CreativPaper Issue No. 009 Vol 1

CREATIVPAPER Magazine

Vol 001

Issue 009

When CreativPaper was founded a few years ago, Jimmy Outhwaite wanted to create a platform for creatives both new and seasoned to showcase their work. We would never in our wildest dreams imagine that this would culminate into an active online community and seven digital issues.

For our first print issue, we wanted to feature a selection of artists that have been an inspiration to us over the last year and new ones we have discovered along the way. In this issue, we have featured a wide range of artists ranging from Jason Clarke, Ronald Ownbey and Ziba Moasser to name a few. Each one challenging their creative energy into the work through a multitude of mediums. We would like to thank everyone who has believed in us and shared our vision. We hope you enjoy our latest labour of love.

Thank you!

Jimmy Outhwaite and Jefferson Pires

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Healthy forests help absorb greenhouse gasses and carbon emissions that are casued by human civilization and contribute to global climate change.

Without trees, more carbon and greenhouse gasses enter the atmosphere.

To make matters worse, trees actually become carbon sources when they are cut, burned, or otherwise removed.

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08 DAVID CARLSON 18 DEANE BOWERS 28 LARRY GRAEBER 32 LEE MOHR 38 FELICITY KEEFE 42 CLARE ASCH

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46 DOUGLAS A. KARSON 50 JACKIE LEISHMAN 58 HELEN BAJAJ LARSEN 68 JOSE MENDES 72 FRANCESCO RUSPOLI 86 BRUNO RICHARD 90 STEVE BENNETT

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COVER ARTIST

/DAVID CARLSON With thirty solo shows under his belt artist David Carlson is no stranger to the art world. This multi-disciplinary artist has also been an educator for over three decades at Marymount University, Virginia, United States. His paintings, digital videos and photographs are included in both national and international collections. In our interview with David, we talk about some of his latest projects and the impact of technology on our consumption of art.

You have been an educator in the world of art for over 30 years.

What are the changes you have noticed amongst the students during that time?

Since I have taught Art Foundations for over 30 years, the subject matter is still pretty much the same, but now I am thinking about it differently.

more students than before are taking art as an elective making for an interesting mix between those who have art experience and those who have little experience.

For the curriculum, we still have a strong ground of art fundamentals.

But I also emphasise the importance of concepts, process, and connection of creative non-verbal approach to problem-solving so that students can continue to have an art experience after they graduate.

Over time the number of Art Majors and Visual Majors such as Graphic Design, Interior and Fashion Design have shifted because of the various issues, mostly digital related. Currently, 08

Above: Pulling Weeds

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Could you tell us about your installation titled ‘Water Unspoken’? How did that come about?

Tara and I have been spending time in the Adirondack Park, upstate New York, every summer since 1990. Hiking, swimming, paddling allowed me to experience the mountains, water and air in tangible ways so through osmosis I connected with the energy of the environment.

normally associated with water.

Images form a bridge between the consciousness of the water and the consciousness of the viewer. I don’t tame the water. It is uncontrolled except for compositional placement, contrast and time shifts.

Improvising, to isolate, as to see the quiddity of the water within the space is the objective.

Contemplation becomes integral to the creation of this work. I have stared at the essence long enough Experiencing the natural beauty to be captured by the ephemeral lead me to use water in an early trance, stillness within movement.

2005 video I Draw the Line. By The simple act of observation 2013 I started working with an without preconception gives space HD camera which changed how to take in the moment exactly as it thought about the water as an is without filters, judgment or image. The visual density of High projection. Metaphor gets erased Definition put me on the path of because I merge with the moment creating a four-channel installation and understand I am not so called Water Unspoken. The whole different to that which I am gallery could reflect the diversity observing. Zen. and connection of the element water.

The necessity for no audio track evolved over time. With so many From the artist statement for Water diverse views of water, it became Unspoken: apparent that silence would allow the audience to connect with the Through video, I isolate water from work directly and not be distracted its natural surroundings and place by sound. it into a circumstance that opens the audience to a state of receptivity and thought not 10

Composition serves as a means for contemplation. In effect what we see are non-water ‘elements’ embraced by the water.

Complexities of circumstance in such an element are almost infinite and yet water at its core remains connected by its simple essence.

awareness. This is mind.

What is your favourite part of being an artist?

Much of the time spent in the studio can be difficult, not knowing, unresolved work looking for a complete idea, and pushing through to a deeper level of Juxtaposition, creating tension understanding. For me, Art taps and flow within design allowing into the intuitive realm giving me a the viewer, in time, to follow the real sense of freedom where I changing qualities and inherent operate the best. But in the end, complexity through the video. finding that moment when things come together and it all makes Your paintings have a very some kind of sense, that is the best. identifiable signature about them. The work now has a tangible Is this something that happened justification. unconsciously?

That is a good question and thank What was the inspiration behind you for seeing my voice in the your body of work titled ‘Fields’? work. It is important to me.

Fields was my most recent body of Decision-making has grown and paintings and grew out of a shifted over the years, and part progression of ideas that shifted of that process is finding a new over the last twenty years. “What is language or expression that can the nature of reality?” the tension emerge from working. between opposing paradigms of structure and change continually I would have to argue that in the challenged me. creative process there is no such thing as unconsciously. Maybe in For Fields, the reduction to the my dream world that is the case, moment coupled with a new palate, but when I am in the studio extended time, complexity and the working or experiencing act of painting was the journey/resomething with the curious mind, ality. there is always a thread of 11

Above: Satori Soup 12

You recently worked with different sound artists on a project titled ‘Invention/Translation-Messages’, could you tell us a bit more about that?

The video project Invention / Do you think artists across Translation- Messages embodies various mediums can learn diverse points of view juxtaposed something from the cubist with the counterpoint of oneness. masters such as Picasso and Initial footage for the High Braque?

Definition video Messages becomes Yes, I do. Using abstraction and the visual structure and foundation space is vital across mediums. for the audio work of seven sound What is also does is to open the artists including; a Norwegian a door to better understanding of cappella group, an Argentine the historical relevance of the art world and a very visible thread. If it Tango player, two American poets, two composers – Egyptian weren’t for those guys or and Swedish, and an Afghan singer. anything else in history we wouldn’t be where we are today.

For each artist, the process takes The difference is understanding the a different path to complete the question and circumstance, which work. The outcome being, each defines the day. The moderns faced audio is a distinct translation for a different set of circumstance and the single video image. By reason then we do today. But if you simplifying the field of water image, an interesting paradox flatten time and space, thank you happens. How can one object, a High Analytical Cubism, you will video of ink-like water with see there is no difference in reflective moonlight, have multiple essence. meanings or interpretations that make sense and still hold together?

Playing in succession the variety is evident but in the moment each work holds the stage.

I might have had some initial thought stimulation that got the ball rolling, but once set in motion, the new paradigms took over.

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Above: B. Confluence Still

Initially, the video, captured on the Connecticut River in Western Massachusetts embraced the idea of a direct connection between the consciousnesses of the audience with the water. Back in the studio, during the process of editing, a realisation manifested, the video has shifted both visually and conceptually to the impressions of natural light distortion using the natural water only as a support.

dreamlike imagination.

What are your thoughts on the impact of technology on our consumption of art?

This question scares me more than any you can ask. As a kid, I used to watch Star Trek, the original series with Shatner, Nimoy and crew. The premise of the Prime Directive basically prevented the crew from imposing their advanced technology, science and culture on discovered civilisations.

Patterns achieved by the ebb and flow can at times suggest Odd how in the show ‘aliens’ from calligraphic shapes or figures other worlds had more culture than shifting into visual metaphors of the crew of the Enterprise. messages passing by. Back and forth, in and out, consciousness moves between recognition and the 14

Above: C. Cyrcle, Three Falls Still

I can’t remember seeing much art if any on the walls of the starship. I kind of took this for a premonition via a fictional show. However, I did see the beginning of the cell phone, digital boards and panels that control pretty much everything.

When I walk past a classroom with the lights off, full of students looking into their cells, I am aware of the shift in consciousness. The brave new world revolves around the digital feed. This, connected with a computer, flat screens and earbuds for visual and aural stimulation, what more do they need?

The brains have been rewired to

live and be satisfied by light and imperious mounds of instant gratification. Like magic.

Now comes the question of the consumption of art? I don’t have to say too much do I. Basically, we are aware of what’s happening but not too many talk about it of course, I see and use technology giving me new media / mediums to work with such as ‘digital’ video which I could not have accomplished before.

So I stand with one foot in both worlds and appreciate the importance of having art on my walls because I need the nonmoving image/object made by hand, directly by a human being 15

Above: One Year, One Month, One Day, One Hour, One Minute

giving me something to experience From there I have a new direction to base the next action. Since the and contemplate in a still and last work, Fields, was so complex I tactile way. will limit my depth What are you currently working to four moves. This allows me to gain clarity and new meaning. It is on at the moment?

I have begun working on drawing always an adventure to see where again. Whenever I am looking for a the work lands. different direction, I go to simplification through limitation What is David’s ideal breakfast with no expectation on what the treat? work will look like. For example, I It depends where I am at the time. start with Chinese ink and brush calligraphic figure followed by a davidcarlsonart.com white layer that shifts the space allowing for change to happen.

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Above: Other Side of Empty

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INTERVIEW

/DEANE BOWERS There’s no other way of putting it, we are slowly but surely turning our planet into a massive garbage dump. Our endless consumerist habits are taking its toll on the far corners of our home. From the drain of its limited resources to the irresponsible dumping of garbage and industrial waste into the elements. However, there is hope. Based in Charleston, South Carolina, artist Deane Bowers is changing the way we see garbage, upscaling it into works of art she is pioneering our very perception of what we forsake. on closer inspection begin to see all the intricate details of the Found Objects layered one upon another.

There seems to be an abundance of perfectly good materials that we throw away on a daily basis, has the public reaction to your work changed the way they view waste?

Children realise it right away and are so intuitive. They quickly see the various items I have creatively The public’s view of waste has definitely been changed by viewing reused and get so excited looking at my art. They have a sense of my work. I always tell people that they will never see a bottle cap or wonderment, surprise and awe pull tab in the same way after when they realise my pieces are created almost solely from viewing my art. I love spreading the repurposed, recycled and salvaged message that everything has artistic value, even the most battered, materials. fragmented, street-worn piece of Usually, people are first attracted by metal. the vibrant, bold colours I use and 18

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I hope to encourage others to be better Environmental Stewards and pay closer attention to what they throw away and to pay more attention to what is lying in the city streets. If my art can advocate for greater Environmental Awareness by inspiring people to give reclaimed and recycled items an alternative purpose, I will have successfully achieved my primary mission.

Firing up a large kiln and using so much power to do so just stopped feeling right to me. I got to the point I questioned everything about that creative process and grew frustrated and dissatisfied with my work in clay. I was anxious to find a new medium that would be unique and allow me to create with a social consciousness and an Environmental benefit, but I wasn’t sure what that was.

You call yourself an environmental folk artist, has that always been the case?

I have always been an avid recycler and have always tried to find ways to be more Environmentally Responsible.

Years ago, I wanted my artistic process to be more Environmentally and Socially beneficial.

A weekend trip to the beach with an artist friend about 15 years ago lead me to this discovery. With limited art supplies with us and unexpected rain for most of the weekend, I had to be resourceful in finding art materials.

I hadn’t discovered an authentic way to accomplish this that went hand in hand with what I created.

Before working with Found Objects, I spent years as a Ceramicist and before that as a Painter. Working with clay, you have to be extremely precise because the clay is unforgiving if you take shortcuts or make mistakes.

Surprisingly, a long walk provided all the daily supplies I needed thanks to beach claimed salvaged wood and parking lot finds that included nails, metal, wire and rusted bottle caps. The rawness of each item and the mystery behind how each thing ended up discarded intrigued and excited me.

I intrinsically saw the potential of these ocean washed and street worn things and quickly created my first Found Object Sculpture.

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I couldn’t wait to walk the beach and the parking lots again to discover more treasures.

And in finding these treasures, I sadly realised how much trash ended up in the roadways, and that little was being done about it.

From the start, I loved that I could simultaneously clean up the streets around me and make art with what I found. Free art supplies and cleaner streets! What a win-win!

reminders to me that my own flaws and imperfections are what make me unique and who I am! So that’s how I found my own goodness and self-acceptance in working with Found Objects.

Does the lack of action by individuals towards the destruction of our home planet frustrate you as an artist at times?

Don’t even get me started! I am purposely keeping this answer short. I am so frustrated and utterly My Found Object Sculptures tend heartbroken by continued to be very folksy and primitive and development, the destruction of have been labelled Folk Art forests and green spaces all for because they are created from another subdivision or strip mall; ordinary objects. By repurposthe words “they paved paradise and ing street finds in my own unique put up a parking lot” ring so true. and colourful way, I have built my own brand of Folk Art that is There are too many forces Eco-Friendly and Environmentally contributing to the destruction of Responsible. So that is how I our planet and not enough arrived at Environmental Folk safeguards in place. There need Artist. to be stiffer penalties in place for those who knowingly cause any I always say that I found my own type of environmental damage. goodness is working with Found Unfortunately preserving our Objects. They are a constant natural resources and economic reminder that even the most development seems to be at flawed, battered and street worn opposite ends of the spectrum. I items have value. It’s the flaws and commend and admire all those irregularities in these materials individuals that dedicate their lives that make them so unique and so to protecting the Environment and refreshing. And they are constant educating and inspiring others.

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Something has to change before it’s too late. If everyone could commit themselves to doing something positive for the environment every day, that would be a start.

If business leaders would commit their companies to being more environmentally responsible, (despite our current administration’s policies), they could make a difference. If every community put into place a robust recycling program for their citizens, consumption and waste would decrease. If conservation was everyone’s champion, the planet might have a fighting chance. I hate to imagine the state of mother earth in the next 50 years. I will continue to fight for her!

Could you tell us a bit about the art scene in Charleston, South Carolina?

Charleston is not only one of the most beautiful cities, but also one of the most creatively celebrated as well.

17-day festival. Another big event, Charleston Fashion Week is one of the premier events in North America since its founding in 2007 and is considered a “pathway” to New York’s Fashion Week.

In this charming coastal city, you will also discover that Charleston has a world-class culinary scene, and every restaurant doesn’t just serve meals but celebrates the artistry of the food. Tourists plan their trips around Charleston’s restaurants because they are THAT good!

On any given day, rain or shine, Charleston is creatively alive. You will find street artists performing on street corners, visual artists painting en plein air, performance artists dancing in Marion Square and a variety of interesting art galleries on every city block. Two nationally renowned museums call Charleston home and offer endless opportunities to explore both the visual and performing arts.

Viewing Charleston’s architecture Home to the Spoleto Festival, one is also a creative experience. From of America’s major performing arts the vibrantly painted houses on festivals, Charleston showcases and Rainbow Row to some of the Art celebrates both the visual and Deco office buildings to the more performing arts during this traditional Row Houses, 23

just walking around Charleston is a What is the best advice you were stimulating experience. given?

One of my best girlfriends Even the Mayor of Charleston reminded me of this recently, and I gloriously reveres the arts scene have committed it to memory: and can often be found playing the Trust in the moment, feel the world piano at various events. I love this and cry if you have to. Artists are city and am inspired daily not only sensitive souls, and we feel things by all the diverse and plentiful more, and that is what allows us creative and cultural offerings but to create. You don’t create to sell, also the amazingly breathtaking but because it’s your calling and it’s natural beauty. what keeps you alive. We feel the world, and we create.

Are there any contemporary artists that have inspired your I have this quote hanging in my work? studio: “The one thing you have I follow over 1500 artists on that nobody else has is you. Your various social media platforms, and voice, your mind, your story, your they all inspire my work, as well as vision. So write and draw and build my work ethic. I admire their and play and dance and live as only perseverance, their talents, their as you can.” passions, their visions and their braveness to open themselves up Do you think we will ever slow and share their gifts. Being a down the rate of damage we are professional artist of any kind is causing to our home planet? extremely difficult and stressful.

I think the genie is already out of the bottle and trying to slow things I admire all those artists I follow down won’t reverse what damage on social media, as well as all those has been done. There is too much artists out there who chose to development and too little effort to follow their passion and create. It stand up to developers. Civic can be terrifying to put one’s work leaders are more interested in out there, and it’s inspiring to see finding ways to commercialise artists who are doing so with their communities than to honesty, dignity and humility. conserve green space and say “no” to continuous development.

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Overdevelopment is rampant in Charleston right now, and the city leaders have lost sight of what a beautiful natural resource Charleston and her barrier islands are. They are more focused on building hotels to house the millions of tourists that pass through here instead of protecting Charleston from becoming an overbuilt concrete jungle and nurturing her fragile Ecosystem.

When is Deane the happiest?

I am happiest when I have all 4 of my adult children home visiting, and the house is full of laughter

and love.

I have an at home studio, and I love hunkering down in there with newly claimed Found Objects, fresh projects covering every workspace, music blaring and me covered in paint!

I live on a barrier island outside of Charleston and walking on the beach with my husband at low tide as the sun sets is about as good as it gets! deanevbowersart.com @deanevbowersart 26

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ARTIST FEATURE

/LARRY GRAEBER With an artistic discipline that switches between expressionism and formalism, artist Larry Graeber first started exhibiting his work in the early 1970’s. His first major group show was Texas Painting and Sculpture 71 an exhibit at the Dallas Museum of Fine Arts. This San Antonio native then had his first solo exhibition in 1974, Works From A Small Duplex, McNay Art Museum and currently shows two or three times a year. In 2014, Graeber was included in the book Texas Abstract, Modern/Contemporary, a history and survey of the abstract movement in Texas.

Based in San Antonio Larry has recently begun making paintings in Marfa, where he has a small studio. His medium of choice is oil on canvas, but this is not exclusive. He often sculpts with what might be referred to as studio debris; components of objects that have made other things. His goal is to make coherent artifacts, intuitively accessible and subjectively understood. larrygraeber.com @graeberl

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Above: Clutch, 43 x 32�, Oil on Canvas, 2017 29

Above: Marker, 66 x 77�, Oil on Canvas, 2017

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Above: Stalk, 32 x 15 x 8�, Wood, Paint, Twine, 2017 31

INTERVIEW

/LEE MOHR Growing up in Alaska, artist Lee Mohr was surrounded by its sheer natural beauty and fragility. The latter a pressing topic in recent years as she has first-hand seen the decay and destruction of the beautiful landscape she calls home. This is reflected in her work, translating memories and experiences onto canvas. Balancing her artistic career with her family business, Lee also studied art with notable artists Keith Appel, George Bishop and Samaj, a topic we cover in our interview with her.

Could you tell us a bit more about your time growing up in Anchorage, Alaska?

Growing up in Alaska was quiet and isolated due to the State’s remote location. These forced parameters as a child inspired me to be creative, curious and a deep thinker. Everywhere I looked nature surrounded me; both beautiful and harsh.

My favourite areas to be were the marshes in the Anchorage area and along the Seward Highway. Potter’s Marsh is a particularly beautiful marsh that looks out over Turnagain Arm. My painterly

connection to the Alaskan landscape developed slowly and was a result of many visits to the local marsh landscape and visits to Southeast Alaska near the State’s capital of Juneau. The southeastern area of Alaska is very much like the Pacific Northwest surrounded by water and densely forested. Being folded into nature on a daily basis gave me a deep respect for our natural world.

What made you pick painting as an artistic expression?

I was born to be creative; it’s in my cells. The medium of painting picked me; I didn’t pick paint.

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Above: Cannon Beach Rain 33

I resisted the idea of becoming a painter and longed for more exciting concepts, such as sculpture. However, painting was the most available medium for me growing up; introduced initially to painting by Alaskan Artist, Joan Kickbush. Over time though, I became seduced by oil paint and the creative possibilities it held.

What lessons did you learn from artist and sculptor, Keith Appel?

Working with Keith, I learned to see the abstract in the details, allowing me to move towards the abstract in my landscape painting.

I learned about visualising in the 3D and as a result that lead to my pursuit of my Bachelors in Fine Art with a speciality in sculpture.

I do long to once again develop sculptural work in my artistic future. For example, Keith taught me what it meant to be a professional artist and the importance of regularly honing my creative skills. Most importantly, I learned to be self-nurturing of my natural abilities.

What goes through your mind when you see the destruction of the pristine ecosystem that you grew up in?

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To say the least, it is disturbing. The Alaskan environment is harsh, but it is also very fragile. Whether it is through climate change and, or the destructive decisions of the United States government the Alaskan landscape is changing.

Without moral and ethical stewards of the landscape protecting the fragile ecosystem, the Alaskan environment is sure to change dramatically.

What do you think about the manipulation of reality through social media?

Reality has always been manipulated by the powerful and the greedy. What is different in 2018 is that information both real and unreal is moving at a very fast pace.

It can become overwhelming trying to discern fact from fiction.

The rapid pace of social media doesn’t lend itself well to thoughtful art. Instead, social media glorifies instant art; hence the name Instagram. Speaking positively though, there are more positives to social media than negatives as the platform provides an incredible vehicle for artists to show their work to millions of viewers.

Above: Ocean Marsh

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Above: Ocean Winter

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So, it becomes the responsibility of the artist to focus on the quality of work rather than quantity and having the confidence that good work will be noticed.

How much of a role does spontaneity play in your work?

I am a combination of a trained artist and an intuitive painter. I think those aspects of being an artist go together providing the foundation for spontaneity.

son, Troy is an artisan specialising in wall finishes. He installs wall coverings for both residential and commercial projects. Most of our design and remodel projects are boutique in nature. Find out more about our business and family on our website at: www.gindleremodels.com What frustrates you as an artist?

I think like most artists; I wear a lot of hats, so my biggest frustration is time. I’m always negotiating with my schedule to capture more time in the day.

It has been invaluable to my work to have a strong background in art history, studio work and an intuitive sense. Working intuitively What makes Lee smile at the end can add the spontaneous spark of of a long day? creativity to a body of work.

Easy answer, my dog, Teddy Bear!

Teddy makes me laugh every day, love that fur kid!

You also help run a remodeling business with your husband from leemohr.com your current hometown in Seattle, @leemohrart could you tell us a bit more about that?

As most artist’s, I have a day job. I work with my family in a business remodelling homes. We all have our unique set of skills. Mark, my husband, is an architectural designer and contractor, I am the interior designer for our business, and I also manage the office. Our

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INTERVIEW

/FELICITY KEEFE Based in the historic town of Bath, United Kingdom, artist Felicity Keefe uses the ever-changing British landscape as a source of inspiration, combining it with literature and personal mythology to create pieces that are brooding yet undeniably beautiful. Her work has been exhibited extensively across the UK along with Stockholm, Amsterdam, Paris and Singapore.

How old were you when you started taking steps towards being an artist?

I remember drawing a swan in art class at the age of around 7 and deciding I was going to be an artist!

However, I took the actual steps towards it when I was 16, choosing to do a pre-degree, then degree after leaving school. I then started exhibiting and approaching galleries. The most critical steps are to keep going, every day, year, decade.

Great Britain has a reputation for its dull, rainy weather and yet your work show’s its colourful

facets. Could you talk us through that?

Actually, the rain can act as a varnish, deepening the tones and hues in the landscape around us, bringing out the earth tones and... transforming the greys. The constantly changing skies and seasons light up the land, highlighting some areas and making shadows out of others. The weather is constantly surprising.

Rain can be followed so quickly by sun and heat can turn to cold in what feels like an instant.

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Above: The Veil of Night

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Bath is in the county of Somerset, England is renowned for its unique beauty. What is it like to live there as an artist?

Wonderful, beautiful, magical, dark and light and many things in-between. The South West of England is a natural home to me, and it’s landscapes and seascapes have a personal resonance for me, having formed the backdrops to many life events.

What are your best sources of inspiration? Are there any artists that have had a profound impact on your work?

I’m mainly inspired by the light and conditions that effect the world around me and their interplay with natural forms. Artists? Oh dear – too many to mention here!

The English landscape features prominently throughout your work. Are there any other places in the world that you have been inspired by or been tempted to explore artistically?

Not really. To paint what I see every day feels more authentic for me. However, I found a couple of trips to Ireland immensely inspiring, even though I have yet to produce work from them. Never say never though.

Could you talk us through a typical day in your life?

I wake up very early between 5.00 and 6.00 (my cats are my alarm!) I aim to meditate first thing if I can, then I get my son ready for school and get down to my garden studio at around 8.00. I work intensively till around 1.00 without stopping, then I come in, have a lunch break and go onto the laptop to work on emails, social media and other non-studio based work. I never go back in and look at paintings until the next day when I have a fresh eye again.

What is the longest time you have spent working on a piece?

I re-work paintings so, on and off, well…sometimes years!

What led you to choose your favourite media?

Paint has always felt so natural to work in for me. I love the way that it takes a 2D surface and transforms it into 3D, I love the fluidity of it, and I love the face that it constantly surprises me. felicitykeefe.com @felicity.keefe

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Above: The Winter River

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Above: The Soft Rain

Above: The End of Night

ARTIST FEATURE

/CLARE ASCH Structure can be a powerful tool in anyone’s arsenal. The predictability and stability it offers can be an asset, but as we all know, chaos has its way of making the universe go around.

Artist Clare Asch explores the interaction between these two forces, paired with her fascination with water and gravity; her work is the exploration of the dialogue between the interaction between change, gesture and structure. Along with an active career in art, Clare is also an educator at the The Art Institute of Pittsburgh and The New England Institute of Art. clareaschstudio.com @aschclare

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Above: Convergence #6

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Above: Convergence #3

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Above: Round Dance

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ARTIST FEATURE

/DOUGLAS A. KARSON Pursuing a career in art from the age of twenty, artist Doug Karson, who grew up in Arkansas, United States but now lives in Bristol, United Kingdom, was influenced by racism, violence and ignorance growing up.

These experiences left a lasting impression on his psyche, something he now challenges in his work. The constant barrage of content we are exposed to through social media is another aspect that Doug consumes, decodes and encodes into his art. After completing an early series of works, he sold five on the streets of New York, followed by a solo show at Jeffrey’s Meat Market on the Lower East Side. An avid sportsman in his younger years, a neck injury left him numb on the left side, yoga and art were a vital component of his healing process. dougkarson.com @dakartist

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Above: At Least the Owl Likes the Art

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Above: Yellow Circle

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Above: Crane 49

INTERVIEW

/JACKIE LEISHMAN Opposing forces are what keep the universe in a constant state of flux.

Both, in the natural, spiritual and material world we are constantly in a state of tension between one opposing power and another, each trying its best to gain prominence.

Artist Jackie Leishman in naturally drawn to these forces. In our conversation with her she talks about her upcoming show and how her formal training in photography has had an impact on her artistic career.

Our planet and the constant battle between the elements are a recurring theme in your work, has that always been the case?

It has been a recurring theme for a while. Even early in my career when I was photographing a lot, I mostly focused on three subjects — women, trees, and water.

of opposing forces. The interdependence of creation and destruction, and the interaction of cosmic elements, humans, and the natural world in which we live are like collage to me — it’s what happens at the edges, the place where two different materials or ideas meet that fascinates me.

I was drawn back to these three so often because of the inner and outer tensions that were so often present. Really, I think the overarching theme of my work is dichotomies, the balance and swing

What was your first exposure to the world of art growing up?

My great uncle was a painter, and we had his paintings around the house. We would go to art festivals where artists and artisans would

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Above: Moon V, 50” x 56” x 3”, Photo emulsion on paper, Silver gelatin prints, handmade papers, thread, and wire.

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bring their wares to sell. I think my mom noticed pretty early on that I had an interest in art. She signed me up for classes at community centres and then she set up a workspace for me in the basement filled with paper, glue, feathers, sequins, pipe cleaners — all the essentials for a child interested in exploring materials.

many of the pieces evoked strong emotions. I was overwhelmed by what I felt from him, the artist, through his work. The feelings ranged from meditative and peaceful to dark and distant. All that, from his paintings.

I didn’t know before then that art could communicate so much and evoke so much in a viewer. As I I enjoyed art classes in high school, progressed through the but it wasn’t until university that exhibit, I became increasingly I realised that I wanted to be an worried about the artist. The artist. I took a photography class colour began to fade from his my first year and fell in love with work, and by the end, he was the darkroom. I enjoyed taking working in black on black. Then at pictures, but it was the chemistry the end was a little card that told of of the darkroom that really lit me the artist’s suicide. I was beside up. The happy alchemy of surprise, myself. What a loss. But it was watching the image emerge in the experiencing that show that chemical baths, was like magic. cemented in my mind the idea of being an artist and using visual I found the processes to be means to communicate. meditative. It felt like a world apart, with own small red sun and Could you please tell us a bit the only clocks were the ones that more about your upcoming solo marked how long my paper had show in Utah titled “If We Ever been in the baths. I was hooked.

Wake At All”?

Yes. “If We Ever Wake At All” I studied in Paris the next year and examines processes of creation by was fortunate to see a Mark Rothko revisiting universal creation stories. retrospective there. I wasn’t It explores the genesis of matter, familiar with his work at the time light, water, plant life, and and didn’t yet know his story. His humankind. work was hung chronologically. So 52

The beginning of the idea for the show came after I saw the exhibit “Destroy the Picture” at MOCA Los Angeles. All of the work in the show was by artists who had experienced war. The work was at times violent, but always well considered. There was a lot of exploration of materials, but the overall impression that hit me was that all of these people had experienced something horrific and yet were able to make something undeniably beautiful.

planets are only born on the cusp of being ripped apart in the five-million-mile-an-hour winds that form them — and still, they come into being, in breath-taking numbers. A dying sun is ripped apart, and the fragments become something else in time. The more I work on the pieces in this body of work, the more I want to dig deeper into these ideas. It’s a body of work that I will be exploring for a long time.

Is it true that you originally I began thinking about the trained as a photographer? relationship between destruction Yes, I earned my Master of Fine and creation. Soon after, I was Arts in Photography from the exploring NASA’s website about Academy of Art in San Francisco. I the creation of planets and read love photography, especially that “the creation of planets is a alternative processes. But as violent process.” That sentence and darkroom work faded out, and the show at MOCA drew me into a digital photography took over, my lengthy consideration of the work shifted towards collage, interaction between destruction although there are often and creation. photographic elements and processes in my work. I don’t think I read more about planetary it will ever really be absent from creation, star nurseries, and my work. The training I had as a evolutionary biology. My work is photographer still influences the not meant to illustrate the scientific way I see and compose my work. process; it’s more of an abstraction and exploration of what can happen between two opposing forces. Violence breeds creation throughout the universe: stars and 53

Above: Water II, 42� x 41�, Cyanotype, paint, fabric, handmade papers, photo emulsion on paper, oil pastel, thread and silver gelatin prints.

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With your collage work, you try to cover subjects ranging from astrophysics to human trafficking and parenting. What is your selection process for the materials for these projects?

I have bins and bins of paper and scraps in my studio. I experiment for a while, testing out processes and materials to see if their inherent qualities lend themselves to what I want to express. For “If We Ever Wake At All” it was important that I not make or use virgin working materials but use fragments of older work.

Something from something.

Beauty from ashes. That sort of thing. I also found it important to show the roughness of their coming together, to make the process open and the hand of the artist apparent.

What excites you the most about being an artist?

I love the process of chasing something down whether it’s an idea or a feeling or getting a line right. Being in the studio is meditative but hard at the same time. It’s problem-solving, more as a dialogue and discovery than as an engineer. I love when I get to the point in a piece where it begins pushing back against me, there is a give and take.

What is the current art scene like in Los Angeles?

It is a wild place. It feels like there’s no centre to it. It’s always changing with new galleries popping up. The centre of gravity within the city feels like it has dissipated or spread if there ever was one.

But there is an exciting new generation of gallerists and There is tape, there are sewn lines collectors that are starting to more and loose threads, with pins and seriously consider new local talent. sometimes nails holding things There is a growing community that together. There are layers and layers isn’t content with shock and gloss of paper, with wire, wood, and even but wants more earnest, work. It is stone sometimes emerging. All this a bit overwhelming to keep up with in an attempt to echo the chaotic the changes, but it also is exciting and tentative nature of their to know there is so much formation. opportunity.

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Above: Moon I, 20” x 53”, Photographic emulsion on paper, paint, thread, and silver gelatin prints on canvas.

Do you have any plans to exhibit your work in Europe?

Yes. I plan to. Definitely. My time in Paris and Italy helped shape me as an artist. It’s still a reference point for me. At the moment, I haven’t found a good gallery partner and don’t have anything on the schedule. I hope to fix that.

What’s Jackie’s favourite place to unwind in California?

I have two. The first is a family cabin near the Point Reyes National Seashore in western Marin County.

The land there feels raw and untamed. People live close to the land there. It’s a place that makes

me feel alive.

The second is Yosemite. It is a magical place that has inspired an entirely new body of work that I am working on, concurrent with “If We Ever Wake at All,” about the interaction of the rivers and the granite mountains. Water and stone, creation and destruction (again). I can see the effects of time more clearly there than just about anywhere else I’ve been. jackieleishman.com @jleishmanart

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Above: Matter I, 24”x 25” x 2”, Photo emulsion on paper, handmade paper, metal, film, wire, and thread.

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INTERVIEW

/HELENA BAJAJ LARSEN There’s no denying the impact that travel has on the human consciousness. Sure, it comes with its own set of challenges, but the rewards are endless. It expands your mind in ways you would have never imagined. New cultures, food, art, colours and philosophy collectively enrich us, even if you are having a bad day. For artist Helena Bajaj Larsen, travelling with her parents, who were from Oslo, Norway and Jaipur, India while she lived in Paris was just another day in her life.

Is it true that your parents are from Oslo and Jaipur and you grew up in Paris? How did this complex array of cultures influence your creativity growing up?

Yes, my mother is originally from Jaipur and my father, from Oslo, Norway. They met in Paris whilst my mother was on a French Government Scholarships at Ecole Nationale des Beaux-Arts, and my father was a diplomat for the Norwegian Embassy.

two cultures that could not be more different!) has influenced me every step of my life and in every aspect of it.

I would also travel to India every three months, and we lived in Norway for a couple of years, my parents really made sure I grew up with roots from each culture. On top of that as an only child of two freelance parents, we travelled all the time, and I must say as much as I love making things, I love seeing new places and meeting new They decided to settle in Paris, and people just as much. that is where I was raised. I would say the mix of cultures (“worlds” even - because after all these are 58

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Travel really broadens the mind in ways you don’t expect, and in a design sense, it enhances your visual vocabulary significantly.

Creatively there is nothing richer than being able to pull from a variety of cultural references, so to have three of those right at home was a real blessing.

whipped me into shape in terms of staying alert and starting preparations for all these different aspects of having a label. There is actually just so much about having a business which you don’t learn in design school even.

Could you tell us a bit more about your use of the fabric Khadi and You recently showcased your its cultural significance in the work at Lakme Fashion Week in fabric of India?

Mumbai, India. How was that When my final year at Parsons experience? came around, students were asked Yes, I was fortunate enough to be to create a senior thesis which told one of the five young designers a story but also showcased the they selected to launch for Lame range of skills they had acquired Fashion Week’s SS 18 season. Every over four years in school. I chose six months they come up with five the topic of khadi. up-and-coming talents to sponsor through their platform – which was Khadi constitutes an Indian incredible both as a learning homespun cotton cloth often experience but also regarding referred to as “the fabric of social greater visibility and exposure, as change” due to its crucial role in well as media attention. the Indian Independence movement led by Mahatma As the youngest of the five this Gandhi. year, it was a little daunting at first because I was fresh out of college My thesis by this very name is a and had a lot to catch up on! Be it contemporary take on an old pricing, how to handle negotiations story which is both close to my with retailers, taxes on sales, heart as it reflects my family production, marketing, etc. So history but also embodies my much goes into a fashion brand passionate relationship to textiles. beyond the designing stage and Lakme Fashion Week really 60

The journey began with researching this period in Indian history extensively through documentaries, books, namely one titled “Khadi: Gandhi’s Mega Symbol of Subversion” as well as a family autobiography and old letters from Gandhi to my grandparents.

into lifestyle products as part of your artistic aesthetic?

Definitely. I think fashion as an industry is fairly saturated and it is important to look at how a brand can have value by diving into a range of different products. By focusing on selling a lifestyle rather than one specific object.

When it came to translating the subject matter into aesthetic materialisations in the form of design products, my background in textile work meant I naturally focused on texture-based experiments. The colour and texture story resulted from photographs I had taken around Wardha, the town where her Grandparents and Gandhi spent the last decades of their lives and which she visited every summer.

I also firmly believe that all forms of design are intrinsically linked, and a creative individual working with industrial design could just as easily create an amazing garment.

It is all about applying one’s personal sensibility to a range of different skill sets.

The fabrics for the collection were sourced from Khadi shops around India and hand-painted using acid and pigment dyes on a variety of silks and other materials. In parallel, I began exploring metalwork as part of an elective at school and decided to present a jewellery collection focused on surface alterations as a part of my thesis.

Would you consider venturing

This is why collaboration between creatives is always so exciting because you can achieve so much more if you combine, let’s say, the knowledge of an architect and a photographer, a jewellery designer and an interior designer… In my practice, for example, I make textiles for garments as of now, but I occasionally play around in photoshop and see what it might look like in an interiors context: pillows, murals, carpeting, or anything really – even the jewellery textures could be translated into giant metal tables, chairs and whatnot?

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As you can see my brain wonders easily into just about anything! But this is what makes design so exciting. You can apply your aesthetic to anything, and people will know it is a product of your imagination. A great example of a well-rounded textiles firm would be the Finnish company Marimekko. Their founder, Armi Ratia, said “I really don’t sell clothes. I sell a way of living. They are designs, not fashions... I sell an idea rather than dresses.” I feel this accurately represents the direction I am hoping to take with my label.

of artisans to create home products and accessories using wood, stone and ceramics. So that was a highly enriching experience as it was a different realm of design and materials that I had never really worked with before. And I’ve always wanted to dive into product design, so this was a great introduction.

You are constantly travelling between various cities in the world, is there one that you have a more personal connection to than others?

I have over time developed a What was your time in Haiti like unique link to each city that I have as part of your fellowship with lived in, as they are each so Donna Karan’s URBAN ZEN and drastically different from one Rihanna’s Clara Lionel another, but also because they Foundation? represent separate stages of my Three Parsons students were life as well. Paris remains home of selected to go to Haiti for seven course. Aesthetically it is still my weeks and work with different absolute favourite – there is no groups of artisans. After the 2010 match. Even if I grew up there, earthquake in Haiti, Donna Karan every time I go back I remain in started a brand called Urban Zen awe of it all: Parisians and their in hopes of boosting the local crafts ways, the taste level in economy. She built a centre in everything they do – subtlety, Port-au-Prince in partnership with elegance, in food, homes, clothes, Paula Coles and Parsons School of speech, movement, everything.

Design.

We went to Haiti for seven weeks and worked with different groups

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And it is funny that I use the word “they” even though technically I should consider myself one of them, haha, but that’s just how much I admire the society as a whole. That being said over time, Paris has become more like a place of memories because most of my friends and even professional contacts are elsewhere.

New York was a grand place to be for four years and especially the formative time that is the ages of 18 to 22. The city is a huge part of who I am, and the only place I feel is truly and completely international in the best way possible. I met people from all walks of life and all over the world as corny as it sounds – but I credit Parsons and New York to most of whatever little I have achieved today.

and India (Delhi or Bombay) because of many reasons: production, future projects, etc.

India is the place I feel closest to in terms of my personality, everyone always teases me that I am more Indian than a lot of people who actually grew up there! I feel very at home there, and I love the way people care for each other and the close-knit families, etc.

Additionally, my parents relocated part-time to this part of the world, which is why it made more sense for me to build something up here.

There are also other places I have spent considerable amounts of time such as Norway, London so I could go on with this question forever.. haha.

Is it true that you did an internship at Condé Nast? What was that experience like?

It also teaches you how to navigate I always loved writing and used networking in a way that I have to have a travel blog as a teenager, not seen elsewhere; everyone is participated in a few of those constantly networking, constantly creative writing contests and wrote exchanging ideas or talking about little books (which of course how they could create something never left the confines of my together in the future. New York laptop!). Throughout design stretches the mind and recharges school, I didn’t want to entirely one’s creative batteries in a way that give up on this hobby of mine and no other city can. Today, most of thought I might do a few my time is spent between Dubai internships and some 64

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freelance writing gigs so that I could keep practising. Within the Conde Nast Group, I did two internships – the first was at Vogue India in Mumbai in 2015 and then Conde Nast Traveller Middle East in Dubai in 2016. Vogue India was a fun experience because as a fashion student, the fashion publishing industry is very close to one’s own world - yet so different it offers an entirely unique perspective.

without a doubt!

If Helena had to pick a favourite cuisine, what would it be and why?

My absolute favourite go-to comfort food is pasta any day with an overdose of parmesan cheese! I also love many other cuisines such as Japanese, Chinese, Mexican, Greek and Lebanese. helenabajajlarsen.com @helena.bajaj.larsen

It was great to get a taste of that environment and especially to work under the incredible Bandana Tewari, who to this day is one of the greatest people I have met in fashion. Conde Nast Traveller was a lot of fun because not only was it a nice break from design but also the whole fashion scene – which was refreshing.

Travel being my second passion after design, spending a month researching different countries, hotels, restaurants, museums, was just great fun. After the internships were over I worked for them remotely a bit as well and got to stay in incredible hotels to write reviews and such – I always say if I weren’t in Fashion I would be in the tourism/journalism industry

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ARTIST FEATURE

/JOSE MENDES The universe is made up of all manner of forces, constantly in battle with each other. Exploding stars and black holes all serve a purpose. Energy and matter all changing form, celestial bodies taking shape while the other gets destroyed.

It’s these forces that artist Jo Mendes taps into, especially in his body of work titled ‘Energy’. Gravity, electromagnetic and nuclear force can be observed in his work, his skill as an artist giving his pieces a three-dimensional effect, you can almost feel these infinite powers at work. One can’t help but draw a comparison to images of deep space from the Hubble Space Telescope. jomendesart.com @jo_paintings

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INTERVIEW

/FRANCESCO RUSPOLI Born 1958 in Paris from a British mother with a French background and a Belgian father with an Italian background can sure have its benefits.

Artist Francesco Ruspoli was exposed to a multitude of cultures growing up, and that was just his time at home. Not shy in his use of colour and contrast, Francesco’s work invites the viewer to make their own narrative, find their own meaning, in his work.

Could you tell us a bit more about your fascinating family background?

My family has roots in different European cultures mixing the South with the North, as the Germanic hard working with the frivolous Latin.

always been a very interesting experience in many ways. I have learned a lot about what a market will do to someone creativity and not follow trends and fashions. I always, therefore, tried to be true to my work following my path through each painting and evolving through each creation.

It was a very strict and hierarchical upbringing.

Do you think art should be philosophical and not just aesthetically stimulating?

You have been worked and been represented by various galleries I think art should be both as philosophical and aesthetically throughout your career. How significant has this collaboration stimulating especially nowadays been for you? when it seems things are getting lost as values, morals, compassion Each collaboration I had and still have with galleries and agents have and so forth.

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In my work feelings are expressed with the bodily expressions of the elements created in the picture.

Each one is physically connected to the others and at the same time is completely independent.

the fact to be able to create an imaginary world that fascinated me at the time.

Then I discovered the power of colours, as they can transform moods, express feelings as peace and anger, emotion as love and hate Physicality has a strong presence and so forth which slowly moved in your works, could you tell us a me towards abstraction with the bit more about that? full use of shapes and volumes to The major theme of my art is express these human feelings. taken from Renaissance artists such Now I am into figuration as for composition Paolo Veronese supported still by strong colours and Sebastiano del Piombo by with a twist of abstraction in the creating scenes representing group composition. of people gathering in different places and as for colors Giovanni I am pushing these even further by Battista Cima da Conegliano and creating an effect of stain glass Bellini by using orange, red, blue, windows as in churches where green, Naples yellow and pink as these stain glass windows inspire principal pigments. the worshippers for mediation, spirituality, peace, reflection and I am representing my own growth. Therefore I am trying in psycho-analytical version of my recent works to have these contemporary societies and the same factors mentioned above for relationship between individuals the viewers to feel that the painting among social and cultural groups. talks to them, move them and they feel happy and regenerated.

Coming from a multicultural home, Is there one culture in your My art explores the dynamic family that you are drawn to more frontier between abstraction and than the others? figuration. This fertile area keeps My first passion was with the alive the infinite possibilities of Surrealist movement as Dali, being human in an age intent upon Magritte, and many others. It was closing them down.

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Using a strikingly vibrant palette, each painting composes a symphony of colours where subtle gradation and dramatic contrast express the nuance of emotion and sensuous physicality.

lengthy development of ideas worked through on canvas, much like Beethoven’s constant working out and refinement of his musical themes in sketches. This sometimes requires an austere Zen-like mental discipline, where I can get myself The work also expresses the out of the way so my art can direct sensation of lived experience create itself. This is laborious but is through organic shapes and forms the only way I have found so far to woven from flowing lines and the achieve authenticity in my gaze of the viewer. paintings.

You are invited to participate in a creative encounter with these elements, constructing your own visual languages and meanings.

From this, questions arise about the interactions between humans and their many environments.

It is hoped there also follows an increased sense of wonder at your own capacity for re-interpretation and invention which will bring an uplifting feeling to you and the world in which you are living.

Creativity for me is a unique form of discovery.

I start as an archaeologist of my own imagination, peeling back layers to find the essence of the image which may originate in ancient or classical art, dance or theatre. This process involves the

My work is an exploration of relational space and its possibilities in contemporary society.

An artist for me is a person with a gift because he or she can see and feels things differently from other people. It could be a curse too because sometimes an artist will suffer more than anybody else due to his or her sensibility and would feel therefore very isolated. A frustrated artist can be a very dangerous person too as Hitler to mention a few.

Art is a reflection of civilisation and evolution. Each society from the past is primarily recognised through the art they have left behind. Visual art for me as an artist is the most important thing with music and writing that the

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humans have done. Even religions would be supported by the art to complement their beliefs. We would not be evolved to be humans without the art.

I was working in different jobs for a long time not liking it, and my dream was always to be a full-time artist. One day I did it and never regretted it ever since. You would always find ways to adapt to a new life you would leave behind if you feel it in your heart, inside you.

It is my passion, and it came to be

my full-time employment.

Therefore creating artworks, dealing with the art market and the art dealers, the clients and the up and down of professional life is exciting and not a burden.

My motivation and my inspiration is my environment and nature. I am fascinated by the way people inter-react with each other.

Sometimes in a friendly way and sometimes in a horrible way. I want to pass on a message in my work, which could be read and felt by the person looking at it.

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I want to lift their soul and their feeling and bring them happiness if I can. But I am still very intrigued by the way contemporary societies evolve.

but all the sensibility for each individual is created and expressed by the position of the human shape connected with others.

I would describe my style as I am through my eyes and my brain Expressionistic, and I suppose I can be attached to this art movement. trying to reflect on social Through my work, I express by the environments, familial cells and use of colour, human shape and social classes. This is primarily expressed in one of my Series: “Our composition, feelings and moods.

I express therefore I am an need for others”. In this Series, I Expressionist. My major theme is express human feelings by the the expression of societies, and it’s physical expressions of it. environment supported by a study of spirituality among these social The characters do not have faces, 77

groups.

inevitably in direct conflict with much of what we see around us in My style, of course, has evolved our world now. These are central with time. I can see and feel I am questions not just of what art is, but getting more mature in my creation of what art does, and can or even and in my creative journey. I could should do. not live my life without painting.

It is like an addiction, and as every The most significant frustration has addict, I cannot stop myself doing been struggling against a it. system that attempts to codify what sells, thereby killing creativity and For me, art expresses a individual expression. It has taken fundamental part of what it means me many years to find my creative to be human. It is through art that voice, and a large part of this has the conflicts of life can be explored, been a struggle against such better understood, brought to the commercial forces. They are very surface and put into new powerful and insidious, and relationships with each other. I institutionally dismiss or ignore believe we are living in an what they cannot appreciate. unprecedented time of the breakdown in human relationships How important is it for the viewer and interactions. This is happening to decipher their own message or from the individual and personal story from your work or from art level to the opposite geopolitical in general? end of the spectrum.

The relational concern of my work is intended to embrace all viewers, We tend to think of interactivity so their interpretations are regarding technology these days equally valid as his. The act of rather than human feeling and viewing is to enter a relationship, a connection. mutual encounter of the painting and the viewer. This is why the My art is meant to directly figures in my work are placed so challenge this state of affairs and viscerally about each other, and re-invigorate and re-inspire the why this stimulates a reflection of emotional and spiritual dimensions relatedness which encompasses the of human life, which is viewer.

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A vital part of interpretation is our emotional response, which incidentally is not solely the preserve of a ‘refined’ academic elite. The experience of viewing/ relating is the essence of his work, so he hopes his work is able to offer that precise experience to the viewer.

You could say his message, theme and vision is to co-create an experience of emotional connection - whatever it might be - on that precise moment of that particular day, with this individual person in this specific space.

What are you working on at the moment?

I am developing my themes through each painting by an analytical study of contemporary societies, ethnic groups, different races (done by the different colours I use on the figures), social groups and the influences of social media on the individuals. My work is reflecting a constant and never-ending evolving world which constantly changes at high speed.

This is what I have been working on for quite a while. francescoruspoliart.com @francesco.ruspoli 79

INTERVIEW

/CAROLYN SCHLAM Art speaks with many voices. Carolyn Schlam, painter and glass artist originally from New York but now a resident artist in California, is the author of “THE CREATIVE PATH: A View from the Studio on the Making of Art.” Just released by Skyhorse Publishing, the book reaches out to creative people offering inspiration, guidance and affirmation. Artists at all stages of their careers will find much in this book to support and enhance their practice. And it’s a fun read too.

Your new book was released on May 1, 2018. Could you tell us a bit about it?

THE CREATIVE PATH: A View from the Studio on the Making of Art is a treatise on the creative process from multiple points of view—philosophical, psychological, practical and spiritual. It’s a book for creative people in all disciplines and deals with questions of talent, authenticity, intention, inspiration, and other issues that pertain to creative practitioners in all media.

It contains exercises that artists may attempt to stretch their creative muscles. I hope it will not only inform readers, but inspire them and affirm their effort.

How has the creative process behind the book been different to the production of art?

The only difference is that I have worked with a literary agent, publisher and editor on the final form of the book, whereas my artwork is created without any collaboration.

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Above: Standing Figure 81

Above: Front and Back Cover of “THE CREATIVE PATH”

It’s a major task to write a book, to elaborate ideas, be consistent, and communicate well, and though this is true of art-making too, it may take years to bring a book from initial conception to publication.

Making a painting can be accomplished in a day or ten days, but rarely over years.

Would you say that your book would benefit an artist at any stage of their career?

Yes, certainly, but the book is not only for practicing artists, though they may enjoy reading it. It is

about creativity in a larger sense, and all creatives should get something out of the book. Artists working a long time may relate to discussions of how to keep one’s work fresh, how to avoid falling into habitual traps, and how to re-energize. Beginners may find encouragement and support. I think any reader may be able to relate to something in THE CREATIVE PATH.

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What most people don’t realise is that time spent in the studio can be deeply isolating. How do you stay motivated?

It is true that we work alone for the most part, but it is within our power to join the community of artists and share our experiences with our colleagues and collectors.

I am currently a resident artist at Studio Channel Islands in California, and I can pop out my studio door and chat with fellow artists. I also work with young aspiring artists as a mentor and teach children, adults and seniors in several media. So there’s a balance between working alone times and sharing times. Each makes the other more rewarding.

mine.

Is there a chapter in the book you are particularly proud of?

I am proud of every chapter. The book went through numerous revisions, and evolved over time.

The publisher asked me to delete a major section of the original book which chronicled the making of a painting (the one on the cover) with time elapsed photographs and taped transcriptions. When that happened, I had to add new chapters, and I think these add a new dimension to the book. These additional chapters- The Artist’s Life and Voices-discuss how the practice of art shapes one’s life, and conversely how the people in your life shape your art. They were a Could you tell us about your time good addition. painting with Norman Raeben?

Norman had a studio in the annex Was the transition from being an artist to an author an easy one for to Carnegie Hall and about 10-15 you? students worked there on a daily I haven’t transitioned. I am a basis drawing and painting. I was creative person who makes visual there for 7 years post college, and art and writes. I’ve always done it was a remarkable experience, both. I like them both equally, which I elaborate in the and like bouncing from one to Introduction to THE CREATIVE the other. I don’t get bored. If I PATH. get stumped or lose interest in art making, I get to writing.

A fun tidbit: Bob Dylan was a student there for a little less than a year and had the easel next to

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How is being an artist in New York different now from the time when you grew up?

I was born in New York and went to art school there, but I live in California now. I was lucky to be in New York when it was affordable to be an artist and rent a studio space.

This is pretty difficult today. But creative people always find a way to do what moves them -even if they have to work at their kitchen table, or in a garage or basement. Art is a calling and not for the fussy. It’s not an easy life, but it pays many dividends.

Teaching: Working with people of all ages and exploring the power of art to further wellness and self esteem.

How can I get the book?

THE CREATIVE PATH is available at booksellers everywhere. Just google the title. Or visit my website at www.carolynschlam.com

What was the last book Carolyn couldn’t put down?

I don’t read much when I am writing, but my latest can’t-putdowns were the 4 Elena Ferrante novels about two women in Naples, “The Neapolitan Novels” incredible character studies - really exceptional.

What are you working on right now?

Writing: I’m halfway into a new book that will be a rather unique art appreciation course.

Art: I’m working on a series of female archetypes-- portraits that describe the many roles women play in life.

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Above: I Rise 85

ARTIST FEATURE

/BRUNO RICHARD Born in Rivoli, Italy in 1952, artist Bruno Richard has been exhibiting his work since 1973, followed by numerous solo and group exhibitions.

The 90’s came with experimentation and classic figuration.

His current exhibitions have been well received with his pieces in prominent private and public collections. His skill of showcasing everyday objects in a new light has gathered the attention of many and the fact that his works, which could be easily mistaken for photographs put him in another realm altogether. richardbruno.it

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Above: “Confidenze”, oil on canvas size 31.1 H x 33.4 W x1.5 in.

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Above: “Brigitte”, oil on canvas size 19.7 H x 13 W x 1.5 in.

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Above: “Dolcezze n ° 3” ,oil on canvas size 16.9 x 19.6 x 1.5 in.

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ARTIST FEATURE

/STEVE BENNETT First used by artists in Germany in the early 1900’s Linocut printing had initially been used for wallpaper printing, The versatility of the material lets users carve out patterns with ease without having to deal with grain or changes in density. Based in Leeds, United Kingdom, artist Steve Bennett is a graphic designer by trade and has spent years working in print, advertising and display. Eventually, he founded Jagger Studio’s to promote his lino prints.

His fascination with the creative process revolves around the unpredictability of the different stages in creating his art. It’s not until the final stage that you get to see the finished product; the sheer unpredictability gives plenty of room for interpretation and creativity, something Steve seems to have mastered with aplomb. www.jaggerstudio.uk @jaggerprints

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Above: Bowie 91

Above: Jagger 92

Above: Marley 93

www.CreativPaper.com