April Issue No. 11 Breaking the Mold

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The company specializes in creating visual content such as photography, videography, and publishing design, with a primary focus on promotional content catered towards creatives and small businesses. In the future, Studio Lab aims to expand its operations and continue contributing to the art community.

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CONT

Julie Bernadeth

M’Brick

Luiz Rocha

7.

23.

31.

1. Intro

21. Books To Break The Mo

3. Create The Rules

27. Jaw-

TENTS

old

Jose Digregorio

Patricia Kelly

43.

51.

40. Timeless Album Covers

-Dropping Architecture

Breaking the Mold By Eddie Walker

T

he individuals that tend to break the mold end up becoming revolutionaries—they challenge the status quo, reject conventional thinking, and pave the way for new innovative ideas and possibilities.

These nonconformist are the ones who make significant contributions to their field, not by following the rules, but by breaking them and creating their own rules.

Ultimately, what sets them apart from the rest is their ability to take risks, push boundaries, and blazing a trail that inspires others to follow in their footsteps and create new and innovative ideas.

It’s never to late to break the mold. To embrace this revolutionary spirit seek to be a individual that has an unwavering commitment to their vision, boundless creativity, consistent courage, open mindedness, and pure passion in the pursuit of your dreams.

These qualities are a great start to breaking the mold and becoming a trailblazing revolutionary.

1 | Breaking the Mold

2

e T A CRE By Eddie Walker

In the current world we live in much of what we know today was created before we were born, as a result majority of Millennial’s and Gen Z’ers are lost in yesterday because of an obsolete system with rules that was created outside of our control.

As a result, the masses struggle to attain something meaningful and long-lasting, because of our ever changing world.

So what do you do?

Study the people that have found meaning in their life and have achieved massive goals.

Nearly every financially free individual has broken the rules, and created their own along the way, disrupting outdated archaic systems.

The act of unconventional thinking backed by relentless action leads to innovation.

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Creatives That

innovated Industries

Steve Aiko

Steve Aiko is a highly innovative figure in the music industry, known for his unique approach to music production and performance. He has pushed the boundaries of electronic dance music (EDM) and helped popularize the genre around the world.

He incorporates different genres, such as punk rock and heavy metal, into his music, creating a diverse and eclectic sound that sets him apart from other EDM producers.

Aoki is also known for his energetic and interactive live performances. He often crowd-surfs, throws cakes at his audience, and invites fans on stage to dance with him.

This creates a highly engaging and immersive experience for his fans, who often refer to themselves as “Aoki’s Army”. In addition to his music career, Aoki is a savvy entrepreneur who has created new opportunities for other artists and built a successful brand. He founded the record label Dim Mak Records, which has launched the careers of many up-and-coming artists in the EDM scene.

Music Industry

He also has his own fashion line, Dim Mak Collection, and has partnered with numerous brands, such as Asics and Diesel, to create unique and innovative marketing campaigns. Overall, Steve Aoki’s innovative approach to music production, live performances, and entrepreneurship has made him a highly influential figure in the music industry, inspiring countless artists and fans around the world to break the mold.

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Ava DuVernay

Ava DuVernay is a groundbreaking film director who has made significant contributions to the film industry. She has broken down barriers and challenged the status quo through her work, which focuses on Important social issues and creates spaces for marginalized filmmakers through her production company, ARRAY. Through ARRAY, she has produced and distributed films by women and people of color, providing a platform for these filmmakers to tell their stories and reach wider audiences.

DuVernay’s innovative approach to film-making is evident in her work. For example, in her film “Selma,” she used a unique visual style to convey the emotional impact of the story, which helped to bring the Civil Rights movement to life for a new generation of viewers.

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She also made history as the first Black woman to direct a film with a budget of over $100 million, “A Wrinkle in Time.”

In addition to her directing ,DuVernay has also been instrumental in creating opportunities for underrepresented voices in the industry.

Overall, DuVernay’s work has pushed the boundaries of what is possible in film, opened doors for underrepresented voices in the industry, and helped to create a more diverse and inclusive film landscape.

film

Industry

JR

JR is a French artist known for his monumental works in photography and street art that express political and social issues.

His unique style involves printing people’s portraits on giant posters and placing them in public spaces where the community can take ownership of them. This creates a community-based art project in which participants become the subject and actor.

One of his most famous projects is the Inside Out project, which has now taken on a life of its own, with over 200,000 participants in more than 130 countries.

Art

Industry

JR’s model for his projects is based on financial freedom and autonomy, as he turns down offers of corporate sponsorship. He sells six photographs to fund future art projects, which allows him to maintain artistic control and focus on bringing attention to subjects and communities that are often ignored by society.

His commitment to creating meaningful art that is displayed publicly for a wide audience. This is a testament to his passion for social and political change.

JR’s unique style and dedication to his craft make him a standout in the art world.

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Julie Bernadeth

Julie Bernadeth looking through the newest public art sculpture, which she and fellow classmates built titled “Tributary” located at Sacramento State University in front of the Welcome Center.

Photo: Eddie Walker

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Photo: Eddie Walker

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The Journey is the Destination

O

ver the last two years Julie Bernadeth has been flourishing and evolving into a beloved and versatile artist, creating works of art that communicate her life’s experiences and memories. Julie’s skill set encompasses everything from ceramics, wood fabrication, metal fabrication, to printmaking.

In 2021, while studying at Sacramento City College, Julie’s initial calling was Fashion design.

However, after careful thought, Julie had an epiphany— “After watching A True Cost, a documentary on the danger of fast fashion, I quickly became disenchanted with my career choice.”

Recalls Julie.

So, she pivoted to graphic design but that did not resonate either. After experimenting with a studio art class Julie found her calling.

She immediately became like a sponge soaking up knowledge from her mentors Gioia Fonda and Terry Peterson. At this time Julie participated in her first large-scale public art installation called The Pedal Theory.

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Hard work does pay off as Julie smiles in front “Tributary” Photo: Eddie Walker

In 2022, Julie quit her job and took a leap of faith with art. “I had no idea what I was looking for. I hit a crossroads in my personal life in February 2022 and asked “the universe” for some assistance. It was delivered. The Gallery and Education Associate position at Verge Center for the Arts fell on my

lap that same week (I’m not kidding).” Says Julie. Since then, fortune has been smiling down on Julie. She has cultivated and created several dynamic sculptures that have been efficacious to her blossoming art career.

Mixed Media Installation. Magmahal Solo Exhibition, 2023.

Confessional:

1. An enclosed stall in a church divided by a screen or curtain in which a priest sits to hear people confess their sins.

2. An admission or acknowledgment that one has done something that one is ashamed or embarrassed about; a confession.

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Tributary

Julie Bernadeth, admiring the finished sculpture “Tributary” that took three years to complete.

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Photo: Eddie Walker

Tributary was envisioned by Ed Mills, the Vice President of Student Affairs at CSUS. Professor of Art, Andrew Connelly was assigned Project Mangager and Fabricator in the development of Tributary. Connelly led Julie Bernadeth and several other talented student artists along the three year journey that is now Tributary.

Tributary draws inspiration from the majestic California Bay Laurel tree, which is native to the foothills of California.

This captivating addition to CSUS will serve as a symbol of cherished memories from the past, as well as a beacon of hope for the bright future that lies ahead for CSUS students.

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Interview with Julie Bernadeth Julie Bernadeth posing in every nook and cranny of Tributary.

Can you share with the readers a little about yourself outside of art?

I take a lot of pride in being first generation. So, I’ll give you a short summary on my background. I grew up in a small seaside town called Pagadian City, a province of Zamboanga del Sur, Philippines. My biological family consisted of fishermen and small business owners–mostly within the food/hospitality industry. I mention this because I’m finding similar themes in the work I employ myself to do and the art I create, but more on that later. At 10 years old, I emigrated to Sacramento, and vividly remember struggling with the cultural shift. I think it’s because Americans love to isolate and prefer to be detached from other people, including family members. I’m sure other immigrant families can relate to this sentiment, but I grew up with 8-10 people living in a two bedroom house, and countless neighbors who acted more like family members. Therefore, at home, I was never alone. That lack of solidarity required some adjustment. Most of my adolescence felt like I was a fish on land, trying to find my way back into water. Of course, I’ve lived here for over a decade now.

I’ve grown to love Sacramento with every fiber of my being. I’ve spent those years adapting, evolving and discovering strength through my desires and sense of individuality.

I’ve also worked in specialty coffee for over 6 years. It was the first, and last, thing I did before completely throwing myself into the art world. I like to say that coffee was my first creative endeavor. Throughout those years I gained extensive knowl-

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edge in processing methods, roasting, brewing techniques, and latte art! I was THAT person, and it became a fundamental aspect of my personality. But I also believe there is strong creative ingenuity in the industry. My hospitality comrades are also writers, artists, musicians, film-makers etc. and use creativity as a tool for self-expression. Despite all the typical challenges found in hospitality, I loved being immersed in that environment. I take so much pride in the quality of craftsmanship, the nuance, the collaborative nature of the work, and the community I received through the industry. The camaraderie within coffee culture and the random acts of love from complete strangers (customers) is something I am fortunate enough to come across in this lifetime.

When did your passion for art and creativity begin to blossom? What sparked your interest in art?

I’ve always known I would be creative. I can’t pinpoint exactly when my art started, but I used to draw realistic portraits in my adolescence. I’m sure my family had other plans with my academic training, but I’ve never shied away from the idea of being a creative professional. It’s the one thing I stand firm on when rationalizing my decisions to my (very) traditional East Asian Parents. I also remember wanting to be a fashion designer. Naturally, I didn’t know what that meant. After watching A True Cost, a documentary on the danger of fast fashion, I quickly became disenchanted with my career choice.

After that I was convinced the only way I could earn a living (as a creative) was to be a graphic designer. I have no idea where that motivation came from, but my first year at Sacramento City College I declared design as my major. Through exposure, I realized it wasn’t meant for me, which led to a pivot into taking studio art classes. At Sac City I THRIVED. I learned from mentors like Gioia Fonda and Terry Peterson. Two lovely humans and extremely talented artists that galvanized my desire to create physical bodies of work.

It was at Sac City where I participated in my first large-scale public art installation called The Pedal Theory. The project was a collaborative design by Peterson and his students. We fabricated the installation out of recycled bike parts and steel beams.

You can watch our team build the project on Youtube! We toured the sculpture for a year and installed it at The Crocker Art Museum, the opening of Manetti Shrem Museum of Art, and Sacramento Block Parties. A year later, that same sculpture team created another large-scale, interactive, public art piece called Brain Matter. We also collaborated with Sac City’s Makerspace and installed the project at the San Mateo Maker Faire. Both instances solidified my involvement in the local art scene, despite me having minimal experience.

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It was also at Sac City where I began my ceramic practice. I took the leap into learning a new studio process that would eventually lead to me receiving the Teiko Sasser Ceramic Award (Sac City College) and the Patricia Aeschliman McGreal Endowment (Sac State). Additionally, my ceramic work was chosen by both my alma mater (Sac City College and Sac State) to represent their ceramic departments for the California Conference for the Advancement of Ceramic Art in Davis: a conference I would participate in for three consecutive years.

Fact: Tributary Fact: was created for students to capture photos throughout their student careers at CSUS.

In short: I blossomed in academia. Which is a privilege I’m not oblivious to. The generosity of my mentors and my proximity to the fine art world has nurtured my ability to relentlessly create work, and employ myself in the creative economy.

At what point in your life did you come to the conclusion that art was the “It” thing for you?

This is a tough one to pinpoint. My lazy answer is: the revelation is continuous!

The beauty of autonomy is that you can wake up tomorrow and decide that what you’re doing now, may not be “it” for you. Pivoting will not be easy, but I constantly remind myself to greet change with open arms.

Also: When in doubt, ask for help.

There are three separate events, spanning five months, that allowed me to come to this conclusion. My first Hail-Mary was leaving my comfortable, money making, job in specialty coffee to search for an “art career”. In quotations because I had no idea what I was looking for. I hit a crossroad in my personal life in February 2022, and asked “the universe” for some assistance. It was delivered. The Gallery and Education Associate position at Verge Center for the Arts fell on my lap that same week (I’m not kidding). Verge opened the door to the elusive art world and gave me my first look into nonprofit/gallery work. There I was able to collect invaluable skills for my professional toolbox.

Cut to April 2022, the second event that led to my realization. I fabricated my first immersive installation titled REEF. It was a tide pool inside a black room, with spotlights flooding the water. I made ceramic, reef-like sculptures that I submerged in

15 | Breaking the Mold

water; viewers could investigate and interact with the sculptures. Every time they touched the water the light refractions danced chaotically on the walls.

From my REEF Artist Statement: This exploration is a response to current environmental malpractices on Southeast Asian seas. Blast Fishing utilizes explosives to kill schools of fish for efficient harvesting, consequently destroying coral reefs that provide home to marine life. Despite the devastating effects of this technique, Blast Fishing has remained a convenient, and necessary tool for rural fishermen who aim to earn a marginal increase of profit.

By manipulating and removing the sculptures from its illuminated setting, the objects become dull and isolated from the collective whole: making viewers aware of the displacement of beauty when humans encroach on the environment.

After building this installation, with the help of Zoe Watson (painter, gallery director, curator, and art educator), I came to realize that installation art was IT for me.

I haven’t looked back since.

Julie Bernadeth with her immersive installation titled REEF.

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The third event, which happened in May 2022, was BIONEERS at the Palace of Fine Arts in San Francisco. This opportunity came about because a fellow sculpture artist, Ember deBoer, showed me an Open Call.

She’s part of Women Eco Artist Dialogue, a Bay Area collective of artists who focus on ecological art. I submitted REEF to the Open Call, and got accepted for their exhibition titled Art through Action: Restoration and Regeneration. The exhibition took place at the BIONEERS Conference, where I attended lectures by scientists, artists, and community leaders who talked about the importance of creative problem solving and action-based solutions.

Because it was a scientific conference, it gave me new perspectives on my art, my role in society, and how leaders around the world were solving the issues I wanted to highlight with my work. It gave me new-found inspiration, and philosophies that I follow to this day.

What is your medium of art, what materials do you use to create your sculptures?

I work with ceramics, printmaking, wood and metal fabrication. I also use a lot of textiles, like cloth or rope, as material for my sculptures. My fascination comes from a desire to combine variations of my studio processes to create multimedia installation art. I think it encapsulates my identity quite well.

I had this conversation with another artist recently, a regional painter named Yaron Hakim. We talked about how mixed media can often represent dualities in cultural identity. The collage and assemblage of different materials and processes is how I’m able to rectify my Filipino heritage and Japanese-American upbringing. When I emigrated to Sacramento, my mother married into a Japanese family. My entire American family is Japanese, and the duality of that situation is interesting. This feeling of not belonging, while simultaneously understanding my power in having a rich background of multicultural history. I would say that comes up (a lot) in the work.

Where do you get the ideas and motivations for your sculptures?

Life. I don’t have a more elaborate answer than that. If you want me to be more specific: I look at nature. Patterns and oddities I find out in the wild. I look at myself – my personal experience and socio-political opinions. I also look at my relationships with other people. I don’t shut myself off to any possibility when it comes to making work. I often approach the process as play. Pleasure in material experimentation gives me the same feeling as a kid building with LEGO’s. I think every artist has the capacity to see their practice as a multifaceted tool.

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What’s something you want others to know about your sculptures/art?

I don’t want to dictate what someone gets out of it. Opinions about my work are subjective, yet completely valid. I do want to give advice to other artists though.

My advice is this: Whether you need art for therapeutic purposes or making bold statements or simply adding beauty to the world, ALL of it is valid. Don’t listen to critics. You make work to externalize your perspective. Whether someone agrees with that is their business. Your job is to pull on your loose threads. Your job is to get it out there.

What has been a pivotal moment in your art career that you’re most proud of?

First Pivotal Moment: In February I had my second solo show: Magmahal at the R.W. Joyce Witt Gallery.

Magmahal is derived from my native language; it means “to love dearly”. The show exhibited my most recent body of work that combined fabrication, ceramics, printmaking, new media and food. The exhibition included indigo monotypes, a mancala tabletop game with freshwater pearls, an LED hibiscus flower, and a cross made out of macrame ceramic vessels. I wanted the exhibition to feel like my memories of Home. During the reception I fed everyone Filipino food, with vegan friendly options that went quick! I also wrote the following letter for all my viewers to read: “I want to begin with acknowledging the collective grief we have all experienced these past few years. We carry this grief with us everywhere we go. It sits quietly in our rooms—so quiet we sometimes forget its presence. Other times this grief can feel like you’re caught in white rapids. You’ll try to fight your way to the surface, but will inevitably drown out of sheer desperation... This grief we carry, it’s weird, unpredictable and unforgiving at times.

In 2021 I lost the only grandmother I ever knew. The same one who raised me for ten years while my mother worked in Manila City to keep three generations afloat.

Grief visited me many times during the making of this show. Grief reminds me of mud stained shoes, treysikol rides and shanty homes on top of seashores. I want to end by acknowledging that your experience with grief is not isolated. I thank you for being here with me.”

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Second Pivotal Moment: On March 15th we unveiled a new public art sculpture at Sac State. Three large metal and fiberglass-resin sculptures with an LED light show programmed into the piece!

The title Tributary pays homage/tribute to the students, faculty, staff, and community of Sacramento State and beyond.

The leaf-like forms of the sculpture were derived from the California Bay Laurel tree, indigenous to the foothills of California; known as Umbellularia or Myrtle and valued by native populations including Kashaya Pomo, Maidu and Miwok. The tree’s fruit, nuts, leaves for many purposes, including soup, tea and flavorings, furniture and bowls, and medicinal applications. This work took years to complete. During COVID-19, we worked limited hours, yet were committed to the project’s progress.

Over the past year the fabrication team below worked full time to complete the project. Through Tributary I received formal training in numerous industrial/art processes to create multiple forms ranging from 15-24ft.

Project Directed by Andrew Connelly and fabricated by April Arnold, Denise Benitez, Julie Bernadeth Crumb, Orzala Mahshour, Andrew Rosas, and Matthew Pugh.

What is your mantra for 2023?

My ancestors are watching. Jamie Cardenas actually gave me that one.

What’s the best advice you received that has helped you throughout your career?

“I tell my students, ‘When you get these jobs that you have been so brilliantly trained for, just remember that your real job is that if you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else. This is not just a grab-bag candy game.” - Toni Morrison

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Lastly, any news you would like to share?

I’m signing a lease for a new studio at E Street Gallery in Downtown Sacramento!

I’ll be participating in this year’s Sac Open Studios, so look out for those dates and come visit me. E Street has studio spaces and a traditional gallery where I will be curating group exhibitions. Also look out for that. I plan on highlighting talented regional artists that have existed in the margins for far too long. I’m bringing the spotlight! You can follow me on Instagram @bernadeth.art for more immediate updates.

Julie Bernadeth, using Tributary exactly what it was intended for...

Photoshoots!

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BOOKS TO HELP YOU BREAK THE

MOLD

As a creative or artist, it can be challenging to find the inspiration and motivation needed to produce your best work. Also, with everyone seeking to express their creativity it can be challenging to find your own respective style or niche. Fortunately, there are several books out there that can help you tap into your creative potential and overcome the obstacles that come with the territory.

Here are five books for creators and artists that are must-reads for anyone looking to improve on their craft.

“Snow Leopard” by Peter Matthiessen: This memoir tells the story of Matthiessen’s journey through the Himalayas in search of the elusive snow leopard. Along the way, he reflects on life, death, and the creative process. This book is a great reminder that creativity can be found in the most unexpected places.

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2. “The War of Art” by Steven Pressfield: This book is a must-read for anyone struggling with procrastination, self-doubt, or resistance to creative work. Pressfield argues that creativity is a battle, and that the biggest enemy is ourselves. He offers practical advice on how to overcome creative blocks and find the discipline to keep going.

“The 50th Law” by Robert Greene and 50 Cent: This book is a unique collaboration between the rapper 50 Cent and author Robert Greene. It offers a fascinating perspective on the mindset and strategies needed to succeed in the creative industries. The book emphasizes the importance of fearlessness, self-reliance, and the ability to adapt to change.

“The Culting of Brands” by Douglas Atkin: This book explores the psychology behind the power of brands and how they can create a following of loyal fans. While not specifically geared towards artists, this book offers valuable insights into the importance of building a strong personal brand and connecting with an audience.

“Art and Fear” by David Bayles and Ted Orland: This book explores the many fears that artists and creators face. The authors argue that fear is an inevitable part of the creative process, but that it’s also something that can be overcome. Through a series of essays, Bayles and Orland offer practical advice on how to deal with the fear of failure, the fear of success, and the fear of the unknown.

These five books provide creators and artists with insightful information and helpful guidance that’s sure to inspire and motivate. So, whether you’re a writer, painter, musician, or any other kind of artist these books will help you to develop your own creative processes.

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M’BRICK: The Lego Artist Who Creates Masterpieces Br rick by Br rick

M

eet French artist Aymeric, also known as M’Brick— a multi-talented artist with a fascinating journey.

Originally from France, Aymeric began his career as a professional ice hockey player before transitioning to work as a real estate loan broker and even a resource parent.

M’Brick’s journey with Lego art began 15 years ago when he wanted to create a special gift for his wife, leading him to experiment with pixelating existing images and recreating them with Legos. Interestingly, these intricate pieces take M’brick 1-3 months to complete depending on the size and complexity.

M’BricK’s Lego art has garnered recognition and admiration, leading to his inclusion in various art exhibitions. Notably, he recalls “I participated in the 90th anniversary of LEGO in Paris, two exhibitions in Dijon, France— and one in Lille, France recreating luxury cars.”

This year M’Brick is building his Lego monuments for art shows in Dijon, France and Brussels, Belgium. Follow him on Instagram, Facebook, and TikTok @mbrick_art to stay updated on his impressive creations and upcoming limited edition digigraphy reproductions.

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Photo Credit: @alexandre_bdh

Interview with Lego Artist M’BR RICK Share a little about yourself, where do you come from and what are your interests?

Hi my name is Aymeric; hence, my artist name is M’BricK. I’ve lived in Paris, Lyon, Bordeaux, and Dijon, among other cities. Before, I became an artist I was a professional ice hockey player.

After I retired from hockey, I worked as a real estate loan broker for a while, spent a year as a foster parent, and then the art bug bit me.

Besides art, I’m crazy about Golf, sneakers, crossfit, cars, watches and street art and you can see it through my art.

When did you start creating with Legos?

This funny adventure began a few years ago, the day I wanted to create a painting to give my wife a gift. Unable to buy the original of Andy Warhol’s Marilyn Monroe, I wanted to make him the visual of this painting. I wanted something special, different from what I was seeing, an unusual support with consistency, a graphic rendering where hindsight would reveal the subject: I think it took more time to find which material and how to make the painting, rather than assembling it.

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After several tests of materials and finishes, I came to want to pixelate the desired image... This is where I projected myself with a Lego creation, these bricks would be a dense support, which would allow me to concretize what I had then only in the head.

How did you learn to create such complex and detailed parts?

I pixelate existing images or that I rework ... and then I work with my LEGO to give this relief effect where the drawing only appears with hindsight or looking through the phone.

Between the drawing, the ordering of the parts, the assembly of the creation, the framing and the making of the custom transport boxes it takes me about a month.

Do you create other art forms, such as painting, sketching or sculpture?

No, I would like to but it takes all my time.

What do you usually do with your finished pieces?

What is the largest and best piece you have ever created?

I haven’t created it yet. But some of my creations had a great story. The first NIKE Jordan 1 Off-White and Daft Punk had great

visibility on large instagram accounts with more than 10 million followers.

Lately the Omega watch, the NIKE, Louis Vuitton and the painting by Arton Senna have met with great success on the networks with beautiful republications on different accounts.

How long does it usually take to make a part?

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I’m lucky, they are mostly sold before I have time to finish them.

What’s something you want people to know about your art?

The creations are even more impressive in reality than in photos or video.

Is there anything else you would like to mention?

If you are not yet a follower ... come and discover my work and support me in my various creative processes.

You can follow me on instagram, facebook and Tiktok @mbrick_art Subscribe, see you soon Also, I will be launching a shop page so that you can buy the reproductions of my creations in digigraphy in limited copies....to be continued.

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JAW-DROPPING ARCHITECTURE w

F

rom treehouses to castles to converted airplanes these Airbnb rentals are just a few of the most creative and innovative rentals around the world that will take your vacation to the next level.

Imagine waking up to stunning views from a mountaintop yurt or snuggling up in a massive seashell. Whether you’re an adventure seeker or just looking for a one-of-a-kind experience, these Architectural living spaces are sure to leave a lasting impression.

So pack your bags, and get ready to delve into some of the most unusual and fascinating designs and structures the world has to offer.

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Nautilus House

Designed by Javier Senosiain

The Nautilus House was inspired by the shape of a nautilus shell, a creature of the sea. The house was designed Javier Senosiain, a prominent Mexican architect recognized as a leading exponent and pioneer of organic architecture, created the home. In the landscape, the house has a fluid space where neither the walls nor the floor and ceiling are parallel, creating a sense of space as you experience the distance traversed in sequence. The metaphor of the house is to feel like a mollusc moving from one chamber to another, like an internal inhabitant of the snail, or like a symbiotic inhabitant of a huge fossil maternal cloister. The Nautilus House is a singular and fantastical house that incorporates aquatic design into its construction.

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Designed by Scotty Ensign & Mark Niki

Inspired by J.R.R. Tolkien’s “The Hobbit. This distinctive and imaginative home is called The Hobbit House can be found close to San Diego, California. It has a famous circular entryway, natural rock walls, and lovely landscaping.

Tolkien’s “The Hobbit.” Wildlife photographer Roy Toft, wood artisan Mark Niki, and landscape architect Scotty Ensign constructed the home in 2013. The Hobbit Home is a rental option on Airbnb.

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The Naked lady

Pinecone Treehouse

La Mona is a five-story, 18-ton sculpture that may be found in Tijuana, Mexico. The sculpture, which was created by Armando Munoz Garcia and is formally known as “Tijuana III Millennium,” features a nude woman holding up her right hand like the Statue of Liberty. A five-story building, the residence has a bathroom in the buttocks, a kitchen in the stomach, and a bedroom in the chest.

The sculpture, known locally as “La Mona” or “the doll,” is modeled after one of Garcia’s ex-girlfriends.

The Pinecone treehouse was built by the creative innovators at O2 treehouse. Pinecone Treehouse is surrounded by mighty redwoods trees located in the Santa Cruz mountains. The unique shaped pinecone treehouse hangs 50 feet above the ground level. The pinecone tree house is custom built made from 56 laser cut steel diamond frames with windows that open and close. The only way to enter and exit is by way of a 50 foot ladder. To experience this outdoor genius living it costs $557 per night through Air bnb.

Designed by Chris Hanley & Tomas Osinisk

Designed by O2 TreeHouse

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The Invisible house

The Invisible House located in Joshua Tree, California. The residence is designed by architect Tomas Orsinski and film producer Chris Hanley. The massive home is currently on the market for $18m. This hidden gem is 5,500 square foot and 22 stories long!

With three king sized suites and 5 bathrooms, it also has a 100 ft. swimming pool. The home has been used to shoot films and for Air bnb rentals as well.

The property is situated on 67 acres of land, bordering national parkland and a tortoise reserve.

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Luiz Ro cha

Luiz Rocha posing in front of several of his favorite pieces.

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Photo: Paulina Lara

Finding Inspiration In Every Brushstroke “Each brushstroke made by the artist contains a part of thier emotions, making each artwork unique.”

L

uiz Rocha is an emerging abstract artist that draws inspiration from his surroundings, memories, and emotions to create esthetically abstract art that provokes thought and complements any living space.

Originally from Brazil, Luiz has been living in Monterrey, Mexico, for over nine years and has been creating art since his childhood. He initially pursued a career in technology but returned to his passion for art in 2019.

Luiz primarily uses acrylic paints to express himself and experiment with different styles, but he also enjoys creating other forms of art such as furniture design. He believes in continually learning and evolving as an artist while staying true to his unique style and inner voice.

With his art, Luiz aims to convey the emotional connection between the artist and the subject matter, reminding us that “the art of brushstrokes lies within each and every one of us.”

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Marine Marvels Animals Collectionn, 2022.

Marine Marvels is a wild explosion of marine life, featuring a psychedelic world of vibrant colors and bizarre creatures. The artwork is a trippy journey through the ocean depths, where the laws of physics and nature are suspended, and the impossible becomes possible. This crazy masterpiece will take you on an unforgettable adventure through a world of pure imagination.

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Sunny Marlin Seas, 2022.

Animals Collection, 2022.

Sunny Marlin Seas is a mesmerizing artwork that if you look deep you will see a majestic marlin fish jumping out of the ocean waves, beautifully blended into the surrounding environment. The light purple background creates a serene and peaceful atmosphere, providing a sense of freedom and space.

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Whale and Bird Bliss Animal Collection, 2022.

Whale and Bird Bliss is a captivating artwork that captures the essence of freedom in nature. The artwork tries to express a magnificent whale and a vibrant bird, both portrayed with great detail and color using a splash of acrylic. The whale, depicted in soft shades of blue, gracefully glides through the ocean, while the bird perched on its head is rendered in bold, bright colors, radiating energy and vitality. Whale and Bird Bliss is a beautiful expression of the freedom and harmony that exists between animals and their natural environment, inviting the viewer to connect with the majesty of nature.

Inova, Mar collection. 2021.

The artwork Inova is a stunning masterpiece that exhibits a unique blend of colors against a backdrop of vivid blue. The interplay of colors and patterns is mesmerizing, evoking a sense of surrealism and wonder. The blue background provides a sense of depth and space, giving the viewer a feeling of being transported to another world. Inova is a beautiful expression of the limitless possibilities of art, inviting the viewer to contemplate the beauty and mystery of the universe.

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Interview with Luiz Rocha I’m glad we finally get the opportunity to connect! Tell me about yourself and your interests.

Hello! My name is Luiz, and I’m originally from Joinville, a town in the south of Brazil known for its vibrant culture. In the 1970s, it was also known as the ‘city of bicycles’ because many workers would commute to work by bike. After living in several different places throughout Brazil, including Curitiba, Blumenau, and Rio de Janeiro, I’ve been living in Monterrey, Mexico, for over nine years now.

Although I initially came to Monterrey because of my father’s job and had never been to Mexico, I quickly fell in love with the people and the city. After my family eventually returned to Brazil, I decided to stay and create my own community here.

Professionally, I have a background in technology, but I’ve always had a passion for creating, which has led me to develop my skills as an emerging abstract artist.

Drawing inspiration from renowned artists of the 1990s, such as Cy Twombly, Robert Rauschenberg, and others, my unique style and vision are inspired by my surroundings, memories, and emotions. In addition to painting, I enjoy outdoor sports like mountain biking and hiking, as they help me clear my mind and find inspiration. Painting remains my primary creative outlet, and I use acrylic paints to express myself and experiment with different styles. Beyond painting, I enjoy creating all kinds of things - from woodworking to digital art. I find inspiration in everything around me and am always excited to explore new creative endeavors.

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When did your journey in art begin?

My art journey began in my childhood when I was in school.

My favorite class was always art because it let my mind flow without overthinking. Over the years, my interest in technology grew, but my creative spirit remained. Even while working in IT, I participated in the art world as a Director of Creation in a clothing brand called SSENSES, which I co-founded. The brand was inspired by all human senses, and each shirt design aimed to evoke a different feeling. However, we eventually sold the brand. In 2019, I returned to the world of art as a painter, allowing my emotions to take shape on the canvas. It has been a fulfilling journey to express myself through art once again.

What is your medium of art?

How did you learn that medium?

My current medium of art is acrylic paint. I am self-taught and have learned through trial and error. However, I am currently working on some projects involving new techniques and mediums, which I am excited to share with you soon.

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Photo: Paulina Lara

Outside of painting, do you create other forms of art?

Absolutely! Besides painting, I also enjoy creating and designing my own furniture, although it is something I have yet to commercialize. Additionally, I’m considering designing my own clothing and jewelry brand. I have some sketches and ideas that I have tested, but my current focus is on my artwork. In the future, I plan to explore these other forms of art and share them with everyone.

I understand you are going to be taking part in an art show. Is it your first show? Tell me about it. What importance/significance does this exhibition hold for you?

That’s correct. I am thrilled to announce that I will be participating in an upcoming art show in partnership with a reputable art gallery based in Monterrey, Mexico. Although the exact location of the show cannot be unveiled yet, it is scheduled to take place in Q3/2023. This will be my first time showcasing my artwork publicly, and I am very excited about the opportunity. I see this as a chance to receive constructive feedback on my work and to gain exposure among art enthusiasts. It is an honor to be able to share my art with others and I hope to make a meaningful impact with my work at the show. Additionally, I am excited to be partnering with Octarin.mx, a website that promotes emerging artists from Mexico and other cities in Latin America. I am looking forward to this unique opportunity to showcase my art and to contribute to the vibrant artistic community in Mexico and beyond.

Is there anything else you want people to know about the upcoming exhibition?

Yes, there is one more thing that I would like people to know about the upcoming exhibition. I am excited to announce that I will be showcasing some special pieces that I have been working on for a while, which I believe will offer a unique perspective on my artistic vision and style. In addition, I will be displaying a large-scale of artworks that represent a range of themes and mediums, which I hope will resonate with visitors and spark conversations about art and culture. Once all the information about the exhibition is available, I will be sharing it on my social media networks, so stay tuned for more updates. Overall, I am looking forward to this exciting opportunity to showcase my artwork and to connect with fellow artists and art enthusiasts.

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What is a piece of advice you received that has helped you advance in your art career?

One piece of advice that has helped me advance in my art career is never to stop learning and exploring but to always stay true to my unique style and emotions. I have found that participating in exhibitions, attending workshops and conferences, and reading books and articles about art have allowed me to continually improve and evolve as an artist.

However, it is also important to stay true to oneself and not get too caught up in trends or the opinions of others. Ultimately, art is a personal expression, and it should always be true to the artist’s inner voice.

Lastly, are there any final thoughts you would like to close out on?

I would like to share some words of wisdom to encourage those who have never tried painting: “Painting is a mix of emotions, and the art of brushstrokes lies within each and every one of us.” This phrase expresses that painting is not just about technical skill but also about the emotional connection that the artist has with 39 | Breaking the Mold

the subject matter. Each brushstroke made by the artist contains a part of their emotions, making each artwork unique. If you’re afraid of not succeeding, remember that even if not everyone can feel the emotion you tried to express, some will, and that is what truly matters.

As for my future plans, I aim to continue improving and sharing my art with the world by holding exhibitions in Mexico, Brazil, and the USA. We also have an upcoming international exhibition in NYC, although the date has yet to be defined.

To support me, you can follow me on Instagram. If you’re interested, feel free to reach out to me to purchase my art.

Even if we don’t end up making a deal, we can have a great conversation, and you’ll gain a new friend from Brazil.

sensational classic album covers For decades, album cover art has been a solid representation of visual symbolism throughout the music industry. The best Album covers plant a seed, tell a story, and drop gems as to what the listener can expect to hear.

But there are other times the covers have absolutely no relation to the music or its contents— making it completely irrelevant yet adding a creative twist to make it all the better.

Album Covers from The Beatles’ Revolver to Snoopdogg’s iconic Doggystyle, have the power to transport us back in time and leave a lasting impression on the psyche. They can perfectly complement the music on the album and visually capture the artist’s message. These covers below capture the essence of ambiguity and creativity making them forever iconic.

70s

Pink Floyd’s, The Dark Side of the Moon released March 1, 1973.

David Bowie’s, Aladdin Sane released April 19, 1973

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80ss 80 Cyndi Lauper, “She’s So Unusual” album cover was released October 14, 1983.

De La Soul’s, “3 Feet and Rising” album, released on March 3, 1989

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90ss 90 Snoop Dogg’s, “Doggystyle” was released in November 23, 1993.

ODB’s, Return to the 36 Chambers: The Dirty Version, on March 28, 1995

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Jose

This mural of Gigregorio’s is titled Sonder, it was completed back in 2019. And yet it is still stunning and vibrant.

Photo: Eddie Walker

Digregorio

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Jose loves to incorporate universal elements in his murals, but Jose equally implements geometric lines & patterns.

Photo: Eddie Walker 45 | Breaking the Mold

exploring the cosmos through art with

J

jose digregorio

ose Di Gregorio is a visual artist based in Sacramento, California— whose work is nothing short of extraordinary. His artistic journey began in his mid-twenties as a skateboarder in the 80s, where he was drawn to skate deck art, hardcore, and metal album covers.

Over the years, Digregorio has developed a unique style that features intricate geometric patterns and cosmic elements. Jose’s sublime art is a result of his interest in Neo-Futurist and Visionary art aesthetics.

In this one-on-one interview, Jose shares his creative process and inspiration behind his murals, which are inspired by the idea of personal existentialism and transcendence from banal modernity. Jose also discusses his unique path to becoming a full-time artist and offers simple yet insightful advice for aspiring artists looking to follow in his footsteps.

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dialogue with jose I’ve seen your extraordinary art around Sacramento for quite some time now, so it’s an honor to interview you. Please share with the readers about yourself.

Thank you so much for the kind words. My name is Jose Di Gregorio, and I’m a visual artist living in Sacramento. I work back and forth between murals and paintings. I feel pretty youthful most of the time. But I’m also sore and tired some of the time. I’m a proud papa to two rad daughters, Alma and Olivia. They are my universe.

Where and when did your journey begin in art?

I was a child of Puerto Rican/Argentinean parents in a very poor social-economic environment, and grew up in a house that didn’t know how to access art. I simply did not connect art as part of any community cultural fabric. That in mind, as a skateboarder in the 80’s, I was drawn to skate deck art, as well as hardcore and metal albums. That shaped my interest in the ‘weird’, and cultivated my sensibilities toward living life more creatively. I was 25 when I devoted my livelihood to art making.

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What would you say your style is?

What attracted you to your style?

Neo-Futurist and Visionary art aesthetics resonate with me. I’d increasingly been drawn to the process of repetition, whether it was the early physicality of charcoal and graphite hatch strikes on plywood (early 2000’s), or big, cumbersome drip paintings (early-late 2000’s), or geometric line structures (late 2000’s-today).

For majority of your murals the subject matter features complex structures. What’s the inspiration behind these ideas?

On its surface, I like how line repetition takes shape and creates richer forms. That through a simple, meditative sequence of pattern work we come up with complex structures.

All I’m doing is drawing a similar line over and over and over, until it becomes something else. One line drawn is a keyboard stroke. A flurry of lines in palinoptic sequence is a symphony.

Do the geometric patterns intentionally symbolize and convey a meaning?

I’m not going hard for meaning, but generally one way I can look at it is in the idea of our own personal existentialism or transcendence from our life in banal modernity.

I’m attracted to the idea of leaving our immediate state of mind when in front of the work to reflect on larger themes of ‘Who Is Me/Who Am Can you walk me through how you construct and execute these intricate structures during the mural process?

I start with a black base coat, then immediately followed by spraying either a color prism or a series of nebulae clouds. Often I don’t have a rigid color layout, more just a ‘feel’ for the space. I’ll consider what the negative space is doing, etc. Depending on the layout of a wall, I’ll determine what type of pattern structure I want to see.

The process itself is to use long straight edges that help measure and then draw the lines using bold paint markers. It’s a layered process, for sure.

I understand you have two shows coming up in May and June. Please inform the readers about the detail of the upcoming events.

May 5 solo show at Madsen Gallery (@apmadsengallery) in Los Altos, CA titled ‘Anastomosis’. 25+ new works June solo show at Sol Collective (@ solcollective) in Sacramento, CA titled ‘Metempsychosis’, which is in conjunction with a rad grant I received for the Del Rio Trail Project through the Sacramento Office of Arts + Culture. 25+ new works I also have a show July 29th at Threyda Gallery (@threyda) in Denver, CO titled ‘Mystic Mirage’ ‘How does Anastomosis’ and ‘Metempsychosis’ relate to your art and own experience?

Anastomosis is an ongoing exploration of the line structure that branches out and diverges generally from a core. Metempsychosis is a transmigration of the soul after death. Both have unique connotations, and with each respective body of work the aesthetic and process will be distinct. Metempsychosis will utilize discarded, deteriorated wood found on the Del Rio Trail, and approached in more organic line sequences. Anastomosis is a continuation of my survey of perfect symmetry/asymmetry.

What were some of the major events you remember that led to your prolific art career today?

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Oh man, I mean what shifted my focus into art-making as a facet of leading a creative life was a leg injury in 1998 that forced me to rethink what my identity was. From there I committed myself to it entirely. It’s a ‘grind’ for sure to go morning til night all the time. ALL THE TIME. But I go with as much gratitude as I can.

What advice would you give to someone looking to follow in your footsteps?

Practice for 10,000+ hours. Express gratitude to everyone in your orbit.

Do what you can, if you can, to avoid avoidable debt and remain frugal and resourceful. Make your art your entire livelihood and be confident in yourself. You can do it, my friend!! Remain courageous.

What is your mantra for 2023?

It’s likely the same as many other readers, which is ‘Life Is So Strange’. I say this all day, every day. I’ll admittedly also say ‘We Are All So Fucked’. I mean, so many people struggle to live in this hyper-capitalistic boring dystopia, so it kinda helps me to try and be more tender toward others.

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Any final thoughts you would like to share with the readers?

One million thank you’s to all of you for reading this. I’m trying to limit my social media intake, for my own mental health. That in mind I’ll always do what I can when I can to support the community and to ride this weird bus with you. In the future I oscillate between wanting to shoestring travel the rest of my life, or just chillin in a little black metal cottage somewhere in Sweden.

One step at a time for Jose Digregorio.

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“I am most proud of continuing my search of self through the medium of clay.”

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All smiles as Patricia poses with a few of the many sculptures she’s completed.

Cultural Fusion in Clay:

The works of Patricia Kelly

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ccumulating unforgettable memories and experiences from her journeys abroad Patricia Kelly has had the opportunity to live in Germany and Malaysia —also traveling to Bali, Thailand, Singapore, Mumbai, and Japan.

During her time in these countries the cultural aesthetics of patterns and designs peaked Patricia’s interest. Eventually Patricia would return to the United States to further her education in art, receiving a degree in Single Subject teaching credential in Art. Patricia’s journey in art began as a little girl, her mother had a Bachelor of Fine Arts and frequently created art that lived on the walls of her childhood home. “As a young child, we visited the Louvre in Paris. My mother told me I could not take my eyes off The Venus de Milo statue and I think that’s where my love of art began and 52

my journey grew. So many segments of time, experiences of the past, memories, impressions, all have shaped my art journey.”

These days Patricia’s preferred medium is clay. Utilizing B mix clay Patricia creates sculptures that take on unique forms and include various elements. “Recently I have been experimenting with adding other art media; fabric, spray paint, paint sticks, watercolor crayons, wood or finding other objects that may work, but it has to be the “right mix” and I am picky or have a good-eye!” Says Patricia.

Patricia’s extensive art career and passion for creativity has taught her that art and life integrate perfect life lessons into her everyday life. As Patricia reflects it’s a process where you are always learning something new, changing, rearranging, destroying and rebuilding. It’s made me be more flexible in my approach and not close myself off to new ideas. It’s helped me become a better person.

Patricia Kelly creating using B-mix clay.

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Shaman

Spirit Healers, inspired by the rural people from the country sides of Southeast Asia.

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Inside the life of Patricia Kelly Goodness, where do I start! I’ve been around the block, for sure. My life is definitely full of living in various environments, hearing different languages and dialects, and experiencing a multitude of cultures. Memories of Germany are magical, and Texas, well, that’s where my drawl happened. Then we moved to Placerville, CA where middle and high school experiences played out in their own ways. As a young adult Sacramento was home. I worked and went to Sacramento City College and at CSUS got my graduate degree in Art. I met and married my husband, who wanted a degree to teach English as a Second Language, so we moved to Illinois.

With degree in hand we set off to Malaysia with our first son, where he would teach English. I was left to my own devices. Malaysia was richly mixed with Chinese and Buddhism, Malay Muslims, and Hindu Indians. I boiled the water daily, I had my second son, and went to wonderful outdoors markets for fresh tropical fruits and meat. Our housekeeper, Pushba, would sometimes make us an Indian curry, which was to die for, especially when eaten with freshly made chapati or roti. To repay her I bought her chicken meat from the market and then she asked me if I had a nail and charcoal as she had to pass by a cemetery and did not want the spirits to rob the meat of its taste. When my oldest son heard the yell of “Ta…fu…fa”, he knew the street seller would soon be at our gate with a sweet and cold refreshing soy milk drink, a favorite.

Chinese New Year celebrations were firecracker loud, complete with dancing dragons to oust the demons from the neighbor’s homes, and twice a day we heard the call to prayer from the mosques. We were lucky to be able to travel and went on many adventures. Travel was cheap. Some of our journeys were eye openers, scary, romantic and/or exotic.

We traveled by boat to a remote island off Malaysia where no cars were on the island, to Bali where we were delighted by dancers in brightly colored outfits dancing to the beat of gamelan music, Jakarta, Thailand with temples glistening gold in the bright sunlight, and ate fresh shrimp in the middle of nowhere, and Singapore, with crocodile pits, tiger balm, and very clean sidewalks. We always wanted to go to India and planned a two week trip. In Bombay, now Mumbai, mothers sent their children to beg and called me “mama”.

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Streets were congested with Tutup’s, taxi’s, carts, and the sacred cows. Everyone seemed to know the traffic rules, and horns honked at every turn. To see the beautiful red sandstone palace in Jaipur, the palace walls adorned with figures carved in exotic poses, intricately carved patterns was moving. So much richness, and we were so lucky to have been able to go to Kashmir even with the military presence at that time.

Malaysia was our jumpstart to Japan and Nakajo-machi, a very small town in rural Japan, was our introduction. While my husband worked at the American University I was surrounded by Oba-chan’s (grandmother’s) who were delighted to help care for me and my children and get me started on a journey I will never forget. I get teary-eyed just thinking about all the love and care we were surrounded by.

My youngest son and I went mushroom, warabi (fiddlehead fern) and cricket hunting in the forest and learned how to make and wrap sasa dango on the tatami floor in old traditional Japanese houses. Knowing my interest in art, they introduced me to a master calligraphy teacher, where once a week, we’d gather and sit on our haunches copying the ancient works from what the master had set before us. I was honored to be in a large exhibit amongst the master’s. I taught an Introduction to Art course for a semester at the University. To promote the “Inaka”, rural countryside, students from the big cities came to study and learn English.

After two years my husband had an itch to teach in a Japanese university. He landed a job in Matsue, an old castle town along the Japan seaside. My sons went to the local Japanese kindergarten. I spent hours trying to translate messages sent home from school and worked hard to learn words and mix with the people to be able to help my kids and know what was going on. It was a challenge for sure.

Then came Tokyo and working in a Japanese Jr./Sr. high school teaching English. My son’s went to the attached elementary school and wore uniforms. This was very much a learning experience and I had to learn to conform. I felt like I always had to adjust and readjust amidst the hustle and bustle of Tokyo, until one day, eleven years later, we knew it was time to return to the U.S. I went back to school for my Single Subject teaching credential in Art. I did a stint teaching Art for Teachers and University supervision of student teachers when the art 56

department needed an instructor. Then I landed a job at Sacramento Country Day School where I taught art for thirteen years. I developed the ceramics program and purchased a state of the art kiln, taught middle and high school studio and AP art, produced a Renaissance fair, helped students create an annual 70 foot chalk mural, and put up art anywhere I could find an empty wall.

I loved these events as they brought together families, different disciplines, and created a sense of community at the school. There was no script or lesson plans to follow, so I developed my own and guided students through the process in many art mediums: watercolors, printmaking, ceramics, silk painting, to name a few, and yes, color mixing and clay. It was a good gig and I was lucky to have access to lots of art supplies.

After I retired I developed art projects for Seniors with disabilities in Midtown as a part of the Creative Art League outreach, created art camps at my home for my grandkids, introduced them to clay, and will soon be taking them to the Crocker Art Museum!

Maiko, 2023.

A young Japanese apprentice, before becoming a geisha.

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When did your journey in art begin?

My mother had a B.F.A. degree.

Her figure drawings and surreal paintings hung on the wall of our home and we were always exposed to art. As a young child, we visited the Louvre in Paris. My mother told me I could not take my eyes off “The Venus de Milo” statue and I think that’s where my love of art began and my journey grew. So many segments of time, experiences of the past, memories, impressions, all have shaped my art journey.

At what point in time did you realize that art would become more than a hobby?

For me, art has never been a hobby. I feel quite fortunate to have studied with some of the greats . At Sacramento City College, I studied with Laureen Landau and Larry Weldon. We had to make color wheels, which I absolutely hated, but I did learn a lot about color mixing, art materials, techniques, and design.

When I attended California State University, Sacramento the art faculty was diverse and of high quality and this is where I felt the most connected. I studied painting with Oliver Jackson, who had a profound influence on my work ethic and pushed me to go further. I studied with some dynamic women artists; Joan Moment, Ellen Van Fleet, and Elaine O’Brien (art history) who were not only important role models, but also were intelligent and inspiring women who opened my world to other women in the field. Classes with Stephen Kaltenbach and Phil Hitchcock informed me and introduced me to the world of sculpture and contemporary artists.

I was fortunate to be asked to go on an exchange to the Chicago Art Institute for a semester. I did a lot of collage work using found objects from where I lived. I had free access to the attached art museum and felt like I could never get enough. This along with the Field Museum were my favorite spots. It wasn’t until much later in my career, when I was working on my teaching credential that I was reintroduced to clay.

It was great to learn how to throw on a kick wheel in Bob Brady’s classes. One day several years ago on the Placer Art tour, some friends and I found out about a place called Building A/The Temple, a place where a ceramist named Anthony Maki-Gill creates, and each Saturday I go to this wonderful enclave to create in clay. I feel so privileged and honored to work in his space with Anthony’s influence, knowledge and skills and am forever indebted to his teachings. I love the sense of community at the Temple, and the sharing and discussion of ideas. This connection has been invaluable.

While I never thought I’d be inclined to work with the earth as my medium, here I am and I love it. I love the feel of clay, the squish of it. I love molding and shaping it and allowing it to speak to me to inform me of where it wants to go and where I finally end up.

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What is your medium of art. What materials do you use to create your sculptures.

Right now, my medium is clay. I’ve tried several clay bodies, but I am drawn to B-mix paper clay. I like the feel of this clay and it is conducive for what I am sculpting. I typically apply underglaze or Mason stains with some additions of other glazes. I like wiping the underglazes to expose the textures and marks of my fingers. You can imprint almost anything into clay: buttons, lace, gears, chopsticks, overlaying one on top of the other to create other textures. I tried mono printing and want to do more, there’s always more! When firing work in the kiln there are so many variables. When the kiln is cool enough and the glaze reveal happens, I am either very happy, pleasantly surprised, or know it’s back to the drawing board. Recently I have been experimenting with adding other art media; fabric, spray paint, paint sticks, watercolor crayons, wood or finding other objects that may work, but it has to be the “right mix” and I am picky or have a good-eye!

What are the cultural influences behind your art?

As I said before the places I’ve lived and experiences I’ve had are definite influences. I am definitely drawn to designs and patterns found in cultures. For no specific reason or knowing why, I started using a tool to create small triangles and became using a tool to create small triangles and became really obsessed developing triangular patterns.

The colors and patterns I use are reminiscent of those found in Aboriginal, African, and Native American art. I feel I am going through a transitional phase with my work,. Sometimes ideas for a piece comes from my subconscious. I just start creating and see where it takes me. Other times I have an idea I want to try. I research something specific and do drawings. Recently I’ve been looking at Japanese kimonos and obi’s. I am 50% Norweigian and am looking at Runes and Viking symbols. I’ve tried a few sculptures, but this idea is very new. I am excited and curious to see where it may lead. Daily mediation keeps me focused and keeps me in touch with my mind, body and spirit. This practice also give impetus to images and the constant search for myself.

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Have you won any awards or received any reviews by known critics for your art? What is your proudest accomplishment thus far?

I’ve received Honorable mentions for several of my sculptures and took second place in Bold Expressions at the Sacramento Art Center, which also sold!

I did a series of pieces as a commission, which was challenging, but I certainly learned a lot through it all. I’ve sold quite a few pieces as well. I was honored to be included in the National Council on Education for the Ceramic Arts virtual exhibit in Sonoma. I am most proud of continuing my search of self through the medium of clay.

How has creating art translated into your everyday life?

It’s like life. It’s a process where you are always learning something new, changing and rearranging, destroying and rebuilding. It’s made me be more flexible in my approach and not close myself off to new ideas. It’s helped me become a better person.

Amidst all the successes you have accomplished in your career, in your opinion, what are the most important qualities an artist should possess to be successful?

I’m not too keen on the word “should”, as each person has their own needs and sometimes you get lucky or are at the right place and the right time, but it is important to explore ways to connect and post your work on social media, enter art shows, sign up for workshops, share with other artists, and others who are of a like mind and others who aren’t. Explore ways to expand your skills and techniques, work consistently and reflect on your process and keep a journal of ideas for future work. Try to say “Yes”, as much as possible. It also helps to go for walks to clear your head.

What is your mantra for 2023?

Keep taking risks, and let the work flow.

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Any final thoughts you would like to express?

Artist’s have to work on many different levels: photographing work, social media posts, entering juried shows, upping skills, and many more. It’s always a good feeling to sell my work. If you or anyone is interested in a piece I have many pieces available. They can be viewed on Instagram: patriciakellypk or contact me at pakbred@gmail.com. Thanks to my family and friends for their continued support. I am very thankful to have been given the opportunity to be represented in Epiphany.

Wedding Tower, 2023.

Blanket, 2023.

Colorful and silver, like the moon, a symbol of femininity and motherhood.

The blanket envelops and wraps to comfort.

It shows gratitude to others.

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Patricia, creating with clay the PK way.

Photo: Eddie Walker

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CREATE YOUR REALITY

The future is not some place we are going, but one we are creating. The paths are not to be found, but made. And the activity of making them

” -John Schaar