developed the image.

This is a portrait of a young girl.

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opinions of youth, not yet washed through the sands of experience.

With their powerful narrative drive, your artworks seem to draw heavily from your personal experience: how do you select the landscape for your paintings?

Moreover, how does your memories and your everyday life's experience fuel your creative process?

The creative process is so intricate and yet at times as simple as taking a breath.

This process spans across all forms of creativity.

When putting together a documentary film you spend time creating the story, the focus or central theme. You look into the history, the background and timeline. And always there is magic to be found in the emotion, the tension of events and visual impact.

The inspiration to paint relies on these same principles.

And yet sometimes we get lucky and it all emerges from the shape of a cloud.

You are an established artist: over the years have held numerous solo exhibitions and taken part in many group exhibitions, and your works are displayed in homes and galleries in South Africa and internationally: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks?

By the way, as the move of Art from traditional gallery spaces, to street and especially to online platforms increases,

Soft skin of youth and clear eyes. It portrays a story about to begin, the soft colours of a full rounded person in the making.

This image of innocence is juxtaposed with sharp edges and geometric lines indicating a certain arrogance and the unbending

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how would in your opinion change the relationship with a globalised audience?

stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Magriet. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

When your art does not need to bring home the bacon, you are free to follow your passion wherever it takes you.

Art has been my livelihood for many years.

To survive I've had to compromise on dignity and authenticity many times. This becomes an ongoing saga because as we all know, Google lives forever, and so do images with your name on it. Especially older images, good or bad. One has to simply grin and bear it and see it as part of your evolution as an artist, warts and all.

I am deeply honoured to be part of your creative community.

To receive validation of one's work in this way makes all the difficulty worthwhile.

As an artist, every blank canvass is uncharted territory. It makes us question ourselves and keeps us real.

Although I now realise it is still easier to paint than to write about painting it!

I have two approaches when it comes to ego and stubbornness in my work and dealing with the public. Paintings I was inspired to do, stand as they are and will find appeal or sometimes not.

When I do a commission I leave my ego at the door. The most important aim is that the client is happy. I may have forgotten the painting, but it will still be hanging on their wall and perhaps their childs wall one day.

There is always that blank canvass in the wings, impatient for attention. There will be another exhibition soon, and clients and galleries to attend to.

I hope this article will serve as invitation to other creatives to give me feedback and advice through this publication or through email. Art should not exist in isolation. It should resonate with a global audience.

It is a living, breathing energy that contains universal values, connects across continents and unites the world.

Please feel free to contact me at magrietvanlog@gmail.com

Often, to be an artist is to be isolated. You most always lose track of your painting once it is sold an shipped off to some part of the world.But sometimes there is feedback, for example my friend was surprised to come across a number of my paintings at a house in the US. That was very satisfying.

We have really appreciated the multifaceted nature of your artistic research and before leaving this

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An interview by Josh Ryder, curator and Melissa C. Hilborn, curator peripheral.arteries@europe.com

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Joseph Blumstein Lives and works in Rye, NY, United States

These two collections attempt to reference history. The art works integrate an older sensibility with the contemporary environment. By reaching back we can better realize the excitement and understanding of an older age and use that to develop a deeper appreciation of the contemporary art world. Exploring a past experience can enhance the understanding of the contemporary.

What can truly move us beside form and color are religious themes, personal expression and dramatic story. The older pieces that I used as an inspiration have all these. The abstract portraiture collection was inspired by Renaissance paintings of faces; bold, exciting and filled with inner meaning. The viewer searches for a human connection imagining the feelings of the subject. Applying this to a contemporary setting helped me reflect the story of the old and more fully understand the development of the new. Use of vivid color and expression, convey dramatic depths, excitement and unique personal history. These artists want to be remembered, leave their mark. Their concerns were grounded in hope and Devine belief, which I have tried to replicate.

The Illuminated manuscript series was inspired by the original manuscripts at the MET/Cloisters. The colors, organization and overall beauty of the pieces impressed me. and I imagined the artists laboring over these works. Was it possible to develop an understanding of their community, express their deep love and hope in a contemporary work?

I chose the Psalms of David as basis because I am familiar with them and find them meaningful. The Latin translation was a gift from the internet. They were designed to be small and very personal in order to achieve a more intimate viewing.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

elaborate about your artistic production we would like to invite our readers to visit https://josephblumstein.com in order to get a wide idea about your artistic

peripheral.arteries@europe.com

Hello Joseph and welcome to Peripheral ARTeries. Before starting to

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production and we would start this interview with a couple of introductory questions. Are there any experiences that did particularly influence your evolution as an artist and help you to develop your attitude to experiment?

Moreover, how does your cultural substratum direct the trajectory of your current artistic research?

New York City is my home. Born and raised in this melting pot I’ve always felt part of the music, art, and theatre world.

My father was a jewelry designer and my mother a real estate manager, so we were very much into of the ongoing ”scene.” A particularly memorable experience was viewing an exhibition of Vaszily Kandinsky. Prior to that I had been painting portraiture and French impressionistic pieces. The impact of Kandinsky’s work was dramatic. He opened my eyes and my head. His use of form and color gave me license to expand and experiment.

I’ve always been somewhat restless and impressionable. As usual, this city offered a parade of over-the- top people and events and I was compelled to find a unique voice in order to join the party. If one combines this with the need to express something significant, you have the perfect formula for inner conflict.

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Morning in the City, Collage using limited edition prints of my work

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Twitter, Oil on canvas

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Peripheral ARTeries and that our readers have already started to get to know in the introductory pages of this article, has at once impressed us for the way you sapiently combined elements and inspiration from the past with captivating contemporary abstract sensitiveness, to provide the viewers with such a multilayered visual experience: when walking our readers through your usual workflow and process, we would like to ask you if you think that there is a central idea that connects all your works.

Finding a unity between texture and form, the old and the new, the pain and the joy is my thing. A metropolitan setting in which we discern the layers of history is provocative and intellectually stimulating for me.

People looking and evaluating each other, showing off, hiding, stories, poverty, money, power, influence, sexual expression. a collective environment. I use all of this to hook into the emotional structure in order to feel and understand the city.

New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes?

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Midnight, Collage using limited edition prints of my work

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I agree that we must create our individual “toolbox” to learn how to communicate from the heart.

The water is engulfing, and I love it (note the brilliant blue textured waves). What this says of me psychologically I can’t say, but it certainly produces a weird effect.

So, I decided to rename the painting “Venezia” which is more in keeping with the spirit of the piece.

As far as how I proceed with my work, I definitely use my instincts to find the right path and occasionally certain gestures to take me down that path. I do a lot of sketching to solidify my ideas and when I have something that I feel is worthwhile, I use a light projector to transfer the sketch onto the canvas so that I can capture the emotional effect of the original idea.

We have been fascinated with the way your artworks unveil the point of convergence between past and present, highlighting that "exploring a past experience can enhance the understanding of the contemporary": how do you consider the relationship between Tradition and Contemporariness playing within your artistic process? Moreover, do you think that your artistic research responds to a particular cultural moment?

I also sometimes work directly on the canvas from the outset if the spirit moves me.

We have really appreciated the vibrancy of the delicate nuances of that mark out your artistic production: in particular, we like the way your artworks show that vivacious tones are not indespensable in order to create tension and dynamics: how does your own psychological makeup determine the nuances of tones that you decide to include in a specific artwork in order to achieve such brilliant results?

In the image inserted below, I set out to express the horror of the inundation by an ocean of water. I had the Katrina hurricane hitting New Orleans in mind. We have the destroyed buildings and the black sun. But when it comes to executing the violent water I am swallowed up in positive feeling. I am drowning with the city and obviously liking it.

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History is an integral part of my work.

References to history are often indicated by the contrast between dramatic crisp lines and textured uneven areas.

These contrasts express depth and interest. I feel there is something more to what we see besides the surface configuration. I am looking for the faults, the unfinished, the mistakes that mar the surface. This I see as “real” and is what interests me most. The edge behind the here and now which reflects the truth about what we are. A new present is in our DNA. We have a need to recreate ourselves into something new constantly.

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Venetzia

I attempt to incorporate the past in order to give depth to our lives and experiences.

Over the years you have travelled a lot and you lived in Brazil, New York and especially in Italy, where you recently

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Illuminated manuscript, Collage. Blessed be the lord, for he hath heard the voice of my supplications.

returned to explore some Roman themes. How do you consider the tension between reality and imagination

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playing within your work? How do your memories and your everyday life's experience fuel your creative process?

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Illuminated manuscript, Collage. Hear, O Lord, the voice of my supplication when I prey to thee; when I lift up my hands to thy holy temple.

I am not aware that there is a tension

certain reality in my abstract work.

between reality and imagination for me. I

Is a chair an assembly of pieces and

have always felt that I am painting a

movement or is it something to sit in?

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Illuminated manuscript, collage. Blessed is the man that findeth wisdom, and is rich in prudence.

That depends on how you choose to

My everyday life experiences are the fuel

view it.

for my work. I try to stay tuned into the

Which view is more real?

ebb and flow of social and political

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Troubled Waters, Oil on canvas

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City Garden, Collage using limited edition prints of my 12 work.

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project. My early training has become so ingrained that I have difficulty breaking free. I have recently spent hours sketching Roman marble busts and statues at the Metropolitan Museum in NYC. I choose marble figures because I want to avoid the emotional distraction of live models.

This is a work in process, an exploration. I can easily find an alternate reality in a chair, but when it comes to the human form, I struggle. I am not seeking a balance between abstraction and figurative; I have that now. I am seeking a pure form, a line that will redefine my understanding of the human form. Brancusi did it.

forces and hope that will produce an unconscious effect on my work. If I think too much about it, I sometimes miss the mark as evidenced by my experience above with New Orleans / Venezia painting. As far as the political goes, I limit my intake to the weekend New York Times and the New York Review of Books. TV, internet and most other publications have become too confusing to deal with.

We like the way you artworks convey such a stimulating combination between figurative elements and abstract sensitiveness, to create such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

Marked out with such unique visual identity, your artworks deeply struck us for the way they incite the viewer to make new personal associations.

Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood?

I assume the question regarding the relationship between abstraction and figurative refers to the renaissance faces. These faces represent an attempt to develop an abstract language for the human form. When I was younger, I studied portraiture and figure drawing. This experience has totally overshadowed my ability to �see� the human form from an abstract point of view.

More than understood I would like my work to be felt. Whatever personal

This has been an extremely difficult

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Portrait of John

Portrait of Astrid

Collage on canvas using limited edition prints of my work

Collage on canvas using limited edition prints of my work

story is created the painting must first appeal to the viewer for that person to expend the energy to interpret it.

We have really appreciated the originality of your artistic research and before leaving this conversation we want to catch this occasion to ask you how importance has for you the feedback of the viewers: how do you consider the nature of your relationship with your audience and what do you like your viewers take away from your artworks?

I like to offer an opening to the viewer to help them enter the painting and engage with it.

If a viewer feels uncomfortable with one of my pieces, I consider that a success. I have gotten through.

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We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Joseph.

What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

I am currently working on the abstract concepts of the human form as discussed above.

In the future I would like to return to a project that I have explored in the past which involves molded fiberglass. The pieces have a 3-dimensional effect that I find satisfying. Please see the insert below for a sample. This piece is called Underground Rome. It is molded fiberglass mounted on wood, 24”x 30”, a product of my recent time in Rome and is inspired by the archaeological excavations at the Church of San Clementi in Rome. At this site one can descend through the excavated surface to 1st century Rome, walk the original streets and visit 1st century shops and homes.

Portrait of Marguerite Collage on canvas using limited edition prints of my work

We all have a need to tell our stories and it is particularly distressing when there is no one to listen. I have had success with a very limited number of viewers and that is OK with me.

Just knowing that there are some people who “see” gives me great satisfaction. I feel I am not alone in the world.

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Peripheral ARTeries meets

Tommy Orosco AKA MOTZERO Lives and works in Southern California

Tommy Orosco is an award winning artist from south Orange County, CA. who works under the art-alias MOTZERO. A majority of his work is acrylic on canvas but he does experiment with spray paint and ink and just about any surface that looks interesting and fun.

Tommy has been “arting� his whole life. Whether it was with crayons and watercolors, or ink and airbrush, there was never a time in his life devoid of art. In college, he majored in illustration and immediately fell in love with acrylic painting. Inspired by street art and graffiti, Tommys acrylic paintings use bright colors and cartoony creatures to mask an underlying sense of sadness and despair.

Tommys artwork has been featured in galleries all over Southern California including Hollywood, Laguna Beach, and Los Angeles.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

Design at the Art Institute of California, Orange County: how did those formative years influence your evolution as an artist?

peripheral.arteries@europe.com

Hello Tommy and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production we would like to invite our readers to visit www.motzero.com in order to get a wide idea about your artistic production. We would start this interview with a couple of introductory questions. You have a solid formal training, majoring in Fine Art with a focus in Illustration at California State University Fullerton and Video Game Art &

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First, let me start by saying Thank You for having me in your publication and that I am super excited for this interview. Lets start at the beginning, for as long as I can remember, art was a part of my life.

As a kid, I loved to draw and color. Over the years, crayons transitioned into colored pencils, then ink, watercolor and airbrush. It was at CSUF that I was introduced to both acrylic and oil painting, and immediately fell

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in love with acrylics. Eventually, my professors challenged me to stop painting fantastical scenes and creatures and instead told me to go out in nature and paint en Plein Air. At the time I hated it. I didn’t want to paint trees. But, over time, my feelings changed and I spent the next decade painting landscapes and seascapes that blended nature with a sense of sublime fantasy.

comes to art. If I mess up, its still a learning experience.

The body of work that we have selected for this special edition of Peripheral ARTeries and that our readers have already started to get to know in the introductory pages of this article has at once impressed us for the way you sapiently combined elements from reality with captivating abstract sensitiveness, to provide the viewers with such a multilayered visual experience: when walking our readers through your usual workflow and process, we would like to ask you if you think that there is a central idea that connects all your works.

Eventually, landscapes would disappear from my repertoire but I still retain the lessons I learned from those quiet afternoons in nature. The Art Institute of California taught me about digital art and skills that I needed to become a graphic designer and, now, Marketing Manager. Yet, digital art has never had the same effect on me (though I did go through a period where I primarily created digitally). I like the tactile feeling of paint on canvas, the feeling of using my fingers to spread the paint, the smell of the paint and the wood.

Sadness perhaps. Loneliness. Though those feelings are never what I set out to present. I tend to use the same critters in my works; rabbits, robots, skulls, and hearts. I also use bright colors; cheerful colors. Yet somehow, each of my works ultimately end up feeling melancholy. Maybe it’s a subconscious response to my view of the world, I don’t know.

How did you develop your attitude of experimentation with different media?

I do know, however, that I view my art as positive and my creation process is fun and peaceful, even cathartic at times. I don’t think I am ever more happy than when I am in my little studio; music going, incense burning, and ideas flowing. All else fades away.

I have always been curious when it comes to making art. I enjoy playing around with media and just seeing what happens. “What if I glue newspaper onto the canvas? What if I use try to light that section on fire? That metal thing looks cool, what if I paint it” Some stuff works, most doesn’t.

Some of your pieces are marked with such a rigorous sense of geometry, specifically the interesting Freefall, to create such a coherent combination between a sense of

But what really matters is the moment. I find it fun to get out of my comfort zone when I

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freedom and unique aesthetics: do you conceive you works instinctively, or do you methodically lay out your pieces? In particular, what role does spontaneity play in your work?

My process is very loose. I usually go into a new piece with a quick sketch and a general idea of the color scheme, but i am very open to letting the paint do what it does. I prefer this “freeform” method because it allows me to live in the moment.

This is in direct opposition to my 9-5 job which demands strict adherence to rules, and brand guidelines, and multiple collaborators, all of which stifle creativity. Painting gives me an outlet for my creativity that would remain otherwise untapped.

You work under the alias MOTZERO. Why do you feel the need to work under an alias and does the name have any special meaning to you?

My alias allows me to get outside of myself and be bigger than I am. Tommy Orosco is an introvert; a family man with a career and a mortgage. But MOTZERO… MOTZERO is a rockstar! When I’m at a show or gallery and in full artist mode presenting or talking about my work, I feel confident and cool and just awesome. I am also able to use this name to better market myself.

Think about it. No one would wear a shirt that says “Tommy Orosco” on it. But they will wear a shirt with “MOTZERO” and my skull logo. Over the years, I have had MOTZERO shirts, hats, sweaters, and skateboards. I am constantly handing out MOTZERO stickers to people who

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Acid On Easter

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attend my shows, or just to the neighborhood kids to slap on their skateboards or street signs (This is in no way a promotion of vandalism *wink wink).

We like the way your artworks convey such a stimulating combination between figurative elements and captivating abstract feeling, whose background - as in the interesting Into The Madness - creates such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

I’ve never really thought about that. But i do suppose my work does have a dreamlike element to it.

As to the relationship between abstract and figurative, I like to find a balance between order and chaos. I always feel I can get as wild, as crazy as i want with certain elements of my work, whether it be throwing paint at the canvas or letting spray paint drip unrestricted or using stamps and stencils, as long as i incorporate an element that is more recognizable and structured.

An example would be Acid on Easter. The background on that piece is bananas and completely abstract. But i added a recognizable component, in 5 spazzed out rabbits, as a jumping off point for the viewer. I feel as long as there is some relatable object, my audience can use that as a starting point on their journey into my world.

Speaking of rabbits, cartoony creatures are recurrent figures in your imagery: what fasincation to you have with these subjects?

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Overdose

People always want to know “Why rabbits?�.

say that rabbits intrigue me. They convey a

While i can not give a definitive answer, i can

sense of vulnerability and innocence.

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Into The Madness

Freefall

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Psychedelica

They are (for the most part) mellow and at one with nature, two qualities that i would like to posses.

Also, their form is also easily recognizable. I can tweak and distort the figure a lot without loosing the “rabbitness�.

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The Downfall Of Us All

As for the other “critters� in my work, i think they all represent a part of me. The robots could represent my feelings of being a drone

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in the corporate world, the devil might be the mischief-maker in me.

The skull does not represent death in my

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Untitled

work, but maybe a sense of rebelliousness.

And the heart...well, love, of course.

However, it is important to note, i insist that

viewers draw their own meanings from my work.

Where i see passion, someone might see pain.

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Where i see joy, others may see darkness. I never want to say “THIS IS WHAT THIS IS AND THIS IS WHAT IT MEANS!”

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Marked with a powerful narrative drive on the visual aspect, seems to aim to look inside of what appears to be seen, rather than its

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We Live In Fantasy

We Live In Fear

surface, providing the spectatorship with freedom to realize their own perception. How important is for you to invite the viewers to elaborate personal meanings? And in particular, how open would you like your artworks to be understood?

We Live In Hope

I think it is imperative for the viewer to draw their own conclusion as to the meanings behind my work. The abstract nature in my pieces allows for a wide spectrum of reaction and opinion. One of my greatest joys is to hear peoples thoughts on my work, their reception

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nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Tommy. What projects are you currently working on, and what are your goals for the future?

of it, and their conclusions. Alot of the time, i’ll walk away seeing a piece in a whole new way.

Over the years your artwork has been featured in galleries all over Southern California including Hollywood, Laguna Beach, Los Angeles, and currently San Diego:how do you consider the role of emerging online technosphere in creating new links between artists and worldwide audience?

I currently have 6 projects started or queued up, including a huge, multi-panel piece for a hip, local restaurant. I have applications out with 4 galleries and will hopefully be in at least one (if not all four) later this summer and into the fall.

I think technology and the internet are extremely important marketing tools for an artist, no matter what the level. I have had my website, www.MOTZERO.com, for over 13 years now. It was my strongest tool for building my name as an artist and sharing my work with the world. Initially, I found that having a well built, professional site helped make me look more professional, more “big league” and not like some kid straight out of college. When MySpace and Facebook came along, i created art-specific MOTZERO pages on each platform to further build my audience.

As for my goals; my short term goal is to just keep doing what i’m doing. Creating what i like and getting local galleries to show them. More long term though... well, i would like to illustrate and publish a kids book or two. Not really to make money, but just to see if I can.

My biggest goal is to be in a show in New York.

Not just one piece either but multiple pieces along with other complimentary artists or (the real dream) a solo show. I have no doubt i’ll get there someday but i am in no rush.

Now with Instagram (@IamMotzero for all those interested in following me), I am able to share my work with the world in just a couple seconds. But, while technology is critical for exposure, i don't think you can over look the importance of physical galleries. Being in a great gallery builds your reputation amongst your peers. And, lets be honest, nothing beats seeing your work hanging in a prestigious gallery, properly lit, and surrounded by curious viewers. Now that's a confidence builder right there.

Finally, once i am all done with this Marketing career stuff, i would like to teach painting at the college level and help the artists of tomorrow hone their craft and build their passion for a practice that has been such an integral part of my life. You can see more of my work on my website, www.MOTZERO.com and please follow me on Instagram @IamMotzero

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

We have really appreciated the multifaceted

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Peripheral ARTeries meets

Andreea Rus

Lives and works in Romania

My painting is influenced by the socio-political situation in Romania in the 20th and 21st centuries. The imprint of socialism, with the overthrow of the value system, led to profound and sometimes tragic changes in the Romanian society. The deprivation of freedom of expression has influenced the everyday existence of people. Some have suffered virtually no blame in communist prisons or forced deportations. All these facts have induced natural questions about how some of these people managed to survive, the concept of happiness and the existential meaning. I also had a strong impact on the tragic events in Bucharest, when the peaceful demonstration of the Romanians coming home to celebrate the centenary of the great union had a violent end.

The recovery of the soul balance and salvation has come for some who have suffered for example unjustly in communist prisons or deportations in the sense of sacred orientation of life, the only chance to rescue under dramatic conditions, and for many others in the daily life with day by work and small daily satisfactions. The question of finding existential meaning remains open and meditative. The two compositions presented in the installation that drew your attention are part of a broader context in which I am concerned about the road, the path followed by the individual in personal salvation, specific to the places we live in. We often go from agony to ecstasy, in the socio-political ensemble, often shifting and disconcerting. The generic look over the last 100 years that has been strapped by Romania brought me to the creation of the two works that bind to each other.

Questions may be without immediate response and easy playable quests for the exit were now the solution. In other words, I call my creation as a whole of neo-sacro-expressionism, a title given by myself, with deep roots in expressionism, neo-expressionism, and in the specificity of this people who lived in and to the sacred, over the centuries, inspired by Constantin Noica's philosophy. I want to create an art with a message for my fellow men and by searching for the rescue solutions of the individual to urge reflection and hope.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

your artistic production and we would like to invite our readers to visit http://andreearusart.blogspot.com in order to get a wide idea about your artistic production, and we would start this interview

peripheral.arteries@europe.com

Hello Andreea and welcome to Peripheral ARTeries. Before starting to elaborate about

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Hello, thanks for the invitation! Indeed, over the years I have graduated from both artistic and scientific studies, here I am talking about painting to doctoral level, but also chemistryphysics, university studies. All of this has created my thinking, in a rational and aesthetic-creative blending, by favoring, I say, a capacity to create through the perspective of an inclination towards study and meditation on what is happening around us, in an attempt to penetrates and behind

with a couple of questions about your multifaceted background. You have a solid formal training: after your studies in Painting, you graduated with a MA in Visual Arts from the University of Art and Design Cluj-Napoca, and you later nurtured your education with a PhD in Visual Arts: how did those formative years influence your evolution as an artist? In particular, how does your cultural substratum direct the trajectory of your current artistic research?

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appearances. Painting reveals and conveys a message to the viewer, expresses states, seeks solutions, and establishes connections between modes of thinking and different moments of time.

the sacred and living oriented towards the sacred, inspired by the philosophy of Constantin Noica.

We have appreciated the way the results of your artistic inquiry convey such a coherent combination between emotional intuition and a rigorous aesthetics and the body of works that we have selected for this special edition of Peripheral ARTeries has at once impressed us of for the way you provide the viewers

As far as my artistic thinking is concerned, as I have said in the statement, I am influenced by expressionism, neo-expressionism, but also by the idea of Romanian’ s “întru sacru" orientation, that is, being at the same time in

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Behind communist Utopias. Deported, 80-80 cm., acrylic on canvas, 2019

with such a multilayered visual experience.

New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you

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create your works gesturally, instinctively? Or do you methodically transpose geometric schemes?

Your question is interesting because it raises

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the question of how an artist thinks and builds the artistic work. The two large compositions you talk about, thought of as a facility, have behind them a theoretical concept that generated the final form.

The work "Lost Paradis" also includes an overall geometric scheme / tram that guides the artistic approach. "The color of our times" is the result of research on the historical and political past of Romania over the past 100

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Behind communist Utopias. Deported, 80-80 cm., acrylic on canvas, 2019

years. A meditation on those times and a balancing of what each era meant. All of this created the final plastic result entitled "The Color of our Times".

In the first work mentioned above, "Lost

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Paradis," expressive gesture language makes its presence felt. The "Paradise Lost" reflects by color and gesture, the state of mind of a nation, as perceived by the artist. The space loses its freshness becoming a confused, dark

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scene. In the second composition, the footprint is proposed to be the key to understanding all the unitary painting. This includes a series of steps, colorful traces, testimonies of different moments of socio-political time that we have been through

for the last hundred years. These periods of time have come to influence each other, "forming" here the dominant chromatic painting of the visual composition, a dominance based on the "reds" of the times in

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Behind communist Utopias. Deported, 80-80 cm., acrylic on canvas, 2019

which we lived. There are also other series of works, such as “Places of happiness” or “Behind communist Utopias. Deported ", in which geometric tracts create an important basis for structuring paintings. Certainly, the

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gesture also makes its presence felt in these compositions, in a structural context.

It brings the expression and inner livelihood necessary to transmit the message.

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Behind communist Utopias. Deported, 80-80 cm., acrylic on canvas, 2019

Lost Paradise and The color of our times are marked out with geometric patterns, that you sapiently combine with such a great variety of tones, that provide your works with a unique aesthetic identity. We have really appreciated

the vibrancy of thoughtful nuances that mark out your artworks, and we like the way they create tension and dynamics: how did you come about settling on your color palette?

And how does your own psychological make-

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Behind communist Utopias. Deported, 80-80 cm., acrylic on canvas, 2019

up determine the nuances of tones that you

an obvious opening to the message the artist wishes to transmit. The space that the Romans call the Garden of the Mother of God, this terrestrial paradise, was suffocated by popular socialist parades, the loss of hope in freedom

decide to include in a specific artwork and in particular, how do you develop your textures?

Color is especially important to me. It provides

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Behind communist Utopias.Deported, 80-80 cm., acrylic on canvas, 2019

of expression, cruelty behind the closed doors

crossings from the range of green to red and

of communist prisons, and more recent

black make the transition from a state that we

events.

considered to be neighbors at first with a state of balance and calm, a state of loss of safety, anxiety , the suppression of hope. I was

In the "Places of happiness", the chromatic

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Behind communist Utopias.Deported, 80-80 cm., acrylic on canvas, 2019

influenced by the mood created by the events

The colors were chosen in line with what the

that we have gone through.

artist thought and feel he wanted to convey to

The work technique in these compositions is

the viewer. In the composition "The color of our

acrylic on the canvas and the visual effects are

time", red is the color that dominated the

created by various chromatic overlaps.

political scene in Romania in our time.

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With their powerful abstract evokative quality,

perception. How important is for you to invite

your artworks seem to invite the viewers to

the viewers to elaborate personal meanings?

look inside of what appear to be seen, rather

And in particular, how open would you like

than its surface, providing the spectatorship

your artworks to be understood?

with wide freedom to realize their own

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I think almost always painting invites the viewer more or less interested in personal reflection on what he perceives in front of him.

proposed message, but to the same extent, I'm interested in learning personal ideas from my artistic creation.

Surely, it's important for me to convey the

All this comes to build a whole ideation.

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My exhibitions are generally made as installations. I want the series of works to communicate with each other, so that the message sent is close to what I wanted to express through my art.

I believe that the role of today's art must be to convey a message.

It's important to underline that The color of our times includes an amalgam of steps, colorful

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traces of different moments of socio-political time that have succeeded and influenced each other. Mexican artist Gabriel Orozco once stated, "artists's role differs depending on which

part of the world they’re in": do you think that your artworks could be considered political art?

I believe that each of us is the result of a conglomerate of hereditary, social, cultural, political, etc. factors. what our actions influence.

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The artists of the place are often the projections

might be true.

of the situations they are exposed to. The

There are artists who are cantoning in the sociopolitical reality of the work area and at the same time other artists with completely different

statement that the role of artists differs depending on which part of the world they are

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thinking and feelings. Socio-political reality has influenced me by thinking about the meaning of life, the concept of happiness, and the way the individual under pressure can find a balance. I can not say that my art is a political art, but that

it is an art influenced by the place where I live and create, an art that wants to convey a message to my fellows and that urges the thinking of the existential meaning and ways of saving the individual .

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relative to the confusing situation in which Romania is today: does your artistic research respond to a particular cultural moment? In particular, do you think that artists can raise awareness to an evergrowing audience on

As you have remarked in your artist's statement regarding your exhibition Do you find the exit?, the installation wishes to draw an alarm signal, without being harsh or purely descriptive,

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topical issues in our unstable and globalised age?

The question of finding the exit remains the rhetoric. It brings to light a confused situation

that we are exposed to, the consequence certainly of decades of communist dictatorship that marked Romania in the last century.

Inviting you to take the steps would be a

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practical opportunity to meditate on human existence. Certainly, artists can raise awareness of the topical issues of the era in which we live.

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Andreea. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

You usually paint large canvas, that provide the viewers with such an immersive visual experience: how do the dimensions of your canvas affect your workflow?

Lately we have created large-sized canvas.

They offer a broad base of expression and have a powerful visual impact in transmitting the desired message.

EW

I am currently working in parallel with two series of paintings called "Places of Happiness" and "Behind communist Utopias. Deported ".

Some of the pictures of the works in these series are also presented in this interview.

My work flow is constant considering that it's going to work in parallel and smaller-sized bands of series connected to each other.

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Questions about the concept of happiness in the "Places of Happiness" series of works have found answers in philosophy and religion, the concept being of interest to the two disciplines. The painting, with deep roots in reading and imaginative, with realistic and abstract influences, wants to convey a message to the viewer about existence and survival. The last series of paintings, still in work, called "Behind communist Utopias.

Deported "deals with the problem of the suffering of those deported during the communist era and their way of rescue and discovery of a meaning of life.

Over the years your artworks have been showcased in a number of occasions, you have had over 100 national and international collective exhibitions, including 20 personal exhibitions: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks? In particular, how do you consider the role of emerging online technosphere in creating new links between artists and worldwide audience?

True, I have opened many personal exhibitions and participated in a large number of national and international group and group exhibitions.

I hope that the audience remains with the idea that there is always hope of getting out of any deadlock, that almost everything we propose to do can make sense to life, that sometimes even suffering or death gives meaning to life, and that the life that has been given to us deserve to be lived.

I also think it important not to forget the past and its mistakes so that we are not tempted to repeat them and to take care of how we build our present so that its future does not become a reflection of a vicious past.

The meaning of existence and its finding becomes an important issue of the twentieth century and our century. If work and love definitely give meaning to life, suffering and even death also come to give meaning to life.

Thus, life has meaning until the last breath, as Victor E. Frankl believes in his writings.

In my painting I celebrate life as a "monument" and the triumph of life on death.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator peripheral.arteries@europe.com

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Peripheral ARTeries meets

Chakalah Crawford Lives and works in Rye, NY, USA

This business sells original and creative diversified, African-American art online and at festivals in a community in need of more cultural opportunities in the field of art. A.D.D. (Artistically, Diversified and Defiant) Art by Kalah was created with bringing a different type of art to a community that, in my eyes, underrepresents African-American art or art that engages the eyes of black teens and adults. Through the recognition of this problem via an online poll, A.D.D. Art by Kalah has offered private Paint and Sip sessions, has been represented in several group exhibitions and most recently did a live paint session at The Taste of Africa Festival using volunteer audience members where the piece was auctioned off and used to raise money for a charitable cause. I’ve donated pieces and volunteered so that I can work towards branding myself to ALL communities. Once I have branded myself, I’d like to not only continue to work by showing my ability to be diverse through art, but work towards attracting not only AfricanAmericans but other cultures and races to my style of art. At the current time, the company is based inside of my home with the hopes of one day being able to have a studio and gallery that will serve as a place to meet the needs of my customers. This in turn will give me an opportunity to grow as an artist as well as provide a safe place for others to create their own masterpieces.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

did particularly influence your evolution as an artist?

peripheral.arteries@europe.com

In Spring of 2017, I learned the value of being able to embrace a medical diagnosis of Attention Deficit Disorder (A.D.D.). Having the ability to acknowledge my lack of being able to focus on certain tasks for a long period of time, art was one thing I could spend time on without distraction. Art was therapeutic, it provided me with an opportunity to express myself without boundaries and my style began to develop

Hello Chakalah and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production and we would like to invite our readers to visit https://addartbykalah.com in order to get a wide idea about your artistic production, and we would start this interview with a couple of questions about your background. Are there any experiences that

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but still remain unspecific to any genre. It was hard to be consistent in everything I wanted to do whether it was cooking like a chef, studying for the MCAT, working out, etc. Art became the first form of consistency I knew and that’s when I discovered my passion. With only one class my high school year in Brussels, Belgium, I made a decision to never stop learning and to become much greater than an emerging artist.

like and how to properly capture her wants on one canvas.

After a few weeks of thought, I dreamt of this painting and woke up and wrote every detail I could about the painting. I got started, turning my music channel on and began to paint. Aside from my commissioned pieces, most of my pieces are created while I’m sleeping. It will wake me up because my thoughts in my dreams are so vivid and limitless. I literally make my dreams a reality.

We have appreciated the way the results of your artistic inquiry convey such a coherent combination between emotional intuition and a rigorous aesthetics and the body of works that we have selected for this special edition of Peripheral ARTeries has at once impressed us of for the way you provide the viewers with such a multilayered visual experience: when walking our readers through your usual setup and process, would you tell us how do you usually develop the initial ideas for your artworks?

We have really appreciated the vibrancy of thoughtful nuances that mark out your artworks - especially the tone of blue featured in Wanderlust Song - and we like the way they create tension and dynamics: how did you come about settling on your color palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork and in particular, how do you develop your textures?

Most of my best creations are commissioned pieces, my supports will give me their ideas of what they are looking for and I bring it to life. For example, Wanderlust Song, was one of my favorite and most popular pieces. A support contacted me and asked if I could do a piece that described them as a traveler, a singer and a dancer. It took months for me to bring this piece to life. To be honest, I started this piece in it came out in a way they formed no emotional connection, sense of appreciation, or a feeling of being proud for me. I contacted the supporter and asked for permission to start over and for more time and they were patient enough to allow me to. During this time, I meditated and prayed for a vision of what this piece should look

As previously stated, Wanderlust Song is one of my most popular paintings. I was able to settle on a color palette because of the incorporation of her hair resembling the ocean; blue easily tied in with the purple and pinks. I highlighted the darker toned areas with this to accentuate the focus of her hair and the dancers that hang from her hair.

I knew I wanted to incorporate the world to depict my supporters love for traveling. So, I thought it would be more meaningful to use actual pieces from a map, which in turn created the textures.

We like the way your artworks as Midnight Skies and Eagle, convey such a stimulating

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eagle

combination between figurative elements and captivating abstract feeling: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

I allow my daily interactions to influence my creativity. When I freely paint, I tend to get lost

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in my work and not set boundaries or allow the work to be produced with a certain expectation.

However, I do understand that my mind loves to wander and with that, I allow my mind to develop a piece over time. Sometimes those pieces are realistic and sometimes those pieces tell a story that ends up being more abstract. Being A.D.D. has definitely lent a

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helping hand in my artwork, it has allowed me to be more imaginative and have “unfocused” productions. My pieces are busy and the more I embrace my “wandering mind”, the more I fall in love with the pieces I am able to create.

as you did in Golden Bun, Bald Beauty and Wander-Lust. In particular, how does your cultural substratum direct the trajectory of your current artistic production in this area?

Moreover, does your artistic research respond to a particular cultural moment?

We have particularly appreciated your insightful exploration of African-American culture, with a particular focus on women,

As an African-American woman, I feel there is an importance to depict the beauty behind our culture, our differences and similarities.

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There is power behind the pieces you have named. The Golden Bun is significant because of the “gold” bun; gold represents achievement, affluence, sophistication, quality, etc. The Bald Beauty was used to represent boldness, beauty being defined by courage, strength and not tamed by others views or what is trending. The Wander-Lust represents

the opportunities the world provides for us, the exposure and knowledge gained from traveling and the ability to fall in love with wanting more for ourselves and our culture. I wouldn’t say that my art is in response to a particular cultural moment, I’d say it’s much larger than a moment, it relates to the many possibilities in our present and future as it did

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in the past, so I’d call it a cultural awareness.

through food, information and/or clothes.

Being born and raised in the US, I am always excited to partake in events as such.

Paintings that allow others to become aware that there is a lot of exceptional AfricanAmerican art pieces that hold meaning and value.

For the past two years, I have worked at an annual event called the Taste of Africa. At this event, people from different parts of Africa bring their culture to their audience whether it’s

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The Taste of Africa allows me to speak about my diagnosis and how I was able to embrace it and allow it to work for me. I inform the audience about my condition and donate a painting towards the end of the function so that it may be used for the auction portion that raises money for a particular program.

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With their powerful abstract evokative quality, your artworks seem to invite the viewers to look inside of what appear to be seen, rather than its surface, providing the spectatorship with wide freedom to realize their own perception. How important is for you to invite the viewers to elaborate personal meaning? And in particular, how open would you like your artworks to be understood?

Or do you methodically transpose geometric schemes?

I would have to say that most of the productions that are not commissioned are instinctively created and my commissioned productions are gesturally created. There are times that I will get a mass order of commissioned pieces and will have to stop taking orders for a while because I want to hang on to my ability to paint without consciously thinking. Being able to do both allows me to freely paint without actually knowing where I’m going with the piece but at the same time, allows me to meet the challenges of trying to create someone else's vision.

At my first dual exhibition, I wandered around the room listening to multiple conversations to get a better understanding of what people saw in my paintings. I heard people stating they were shocked to realize the first time they saw a painting, in particular Perspective the Elephant, they paid so much attention to the view of the actual rainforest with the elephant that they didn’t notice that the entire painting was the outline of an elephants head.

Most recently you did a live paint session at The Taste of Africa Festival using volunteer audience members: would you tell us something about the experience? In particular, how do you consider the relation between the abstract nature of your creative process and the physical aspect of your daily practice as an artist?

I think it’s important to allow the viewers to let what stands out most to them in painting attract their eyes, more so than me providing them with my vision. Art is a universal language, what it means for me may hold the same meaning for another. I love to listen to others views and perspectives because it shows just how many meanings one piece can hold.

The paint session at The Taste of Africa Festival was very interactive. I picked four or five members from the audience and allowed them to do an entire painting just by following my instruction, talking them through it.

Your artworks are marked out with geometric patterns, as Blu-Tea is Her Name - that you sapiently combine with unique variety of tones, that provide your works with a unique aesthetic identity. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively?

The final production was auctioned off to raise money for a charity. It seemed to be an eye catcher because those bidding were able to see the progress of the creation from start to finish. It also opened the eyes of those, “I can’t paint”, people and show them that yes, painting is difficult but it can be done as well as fun. The creative process as it relates to the abstract nature is more

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about having fun doing what I love and including others in on the fun whether it be live paint sessions or “productive” parties, gatherings when a group of entrepreneurs come together and work on their businesses.

Whereas, the physical aspect of my daily practice as an artist caterers more towards my individual growth. In particular, studying what techniques can be utilized to make a painting look better, what colors can make a painting look more lively, etc. My daily goal as an artist, is to continuously develop and pay more attention to the details of each painting so that it becomes a production that not only looks good to myself, but to those watching me.

connection they build with a specific piece, my style or just art in general, then I’m pleased. More specifically, I think there is a good amount of people that aren’t yet exposed to the world of art, if something I do or say brings them closer to wanting to understand art, then that would be exciting.

You recently illustrated the book 21 Days to the New You by Danielle Davis and over the years your artworks have been showcased in a number of occasions, including your recent participation to the group exhibition Art Walk of Lexington in Lexington, SC: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks?

I am currently working on a third piece to my Wanderlust Song and Wander-Lust. This piece is currently my favorite and has already attracted so much attention. This piece has been influenced not only but the named two pieces, the outer portion of this painting has also been influenced by the brush stroke used in Vincent van Gogh’s masterpiece, The Starry Night. I’m really learning the importance of taking my time to create and not rushing myself to finish a piece in one sitting. In the future, I plan on being formally training so that I can learn more about painting portraits, full body paintings, as well as learning techniques that will aid in my growth as an artist. I am open to more possibilities of sharing my art with the world and I would like to say thank you for allowing me an opportunity to do so.

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Chakalah.

What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

I honestly feel that my audience can see the diversity in my pieces. I do have a lot of culturally influenced artwork, but because I know that diversity matters, I am able to do other things like landscape, city views, paint pours, and more recently, resin designed coasters. My ability to pay attention to the audience each event caters more to, I am able to make sure everyone can go home with something special. My only desire is that my audience is able to relate to something, if not everything, that I’ve created. If my artwork can draw a person in because of the

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Deborah Kennedy Lives and works in New York City, USA Deborah Kennedy, DKY, was born and raised in the ghettos on the Southside of Chicago. She grew up with six siblings.

Her mother was Caucasian, her father African American.

She is the author of the 4.5 star Kindle novel: Two Kinds of Color. It is based on fact and fiction.

In January, some of her work will be exhibited in Hamburg Germany at the Werkunst Gallery.

She will also be featured in the University of Southern California’s magazine, Broken Ink. Deborah lives in New York.

the end of rushed days, difficult study, myself and a group of other artists would hang out in places where there was live music.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator peripheral.arteries@europe.com

Hello Deborah and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production and we would like to start this interview with a couple of questions about your multifaceted background. You have a solid formal training and after having moved from Chicago to Los Angeles you studied Music and Art: how did those formative years influence your evolution as an artist?

In particular, how does your cultural substratum direct the trajectory of your current artistic research?

Some of us were bold enough to get onstage and sing no matter if the singing was good or very bad. It brought a lot of laughs. I found myself most creative after having that kind of fun. I’d go home turn on some music and paint without concern.

I didn’t care if what I was creating was good or unacceptable. I had fun doing it with loud music in the background. For artist, having fun is so important. Regarding “Substratum,” a diverse-dysfunctional childhood which included my early adult years is my foundation.

While Studying my way toward artistic expression on canvas, or just paper, I was consumed with music as well as painting. At

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The ghetto I grew up in; drunks, addicts, ladies and gentlemen of the night, fighting

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neighbors, my bi-racial siblings and confused-struggling parents influence my work all the time.

provide your works with a unique aesthetic identity. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively?

Or do you methodically transpose geometric schemes?

You are a versatile artist and we have appreciated the way the results of your artistic inquiry convey such a coherent combination between emotional intuition and a rigorous aesthetics and the body of works that we have selected for this special edition of Peripheral ARTeries has at once impressed us of for the way you provide the viewers with such a multilayered visual experience: when walking our readers through your usual setup and process, would you tell us how do you usually develop the initial ideas for your artworks?

I didn’t know I was doing any of that. I’m so thankful for such a truthful explanatory comment of my work. Because of you, I know what I paint. Thanks! Sounds deep and serious which I like! If there is any such thing as a natural artist, I would put myself in that category.

To be honest I was not a good art student.

If an instructor said go left. I would go right.

I really don’t have a set way of painting. I pick up the brush and paint without any planning. After doing what I feel is done, I step back and look at the canvas. It is then I go into detail. I see the faces I didn’t intentionally paint.

I say I create my work instinctively.

We have really appreciated the vibrancy of thoughtful nuances that mark out your artworks, and we like the way they create tension and dynamics: how did you come about settling on your color palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork and in particular, how do you develop your textures?

Figures of people just come to life sometimes. I don’t think I’m good at drawing or painting people, they just appear in my work which makes it a lot easier on me. Sometimes, I feel like I’m surrounded by ghosts, or, maybe, it’s all just abstract stuff.

However, when I decide to paint people, to me they are not cartoon characters, like someone suggested, but something different with curious expression.

Where color is concerned, I love the deep richness of natural color by itself. If I see a color I like, or, create a color, I use it even though the art system says don’t do it.

Your artworks are marked out with geometric patterns, that you sapiently combine with unique variety of tones, that

While not intentionally creating geometric schemes, it’s important to me to know they

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are in my work.

enamel together. I sometimes pile it on

I just don’t analyze anything I do. I’m crazy over texture I can feel. I love to use oil and

which can give a canvas a 3-D look and a great feel for the hand.

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Your artworks challenge the viewers to

the imagined playing within your work?

explore realms of the imagination, how do you consider the tension etween the real and

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Sometimes, when I’m intentionally trying to

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Husband and Wife

create something imagined reality creeps in.

For me, reality says not to try to create something to sell because you think everybody else is selling that kind of work.

Making millions. I once tried to create something like a multi-million-dollar artist.

greatness, and a so-called super network, is a challenge.

I just couldn’t understand why this artist was so famous. I couldn’t see it and still can’t.

After failing to paint something I thought people would buy I learned that achieving

You’ve won. You are an artist.

I now realize through hard work and the persistence to make one see, feel and hear your creation enough to buy it means only one thing.

I will never again let money control my artistic point of view.

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With their powerful abstract evokative quality, your artworks seem to invite the viewers to look inside of what appear to be seen, rather than its surface, providing the spectatorship with wide freedom to realize their own perception.

Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood?

I believe most true abstract artist don’t think about what they are painting. They think about the finish. If it provokes them into staring at their creation, while being objective, it will provoke someone else to do the same. I would like for my work to be understood as: coming from a poorblack girl coming from the ghettos of Chicago.

Look at what she can do with a brush. Paint baby!

Paint!

It's important to remark that you are the author of the 4.5 star Kindle novel Two Kinds of Color. As you have remarked once, your novel is based on fact and fiction: how does your memories and your everyday life's experience fuel your creative process? And how do you think your works respond to it in finding hidden, crystallised moments in the everyday?

My mother was the thing I loved more than myself. As in my novel, Two Kinds of Color, she was this beautiful dark-haired white female who was totally abused while I grew up on the South Side of Chicago. This gorgeous woman made money, to take care of her eight children, through prostitution.

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Two of her children were black, which includes me. None of us have the same father. My mother is still a major influence.

She died from chronic alcoholism. Regarding my own psychological warfare, I’m striving to achieve something no one in my family can.

Success means coming out of a pile, of you know what, smelling like a rose. I can finally say, “Look, Mama. I did it!”

Over the years your artworks have been showcased in a number of occasions,including your recent show at the Werkunst Gallery in in Hamburg, Germany: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks?

I figure if they didn’t walk out the door with it, they couldn’t have thought too much of it.

However, if the pockets don’t say no, they walk out with a piece of my work. I am a part of those who have.

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Deborah.

What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

I’m not working on anything. I’m in survival mode. The rent, the lights. The bills are taking center stage.

When it’s all under control I’ll pick up some canvas, oil and enamel and see what I can come up with.

Thanks!

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Emily Tsai Lives and works in Los Angeles, California, USA

Emily Tsai grew up drawing and painting in the Bay Area. She studied traditional Chinese brush painting and other media all throughout her adolescent years. She received her BA in studio art at UC Irvine and AA in graphic design at the Art Institute of Orange County.

Shortly after, she moved to Los Angeles, a city that continues to inspire her.

Emily currently works mainly in acrylics because of its versatility. She explores the delicate line work of Chinese brush painting blended with the graphic shapes and vibrant colors inspired by her study of design. Her compositions often contain subject matter common in traditional Chinese paintings, including certain flowers and animals. She often explores ideas of ephemeral pleasures and loss of innocence; objects in her pieces are often in the process of melting away. Currently, she is based in Los Angeles where she spends her days painting and exploring new parts of the city.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator

Irvine and AA in Graphic Design at the Art Institute of Orange County: how did those formative years influence your evolution as an artist? In particular, how does your cultural substratum direct the trajectory of your current artistic research?

peripheral.arteries@europe.com

Hello Emily and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production and we would like to invite our readers to visit http://etsaidesign.com in order to get a wide idea about your artistic production, and we would start this interview with a couple of questions about your multifaceted background. You have a solid formal training: received her BA in Studio Art at UC

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Hello, thank you so much for your interest in my art and for this opportunity. I would say my artistic background began far before attending college. Like many others, my love for drawing started when I was very young. I took many community art classes throughout my childhood, and when I was eleven I started

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studying traditional Chinese painting and calligraphy with an incredible woman in my city. From this, using watercolor on incredibly thin rice paper with traditional bamboo brushes became my main focus, which required intense discipline and patience. This practice made it much easier when I decided to transition to more accessible media like acrylics and oils on canvas, since good rice paper and brushes were expensive and hard to find in America.

usually start doing many quick gestural figure sketches of different positions, or different variations of certain position that conveys the emotion I want. Then I pick which one I like, and then I build a background or story to that figure. Sometimes I have elements that I definitely want to include in my piece, like a peony or ice cream, and I will start with drawing a composition with those elements first and see what position the girl wants to be in within the piece.

I studied Chinese painting until I left for UC Irvine, where I actually didn’t do as much painting as I thought I would. I learned more about artistic principles and experimented with other media including photography and performance art. After graduation I focused on graphic design and spent two years immersing myself in design and received my associates degree. After working as a designer for several years, my personal art is growing into what it looks like now, which is a mix of bold graphic shapes and colors with the delicate linework and subject matter of the traditional Chinese painting that I still hold dear to me.

I like to do this part digitally, because I can move different elements around the canvas or to the background/foreground until I like what I see. Then I choose a color palette I like and finally get started on the painting. I would say this planning part takes longer than the final execution onto the wood panel.

As you have remarked in your artist's statement, you often explore ideas of ephemeral pleasures and loss of innocence.

In particular, objects in your pieces are often in the process of melting away: what did direct you to focus your artistic research on these themes?

I’m in my late 20s, and the idea of nothing lasting forever and of personal growth are things I think about all the time, and I’m sure most other people my age do as well. I’ve always been drawn to sarcastic and cynical characters, and I wanted the girls in my pieces to convey that.

Currently created mainly in acrylics because of its versatility, your artistic production conveys such a coherent combination between emotional intuition and a rigorous aesthetics and the body of works that we have selected for this special edition of Peripheral ARTeries has at once impressed us of for the way you provide the viewers with such a multilayered visual experience: when walking our readers through your usual setup and process, would you tell us how do you usually develop the initial ideas for your artworks?

They look simply cute and stylish, but there is a sense of bleakness to them. Although aware that the things around them are melting away, they remain peaceful in the scene.

You sapiently combine unique variety of tones, that provide your works with a unique aesthetic identity. New York City based artist

When I’m trying to develop new pieces, I

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Eye the Beholder

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geometric schemes? In particular, how do you consider the relation between the nature of the concepts that you explore in your artistic research and the physical aspect of your daily practice as an artist?

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Like I mentioned, I usually start with clearing my head and doing many quick gestural sketches when I want to create a piece. It varies, and sometimes I let these gestural sketches reflect how I’m feeling at the

moment, but sometimes I like to sketch things that are the opposite of my current emotion.

Most of it is instinctual based on what I think the painting needs more/less of, and I’m just finding a balance.

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We have really appreciated the vibrancy of thoughtful nuances that mark out your artworks, especially Peony Drip, and we like the way they create tension and dynamics: how did you come about settling on your color

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palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork and in particular, how do you develop your textures?

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Peony Drip

This piece was a little different than my other ones, including the initial process. I started this one knowing incorporate the pink used in many traditional Chinese flower paintings but more saturated. I was also inspired from a Japanese kimono I had seen. From there, I

developed the subject matter and general shape of the piece, also based on past Chinese paintings I’ve done.

The textures came last as I complete the piece and I just go with what I feel will form a more dynamic composition.

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Your compositions often contain subject matter common in traditional Chinese paintings: how do you consider the relationship between ancient cultural heritage and contemporary sensitiveness? Do you think that such apparently opposite ideas can establish a proficient synergy?

The relationship between abstraction and figurative is pretty much instinctual, if I think my piece is being too literal and isn’t as interesting as it could be then I might add some abstract elements to balance it out.

With their delicate beauty on the visual aspect, your artworks seem to invite the viewers to look inside of what appear to be seen, rather than its surface, providing the spectatorship with wide freedom to realize their own perception. How important is for you to invite the viewers to elaborate personal meaning? And in particular, how open would you like your artworks to be understood?

I’ve always tried to combine traditional Chinese themes and techniques with contemporary mediums and aesthetics because I always felt like it was a cool way to represent my heritage as a Chinese American.

The two ideas can definitely establish a proficient synergy, there is definitely a beauty to combining the the intricacies of traditional Chinese art and the minimalism of modern design and finding a balance with a final piece in order to convey both art forms.

I would love the viewers to feel something personal when they see my work, but it doesn’t really matter to me what exactly that emotion is.

We like the way you artworks convey such a stimulating combination between figurative elements as flowers and animals, with such a captivating abstract feeling: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work?

I’ve never needed my artwork to have a specific meaning or story; I want to leave that up to the viewer. There is no right or wrong answer to what my paintings are saying.

How do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks? In particular, how do you consider the role of emerging online technosphere in creating new links with worldwide audience?

I’ve only ever studied figurative art, so completely abstract art has always been difficult for me to do but it creates such interesting pieces so I try my best to incorporate it within my work. Nowadays I don’t really start my work with references when I do initial gestures. It’s when I need to do final touches and want to add more detail to an element in the piece that I use references.

I just hope the audience feels drawn to my work and feels they are seeing something unique, and would love to talk to more artists about their processes.

I love that platforms like Instagram exist because it’s definitely a way for artists to get their work seen by more people worldwide.

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Luffy Muffy

We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Emily. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future?

also plan to practice being more subject-oriented with my process, like starting with a planned subject matter rather than being completely instinctual and gestural with my pieces so that my pieces have more of a purpose.

Thank you so much for this opportunity and giving me this platform to show my work!

I appreciate the opportunity to discuss my art with you. These questions really got me to think deeply about my practice. I ’m currently working on experimenting adding more textures and color schemes in my work. I

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An interview by Josh Ryder, curator and Melissa C. Hilborn, curator peripheral.arteries@europe.com

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