Journal of Creative Arts & Minds, Vol. 5 No. 1 – Summer 2019

JCAM, Vol. 5, No. 1

Journal of Creative Arts and Minds Published by

Margie Labadie, President John Antoine Labadie, Senior Editor & Chief Graphic Designer Larry Arnold, Board Member

Electronic Links https://www.facebook.com/JournalofCreativeArtsandMinds http://www.jumboartsinternational.org jcam.jal@gmail.com

Jumbo Arts International Contact Information 217 South Edinborough St. Red Springs, North Carolina USA 28377-1233 01.910.734.3223 Editorial – John Antoine Labadie & Margie Labadie Design – The JCAM Team of Jumbo Arts International

The Journal of Creative Arts and Minds is a publication of Jumbo Arts International.

This electronic publication is free. The views and opinions expressed in this publication do not necessarily represent those of the publisher.

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Summer 2019 – Vol. 5, No. 1 An Original Publication of Jumbo Arts International Red Springs, North Carolina, USA 978-0-9965432-9-3 / ISSN: Pending

Jumbo Arts International 2019

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Summer 2019 – Vol. 5, No. 1 TABLE OF CONTENTS President’s Message – 8 Editor’s Message – 10 VISUAL ARTISTS Manish Chavda – 15 Jo Hoyle – 44 Mark Anthony – 59 Jill Eberle – 69 Taufik Rahman – 84 Chris Panatier – 95

FINAL WORD – 111 INFORMATION FOR SUBMITTERS – 112

Front and Back Covers by Chris Panatier

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President's Message Resilience. The capacity to recover. Resilience in Nature allows bare stems to bring forth leaves when rain comes after a long drought. Resilience gives migrating birds the ability to fly half way around the world, and still find their way back again.

In humankind, resilience is what we wish for after difficult times; even the worst of times. Resilience is losing a loved one in a rain of bullets and joining a movement to stop gun violence in spite of grief. Resilience is finding justice in a new homeland after crossing a desert on foot. We must all be resilient and go on with Life, no matter what it brings. Resilience is the hope of better things to come, of continuation, of newness and beauty. And that is the theme of this Publisher’s message.

Our creative team is small, but passionate. We as volunteers get a lot done. Our ability to be resilient has been tested many times since we began the JCAM. But this summer brought death upon death to our lives. People we loved both far and near. People we counted on, learned from, admired. And all were too young, and their deaths too tragic to understand. A brother. A professor. A student. A Futurist. A healer.

So it is with our apologies, that this issue of the JCAM comes to you later than normal. Our capacity to heal has taken us on a longer than expected journey. But we, along with the artists in this issue, have each found ways to be creative and to be resilient. Sharing varied perspectives helps us remember the good things we are all capable of doing. And we get more than we give each time we publish an issue of the JCAM.

As I always say, “art makes the world a better place.” Read on!

Margie Labadie JCAM Publisher & President, Jumbo Arts International

Red Springs, North Carolina, USA jumboartsinternational@gmail.com

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Margie Labadie “Dreams Of Immigrant Children” / Digital Artwork

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Summer 2019 A Message from the Senior Editor

With every new issue of the JCAM we learn many new things. Some of our learnings are worth passing along to readers.

For example, it may be elucidating for potential submitters to understand what we see as the most common issue with submissions. But first let’s look at the process we go through with each submitter.

Most often when we receive a request to submit visual art or creative writing it is when we have been put in contact with an individual through a reference by a previously published artist/writer, or through a connection with a trusted colleague.

At other times one of the editorial staff or an advisor to Jumbo Arts International provides a referral.

However this initial contact is made, one of our staff will reach out with information about the JCAM and our editorial process. We have a series of documents which outlines the steps which all submitters are asked to follow. Most of these conversations are through either email or social media. However we begin the conversations, we can almost always work out some way to communicate effectively. Persistence is the key!

Finally, here is the #1 reason we end up not publishing a vetted submission: The poor quality of image files. Although one of our documents for submitters carefully details what is needed to assure a quality image in our online publication, we cannot control the digital files sent to us. We hope all future submitters will heed our advice in this regard, as one of our goals is to have everyone we work with look as good as possible in each of our publications.

Please let us know what we can to to assist.

Best, John Antoine Labadie

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John Antoine Labadie / “Solid Geometry-Exploded Sphere 29” / Tradigital image

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Manish Chavda JCAM: What is your professional name?

MC: My professional name (alias) is Muraar. I sign my canvasses by the name Muraar, although I am also known in the Art field by the name of Manish Chavda.

Muraar is one of the names of Hindu deity - Lord Krishna. Due to my inclination towards spirituality, I believe that whatever we do is possible only with the help of that ultimate energy (of the Lord). Hence we should dedicate all our deeds and their results at the feet of the God, because in fact everything is done by Him only, and we are only a medium (for carrying out his wishes). The name Muraar has been given to me by my Spiritual Guide - Swami Shri Prakashanandji Maharaj. Hence it is my professional name too.

JCAM: Where were you born and does that place still influence you?

MC: I was born in Jamnagar – a small city in the state of Gujarat. Yes, in spite of being a small city, Jamnagar influences me a lot. I am influenced by its people, its environment and the characteristic of its people to be of help to one-another without any selfishness. I am specially influenced – by its Ranmal Lake, which is also famous by the name of Lakhota Lake, by the flocks of birds in the vicinity of the Lake. In the evening one can hardly know from where all these birds come from so suddenly!

The sky gets filled-up with thousands of these birds. Thousands of parrots and their sweet sound of “Tau Tau” together with ever new kinds of birds and their melodious songs echoing in the ears create the feeling of Divine Ecstasy. Especially the migratory birds visiting Jamnagar as guests are like Feather in the Cap. Any sensitive person and that too an artist can hardly remain unaffected by such a beautiful and mesmerizing environment. Probably the birds that are drawn in my pictures only go to prove that my life too has not remained unaffected by those uncanny memories, and probably will continue to haunt me throughout my life and I will continue to be mesmerized by them.

JCAM: Where do you live now and how does that place influence you?

MC: Presently I am living in the famous city of Ahmedabad of Gujarat State.

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In fact it is difficult to say if I am influenced by this city. Yes, of course I was quite impressed by this city when I had come to this city to pursue my studies in Fine Arts; because then I was carrying the sweet dream of becoming an artist in my life. There was a passion, an enthusiasm and an ambition to fulfill that dream. Together with it was the unforgettable struggle to attain it.

Since I was born in an ordinary family, hardly did anyone in my family know that there could also be higher studies in the field of Fine Arts! For them the field of fine arts was just wastage of time. And then even before joining the higher studies in Fine Arts, I was already doing the work of a professional painter. Making sign boards, number plates, hoardings [billboards], etc., to help my family financially.

My family members thought that if I went out of the city to pursue a long five year degree course in Fine Arts, it would mean that a source of income for my family will almost be closed, which would directly affect my family adversely. As a result my family members and especially may father insisted that I should not go anywhere to pursue this course. My father vehemently opposed my intention to pursue course in Fine Arts to such an extent that he would not give a single paisa to me for this study and any maintenance cost for going and staying in Ahmedabad. He bluntly refused to help me.

But my strong inclination and devotion towards Fine Arts and my confidence in it grew stronger and his harsh decision also could not alter my decision. As a result I had to go to Ahmedabad for my studies without any help from him. But whatever little experience I had in painting came to me as a help in earning some money side by side by doing some commercial work.

Hence with the money earned through working after studies and with the financial help coming from by spiritual Guide, I was finally able to complete the long five year course in Fine Arts. And yes, because of my firm decision and looking at all the hard work that I put in attaining it, my father was also impressed, or for no idea for whatever other reason, my father’s strong opposition also softened over the time and he too helped me with whatever means he had. This indeed is the love of a father. Parents’ disappointment is short lived, and then their affection for their children definitely reawakens. So amidst all such struggles I came down to Ahmedabad for my studies in Fine Arts. I was very much impressed by Ahmedabad then, because I had come from a small city to a big city; there were new colleagues and friends, an environment of Fine Arts all around, and all seemed so good!

Even now, my coming to Ahmedabad was because I wanted my Art and my place in the field of Fine Arts to attain new heights. I had to come to Ahmedabad as it was a big city, where exhibitions of new Artists are organized on a regular basis. Many other activities related to Fine Arts are always going on here. Here I can meet my fans, call them to my studio to show them my paintings.

In short, the only reason to come to this city was to expand my horizon. I love this city as it is here that I have been able to develop my Art through higher studies in this field.

But in today’s fast life style, amidst life in mega cities with more and more professional

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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people around, living has become a bit difficult for me. But yes, there is a class of people, in whose hearts there is sensitivity for me …. I think it will take time, but gradually I too will become one with the life and lifestyle here!

JCAM: Do you have family, friends or fellow artists who support you in your work, life, and art making and how do they make a difference in your life?

MC: Yes, there always has been the grace of God in my life. Whenever I needed a particular person, the nature has always arranged for me to meet that person. Those persons too have helped me a lot. Hence, before answering this question, I would like to be excused as it will not be possible for me to answer in short. There are so many persons whose names can’t be avoided to be mentioned. Otherwise I will forever feel guilty of doing injustice to them. Their role and importance in my life can only be understood if I say something about them in great detail.

I will begin with my school-days. I have been painting right from the time I was in class 8 in the school. Although all children draw pictures, it was different for me. As I mentioned earlier, having been born in an ordinary family, earning money for family, not being a burden on them were two prime motives for me to start drawing/painting for earning from as early as when I was in class 8. I started working under a professional painter, whose name was Narendra Tamboli. While studying in the school, I started working with that painter after the school hours. I began learning all the aspects of the trade – going to paint board, preparing hoardings, constructing structures to climb up for painting posters, climbing up those structures and painting – all that a professional painter does.

But even while doing those things, my liking had been of painting pictures. Hence he used to provide me large drawing papers, pencils, colors, etc., and I used to make pictures of Hindu deities. I remember it until today that the first picture I made was of the Hindu deity - Shri Hanumanji.

After making those paintings, I used to put them up on my school’s notice board. My teachers were very pleased to see those paintings. Once it so happened that I had put up a painting drawn by me, in which I had shown Soordas (one of the greatest saints of Bharat) reciting a bhajan and Lord Shri Krishna listening to it with great concentration.

On seeing that painting, our school’s principal madam sent a message to my classteacher that she wanted to meet the student who had painted it. So I went to meet our principal and it was my first personal meeting with her. She enquired everything about me, my family, etc., and told me that she would call me again. Some days later she called me again and asked me if I could go with her to Himachal during the summer vacation. She told that there is an Ashram there of her reverent Guruji.

She wanted me to make some paintings there. I readily agreed but also insisted that she should talk to my family members. She asked me to call my father on the very next day. I took my father to meet her as decided. But my father denied me to go with her alone for about a month’s time. But I had a great liking of painting pictures from the very beginning and so I could not let this opportunity slip out from my hand. I persisted and took my grandfather on my side and insisted that he should get permission from my

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father to go there. “Let the child go,” he told to my father. What else was required? Plan to go to Himachal was choked out. But before that, in December 1993, I got the opportunity to meet the most important person in my life through our principal madam.

That great saintly person was none other than the Guruji of the Ashram where we were to go during the vacation.

The saintly person was seated in my principal’s home and from there he had asked me to bring my paintings and show them to him. I gladly showed him my paintings. On seeing my paintings he expressed his special love for me and blessed me. It was only because of him, his help and guidance that I was able to go to Ahmedabad for my training in Fine Arts. He only taught me how to live and what spirituality is. He initiated me and showed me the way to sit in meditation. Moreover it was he, who informed me that there exists a course in Fine Arts. I vividly remember today also what he had told on seeing my paintings, “Son, you are destined to be a great artist.” From then on until the present moment that saint has been my torchbearer, who has loved me more than my father and cared for me more than a son. He continues to bestow his blessings on me.

All small and big decisions in my life are taken after consulting him and taking his advice.

Thus the principal madam of my school is very important in my life because it was she who introduced me to the great saint – Shri Prakashanandji Maharaj, who gave a new shape and a new aim in my life. So I feel that my principal madam – Smt. Ansuyaben Gorecha is the most important person in my life, because from that day on she would take me to Himachal for many years at her expense. I painted innumerable paintings there. Beginning from1993, even today I go to the Ashram for a month or two and offer my services by painting pictures and writing Vedic hymns, shlokas (Verses) from Upanishads, etc. I have learnt how to live life and the art of living from there. My life has become pious by the blessings of that great saint and he has taught me the special art of living in this worldly life. Once my study in Fine Arts was over, I was in search of a person who could take my art creations to the people and present them in the rightful manner. With the blessings of my Guru I soon met Shri Vibhuraj Kapoor – the owner of Gallery Beyond in Mumbai. For a long time he looked after administration of all my works and was instrumental in getting me a special position in the world of Fine Arts.

But long before that, during my studies I got well acquainted with one of the well known artists of Gujarat. He came in the form of our teacher in the 4th and 5th year at our C. N. Vidyalaya. Had I not met him, my paintings could not have found the path of attaining a new dimension, they would not have blossomed the way they have. Whatever was being taught in the Arts College was very well known to me, but it was this teacher who explained me what is called an original painting. This teacher was inducted in the college just when I came in the 4th year. In this too I see the Divine’s Blessings on me.

The last two years in the college are considered to be very important because in these two years one has to paint and understand a picture in great detail. It was only from him that I learnt what ingredients should be present in a good piece of art work; what piece of art work can be termed as best.

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I learnt these special things from him. A very important change came about in my paintings thereafter. With great passion and enthusiasm I then learnt from him the minute things about paintings. I just did not learn, but caught the crux of paintings and assimilated them. Instead of having a teacher – student relationship, we went on to develop a very friendly relationship, and even today we continue to have the same friendly relationship. The name of the well-known painter is Nabibarus Mansuri, who is presently living in Gandhinagar – the Capital of Gujarat. He is a very good and well known painter.

Then a terrible incident happened in my life which saddened me a lot and I will never be able to forget it. But today when I look back, I feel that whatever happened was for the good. Actually after completing my graduation in Fine Arts, I further wanted to do post graduation from M.S. University and I had also applied for it. But I could not get admission there. This failure broke me down mentally and I went into depression for some time. For almost five months I did not paint a single picture. I felt that there must have been some short coming in my efforts in studies during graduation. I was not unhappy with those who did not give me admission, but with myself, my performance. I was so much surrounded by clouds of disappointment (under the influence of this failure) that the direct impact was on my health and I was caught up by both malaria and anemia.

Not getting admission in M.S. University left me so disappointed that its pain stole away my sleep. I was neither able to have proper sleep nor was I able to take sufficient food, because I had lost any liking for eating. I didn’t even feel like talking to anyone. In all these conditions I did not even realize that I was caught up by these two diseases because during those days I was staying in Ahmedabad in a hostel all alone. I was alone because all other colleagues and inmates of the hostel had gone to their respective homes on account of the Jain festival of Paryushan. So there was no one who could possibly look after me or my condition.

But during that time one of my friends from Jamnagar, who had come to Ahmedabad for some interview, came down to meet me and he saw in what critical condition I was. He took me with him to Jamnagar. Back in Jamnagar I slowly started gaining health and also started painting pictures. Then for a brief period of six months, I stayed in a small district town of Surendranagar in Gujarat for doing a course for Art Teacher. There too, staying in a small rented room, I continued painting pictures. It was here that I met Shri Vibhuraj Kapoorji, about whom I have mentioned earlier. It was he who helped my art to reach people at large. He was instrumental in establishing me as a good artist by providing me a special place in the world of Fine Arts. Not only this, he also helped me a lot financially like a father. His helping hand is still there with me. And I just cannot miss out mentioning my friends. An artist’s life is full of struggle. Hence it becomes very difficult and rare to face the struggle in absence of good friends.

Nilesh Chauhan, Vinod Chudasama, Pratik Kevalia and Alpesh Ganatra – all four of them have very important place in my life. They all have helped me at each step of my life – be it financially or mentally – they have always boosted my morale. Again as I

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have mentioned earlier, the outstanding feature of my life has been that I have always been blessed by Guru or God, in that whenever I needed help of a person, that person would definitely reach out to me at the beckoning of God. Soon Jamnagar seemed to be a small centre in context of Arts activities. So what to do?

Where do I go now? These questions started coming in my mind. Although my love and attraction towards Jamnagar continued to remain the same, from practical view-point it was more appropriate to shift to a bigger city in order to progress further in the world of Fine Arts. But the main problems were – Where to stay? How to manage? In Jamnagar at least there was home and studio, but how to manage things elsewhere? These and many such questions were puzzling my mind.

Just then I happened to meet one of the buyers of my paintings. At that time it was a routine that whenever I visited Ahmedabad, I would meet him, go to the gallery, have food together and talk about Fine Arts at length. He then asked me to explain in detail about Fine Arts, Artists, the world of Fine Arts, etc. He also wanted to know what and how about the professional dealings of the world of Arts. Which painting can be called the best and why? I tried to explain to him with whatever limited vision and understanding I had. I call it limited because there were many more things that could have been explained or said, but everything could not be said and explained at one go.

Just as the truth of life is understood gradually as the years go by, so is the case with Fine Arts.

Secondly, I could tell only that which can be told and explained about the external form; but how could I explain things that could be seen and understood by the sub-conscious mind? In short, he had great interest in Fine Arts from the beginning. But after we started meeting and discussing Arts, he told me that he wanted to do something in this field professionally. Thus we came together and became close. I was almost doing updown from Jamnagar to Ahmedabad, as a result we used to get less time for discussions. Sometimes the gap between two meetings also used to get longer. In order to overcome this difficulty, he said, “Why don’t you come to stay here in Ahmedabad?”

But I told him that I did not have any place to stay in Ahmedabad then, and that I will think over it later. At this, he arranged for my stay in one of his properties. At present too, we are running an Artist Residency in the name of Ekaant in the same property.

So, I and my wife Shikha have come here to stay in Ahmedabad. The name of this friend is Shri Hemang Bhatt, who has made significant progress in the business of real estate and that too at a very young age. He is very helpful and down-to-earth by nature.

It is only because of his helping nature that I have come and settled down in Ahmedabad. I have been fortunate enough to have a person whose contribution in my life has been very important, who has accepted me as I am and who is now my partner in my Art’s journey. Yes, - she is my wife – Shikha, who takes great care about me and yes, she too is a good painter herself. Although she has not undergone any formal training in Fine Arts, she paints good pictures. I had thought that if at all I marry, I will marry with a painter only. With the grace of God, He helped me meet with exactly the same type of a life partner for whom I was looking for. Although I used to meet Shikha

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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since many years, love between us blossomed up later and finally we got married.

No one else can possibly take care of me; she looks after my each and every need. If I am not able to complete a painting for a long time, she knows that I become mentally angry; and in such situations she knows very well how to behave with me. She knows how to take care of my studio, keep it well organized, discuss with me about the paintings, take good care of me in all good and bad circumstances and provide me with positive company. I am indeed very fortunate to have such a person as my life partner, who is so simple and who understands and helps me. I am very much grateful to the God for this.

In short, my parents have been very helpful to me more than their understanding and means. My father too helped me as much as he could amidst all his financial struggle.

My mother showered her love and blessings on me. Thus my friends, colleagues, teachers and all have helped me as per my needs as and when required – all at the behest of God. Gallery owner Shri Vibhuraj Kapoor took care of me like a father. A great saintly person showed me the right direction at an early age; otherwise I had not even known that there could be higher studies in the field of Fine Arts. Had my childhood friends not provided their cooperation at the right time, it would have been very difficult for me to reach this position in my journey of Fine Arts. All of them are very great for me, very special too. On the top of all, my wife’s cooperation has been very special, because she understood my good and bad behavior and stroked a balance between them and continued to cooperate with me.

I think that such incidents must be happening in everyone’s life, whether the person is an artist or otherwise. Each person must be having his or her own unique story. What is important is in what perspective we look at them. When I ponder over my past, I can see that the cooperation of my Guru, teachers, friends, parents, gallery owner, my wife, and many others have made my journey of Fine Arts very easy, my pursuit of Fine Arts has marched towards continuous progress. And therefore I will always remain obliged to all of them. Today I feel extremely elated when I write about the cooperation and help extended by all these persons in my life. I also feel proud to have met all these people having extra ordinary personality. And I always bow my head in front of the God, who has taken great care of this child of His. JCAM: When and how did you start making Art? MC: I do not exactly remember as to when I started making pictures, because I have been making pictures since very young age, probably from the time I was in standard 7 or even earlier. Probably, but I do not know. But from the time I started understanding things, I have found me drawing pictures, filling colors … yes!

The first drawing that could be called a picture that was drawn by me was of the Hindu Deity – Shri Hanumanji. Then on I used to make one or two pictures every day. As a matter of fact I was quite clever and thorough at studies initially, and I used to stand first or second in the class. But gradually I started enjoying painting pictures so much that I

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began concentrating all my attention in that activity and my liking for all other subjects started dwindling. By the time I reached standard 10, I had become very weak in my studies. Still I did not give up painting pictures. I was unaffected by constant criticism and scolding by my teachers at school and parents at home. I was simply engrossed in my passion. I used to make copies of posters on match boxes, paint pictures of male and female deities, great personalities, and all that I had liking for. And then till today, my relationship with paintings has continued to be a unique one. This journey will continue to remain forever in my life.

JCAM: Can you describe the time when you first realized that creating was something you absolutely had to do?

MC: Yes, I can definitely recall that. Just as I mentioned earlier, I used to go to a painter in my school-days. There I used to be an assistant to him. I would clean his brushes, colors, bowls, etc. I used to accompany him to paint sign-boards or large hoarding boards - along the road-side. My work was to give him colors and other necessary things whenever he asked for; and do all things he asked me to do. But whenever I saw him working, I would think, “What must he be getting out of this work? Some money only?” I could only think this much because I was very young then. But very deep in my mind I definitely had a feeling, “Was all these work just to earn money?” This thought used to pinch me, pain me. But still I would slowly make my paintings and also learn the professional work that he was doing. In a very short period, I started painting sign boards like a professional painter. I also started doing many other jobs of a professional painter.

Simultaneously I also started helping my father in his work. Helping my father was in this way - In those days manufacturing of a special type of a three-wheeler rickshaw popularly known as Chhakada was prevalent in our city and in neighboring towns. My father was doing this work. It used to be a very traditional three-wheeler, which looked very colorful. Various parts of this rickshaw were painted with different designs, colors, etc., for decorating it. Paintings of movie stars, famous people, Gandhiji, Shaheed Bhagatsinh, etc., were made on it. My father wanted me to learn to paint all these, which I learned very fast, because I liked to paint new pictures very much. My love for painting was so much that whosoever asked me to paint something, I would readily oblige and paint it, thereby learn it in the process. In the end, I started doing that work too, so that my father did not have to call anyone else for painting rickshaws. It was for this reason that my father had opposed my going to Ahmedabad for pursuing higher studies in Fine Arts. Because he thought that whatever I needed to learn for my work was already learnt by me and that there was nothing more to be learnt.

But I did not get any satisfaction from what I was doing. I used to feel that there is still more to be learnt, because there was not creativity involved in what I was doing.

Signboards had to be painted as per others’ instructions and for someone else! On rickshaws too, designs only had to be traced and filled with colors. Except for getting a little money, there was nothing I was getting that would please my heart! I was

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constantly missing out something. So I used to take some time from all these and would copy and paint pictures of my choice on paper and I enjoyed it.

Then in the school I read in a book on painting that one can draw whatever was there in front of one’s eyes. With some information about painting such pictures, I started painting things that were in front of me. I started enjoying this work and felt that time used to fly like anything when I was engrossed in painting such real life pictures. But at the same time I got a feeling – a thought – that there is still something more than this, where I need to reach. Just during that time with God’s grace and through Ansuyaben I met my Guru Maharaj Swami Prakashanandji. He brought about a change in the course of my life by sending me to Ahmedabad to pursue further studies and training in Fine Arts. This lifted my Art of painting to a new dimension. And after reaching Ahmedabad, through my studies, I came to know what creativity is. “I want to do creative painting only.” I had known this right from my young age, but after studying further I started treading in the right direction. God possibly gives indication to all as to which road to tread on, when to take a turn and when to stop. Only thing is that we have got to be alert and conscious to be able to hear those indications.

JCAM: Why do you make Art now?

MC: I do not know why and I think that probably no artist would have an answer to this question. But yes, if I do not paint pictures, my life becomes very difficult for me, because whenever I am not able to make a picture, my body, mind, etc., experience a strange feeling of uneasiness and my behavior too is affected. As narrated earlier, my wife knows what type of mental condition I go across.

Yes, I know that I do not feel well and I can say that I paint pictures in order to keep myself, my mental condition and my soul healthy, fit and happy. And while making pictures, I have no idea about how and what I am able to draw, and that on feeling it I begin dancing. Nobody knows about this because my studio remains closed when I am making paintings inside. As the painting gets completed, I start dancing, and at this point, not only my body, but my soul too starts dancing in ecstasy. This can be experienced only by those persons for whom Art becomes a passion to be pursued.

Needless to say, in this state of sadhana, one gets the feeling of divine experiences.

JCAM: How has your work changed or developed over time?

MC: Yes, my work has undergone change, which has come at regular intervals. As I have mentioned earlier, after being denied admission to post graduation studies in Fine Arts in Vadodara, I literally did not pick up a pencil in my hand for about five to six months. Before this, I used to sketch human figures, cityscapes, vehicles, etc., which are useful elements in urban life. I used to make use of things like currency notes, coins, traffic signals, dividers on roads, etc., in making my paintings. But after that accident (not getting admission in Vadodara College was no less than an accident!) making of such pictures became less. The thought, “I couldn’t secure admission!” kept

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Manish Chavda “Untitled” / Painting

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haunting me and my mind was filled with sadness. I started staying alone and aloof, with no one to meet or talk to and remaining silent.

All these became part of my behavior and my routine. I would sit all alone for hours in a garden which had a large number of trees, because I was able to keep myself calm by staying close to nature. Gradually I started observing and experiencing things in the nature very closely. Even in hot afternoons I started observing the colors of things under and around the trees changing with the intensity of Sunlight. From morning to evening, from rising of the Sun, its coming overhead and then its setting down, I watched objects closely. From the rising and setting of the Sun, the intensity of light falling on objects changed the appearance of their texture, their shapes, etc., where the intensity of light was more, the details of the leaves, their striking colors and their thickness caught my attention; and where the sunlight did not fall, the leaves seemed to flatten. I started liking to see all these. With the passage of time - I started taking my sketch book along with me and gradually I began making sketches of those leaves and trees in my sketch book.

The number of sketches made began to increase. Then I got a thought, “Why not make those pictures in one color only?” However, it was a matter of challenge for me to bring out the different tones of an object and its colors by using only one color and not mixing it with any other color …. I started doing it and also started enjoying it! The reason for my joy was that I had never ever made a painting by taking out color directly from the tube and using the same original color. In city sketches and other pictures I used to make them with dirty colors and now with totally fresh, vivid and vibrant colors - and then I used to complete a canvas with single color, in which there was no mixing of any other color, not even white or black.

I made some pictures, but there were only leaves and branches of trees visible on the canvas. On seeing them, one could feel that there was something missing, and there was still something yet to be made, because I thought – if God had stopped his creation after making only mountains, rivers, trees, sky and water, then how would this world have looked? So then I brought about change in my paintings and started adding my favorite elements to the paintings. First I added a cow with the leaves, which would smile on looking at me through the leaves … I felt as if the cow and I were talking with each other. Cow was the first other element I added because in my childhood our family had cows in our home. One of those cows gave birth to a calf.

I remember it today also that it was Wednesday (Budhwaar in Hindi and Gujarati) when she was born. So I had named that cow as Buddhi. Slowly she started growing and with the passage of time she too became very big like other cows. I had a special attachment with her – because of my love for her I used to experience uncanny bliss.

Once the authorities of Municipal Corporation found her on the road side and thinking that she was a stray animal, they captured her and took her to a Gaushala (a farm where cows are kept), which was under the control of the Municipal Corporation and about 50-55 kilometers away. Now, my life became tragic in her absence. I must have been 14-15 years old then. I tried hard to get it released by the Municipal Corporation.

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My family saw my love for her and how intent I was to get that cow back. They gave me two thousand Rupees to get her released.

The Municipal Corporation’s authorities gave the address of that Gaushala to me on the condition that I will have to arrange to bring her back from 50-55 km distance all by myself. I agreed to all their conditions. We paid them the necessary fees for getting No Objection Certificate for her release. With the NOC in hand I set out to bring my cow back, but now the question was how to bring her back from such long distance. I rented a vehicle in which we can make the cow climb up and bring home. I and our milkman reached the Gaushala, were our cow was kept. But there were more than 500 cows kept there. So the question was ‘how to find our cow?’ It is said that animals are more sensitive than the human beings; and it so happened that just as we reached there, our cow got the intuition and came out of all those cows and stood before us! My love for her increased further and I became more sensitive for her. We both were very glad to see each other.

Then we climbed her up in the vehicle and brought her back to our home. Later, Buddhi too gave birth to a calf during that time when I had to go to Ahmedabad for further studies in Fine Arts. Then I used to meet her whenever I happened to go to Jamnagar.

Later, the Municipal Corporation authorities again took away the cow. But this time it was my father who brought her back because I was not in Jamnagar. After that when the Municipal Corporation authorities took her for the third time, my father did not inform me for many days.

When I reached home, I came to know about that. I tried hard to get her back again, but because a lot of time had lapsed, I could not find and get her back. Today also I regret that very much, I feel unhappy and on remembering her I feel the pain of her absence. It was because of this love and affection for her that I first gave Buddhi the due place in my paintings. Subsequently I started incorporating birds and other animals; pigeons and all that were around the trees in the gardens under which I used to sit down. These were the different forms of nature that I had seen and experienced.

There is a lake in the middle of our city of Jamnagar. This lake is surrounded by a number of old trees, gardens and the sweet sounds of the birds in those gardens. All these, that had enchanted my mind, now took form on my canvas through the medium of colors and brushes. Thus creation of one more world started to take shape on my canvasses.

JCAM: What are you trying to communicate with your art?

MC: Actually, for a painter, his ‘painting’ is a part of his personality, his own reflection.

This is the reason an artist is so much attached to his pictures. There exists such a give and take relationship between an artist and his creation that is similar to the relationship between a body and its soul. An artist is the body and his paintings his soul. Hence whenever any artist would stop making pictures for whatever reason, he must surely have lost his mental health. (It is because our body is controlled by the consciousness

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of our soul and this is why it (body) remains conscious.) The only condition is that the person (artist) has made pictures with his full heart; is attached to his pictures with love and affection; has expressed his story in his own original language; has put down his own feelings – and not made a copy of someone else’s work – on his canvas and given them real form through lines and colors. Such an artist cannot stay healthy and composed without making pictures.

My communication with my pictures has also been of this nature. I express my feelings through my pictures and become happy myself. My art makes me more natural and relieves me of any tension. It is due to this only that I am able to paint my pictures naturally, because whatever I am – the same thing gets manifested in my pictures. It is because of this only that while making pictures I get so much engrossed in my work that I start identifying myself with my picture and I don’t see any difference between my picture and myself. The joy and ecstasy that I then realize is impossible to be expressed in words. So, I express only myself in my pictures; my feelings, my sensations, my emotions and my world – my sky.

JCAM: Do you have any creative patterns, routines or rituals associated with your art making?

MC: According to me, each artist/painter has his own special element which is revealed in his pictures too and the same element makes his pictures special and unique.

Similarly, my pictures too have that special element in them. I feel profound serenity in my pictures – if you see them you start drowning in the ocean of joyful silence. I experience this divine bliss even if my picture is painted in red color; that special element comes out – breaking the barriers of colors. You may call this ideal or specialty.

I do not believe in any dogmas and I just cannot follow any rules and regulations. My style of work is such that each day rises with a new routine.

I also do not believe that my painting should conform to a particular type or not. Since my method of painting is different, the colors are totally fresh – full of freshness – they speak of the tranquility – and yet they spread the sweet notes of music! When I say that the colors are fresh, I mean to say that once I apply a color on the canvas, then no mixture of any other color is done. The light and dark shades that are there on the painting are achieved by applying a particular color and removing it or applying it again to get light and dark tone; for showing light, canvas itself is shown by removing color from that particular place.

Strong light is also shown in similar way. Since no other color is mixed, I create all the tones of the same color. I believe that in order to show one particular color light or dark, if you add another color, then the importance of the main color is lost and the colors become dull. When I depict strong light in my painting, it results in providing strong experience of silence and tranquility, because light itself is a form of God. When I follow the process of meditation shown by my Guru Maharaj, then the light and blaze that I experience, probably is of the same element and the same view that freeze in my subconscious mind and when I make a picture, they take command of the whole of my

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canvas. Actually this light is spread over the whole of Universe; just as the shadow of intense blaze spreads all over my canvas, so does the whole creation (Universe) sparkle due to the blaze of this light.

JCAM: What elements of art making do you enjoy the most and why?

MC: Yes… after removing a color applied on a canvas in order to show strong light in my painting, when I draw it back and complete the process of showing the intensity of light from very high to medium, it is then that I experience maximum joy. Because when I sit in meditation, I experience the blaze in my mind. Similarly, while making a picture many moments come when my mind becomes very delighted and then there is no difference between you and your picture, you forget the existence of time and you become oblivious to all that is happening around you.

Whatever then manifests on your canvas, your sight freezes on that part of the canvas and your mind gets overjoyed. During such moments, your feet start dancing and so does your mind. You are then not able to stop yourself because the part of your being that controls you and you yourself become one. Then who would listen to whom?

Actually this is the subject of experiencing; words have their own limitations to express the inner feelings. But whatever is experienced is not possible to be expressed in words. Self experience is the only recourse. For self to merge with self. For molding self in colors. For transforming self from corporeal to incorporeal. And for expanding the self from a mere point.

JCAM: What is/are your important artist tool/s and why?

MC: Depending upon the need of my pictures, the important tool for me is the eraser, with the help of which I rub the colors on the canvas with less to more intensity and bring them back. Now, even such brushes are available which have different shapes.

The second important tool is my brushes, with the help of which I try to bring homogeneity amongst different tones.

JCAM: How do you know when a work is finished?

MC: Would any artist ever be able to make this out? Actually the picture itself speaks out, “That’s it. Just stop decorating me any further, because I am complete now.” The same feeling also crops up in the painter’s mind; and then he does not make any changes in his picture himself, because your picture is the reflection of yourself and when it gives its feelings, it would be very close to the truth. Almost all artists must have experienced this from lesser to greater extent.

JCAM: What are the art making tools you use now?

MC: The tools that I initially used are the same that I use today also – brush and eraser.

Initially I used to remove colors with eraser and brush, but now many very modern tools are available in the market – erasers with long handles like brushes and in different

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shapes are available. I use these erasers also, which help in removing colors and giving favorable forms. So, actually if you see, there has been no change in the tools I use.

JCAM: What new creative medium would you love to pursue?

MC: Yes, all artists should bring in some change in his/her creation and continue making new experiments. So many new tools are now available in the market that we cannot even imagine. Even the variety of mediums available today is beyond imagination. In the contemporary world, there is great popularity of digital technology.

There is an artistic side in digital technology, which attracts me and may be in future I may venture in that field!

Besides this, I have a great desire since long to paint pictures on fiber sculptures, because long time back I had even done some work. So I will definitely do some more work in it. However, I bring about ‘changes’ at a very slow pace, so as not to change my personality itself. One must have his/her lasting impression on all work that one does, be it through or in any medium. Hence I think that the modern tools must be used after fully understanding as to how they can be adopted to augment your work.

JCAM: What’s the first Artwork you ever sold?

MC: As a matter of fact, I have been associated with this work since long and have also undertaken many commercial projects – painting portraits of people, signboards, large hoardings of advertisements, pictures of deities on vehicles, etc., portraits of Hindi and Gujarati cinema actors and actresses, copies of paintings, etc. But yes, after completing my training in college, I applied for post Graduation course in Vadodara, which was rejected. I got ill, went back to Jamnagar.

While in Jamnagar I started making sketches of leaves and trees, and then molded them on canvasses. I made many pictures of leaves; with cows, birds, etc., appearing between leaves in some of them. Before that I had even made portraits of common people. Those too were painted in one color only. Then the owner of one of the galleries in Mumbai purchased two of those paintings and had subsequently sold them to a person in Delhi; I remember this because I had forgotten to put my signature under those two paintings. So I had to go to Mumbai to sign them. You may thus call those two pictures as my first two Art works to have been sold.

JCAM: Do you make a living from your art?

MC: Yes, I make my living through my pictures, my art. Initially I used to do classes and commercial work side-by-side. (This is what all artists and art students have to do.) But now I have stopped doing all that since many years, because I found it to be a Waste of Time. By doing all that I would definitely earn some money for my living, but with that expectation, I would be able to make less pictures. Once people started purchasing my pictures, I stopped doing all other things and have engrossed myself in only making my pictures. Even presently I am earning my living only by painting all these original

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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paintings of my own.

JCAM: What strategies will you share with other artists on how to become successful professionally?

MC: Usually there are many small things that one artist would share with other artists.

But there is one thing I would definitely like to mention. Many artists do not join with any Art Gallery with a view to maintain their own independence. But according to me, if you intend to establish yourself as a professional artist in the world of Art, and be successful, then you must start working with some good Art Gallery. As an artist it is not possible for you to do everything. Actually for making any picture, first of all you need to have empty and healthy heart and mind, which are totally free of any tension and totally calm. The second necessary thing is sufficient time.

When an artist works independently, then he himself has to do marketing of his/her pictures. He or she then also has to do trifle things like bargaining and doing transactions with the purchaser, showing the purchaser his or her art work and arrange to take the art work to the purchaser. Then if one wants to organize an exhibition, one has to spend a lot of time for that. Inviting people, printing cards and catalogues, advertising, making arrangements for press reporters, special arrangements for the inauguration day, taking care of the status and honor of special invitees, and so many other little things have to be taken care of. For doing all these, one has to apply one’s heart, mind, time and money significantly. Then you get so much exhausted that you cannot experience and enjoy your own pictures during the exhibition.

It is better to get associated with a good gallery and be free from all these hardships.

Yes, you have to pay to the gallery, but this arrangement is a part of the arrangement in the field of Art. They even get your works sold – without your having to go through all the hardships. So in a way, it is a good arrangement. Well, if there is good tuning between and artist and gallery, if both have due respect and understanding for each other, then both – artist and gallery – get recognition and fame and are also able to progress in future. By doing so, an artist needs only to concentrate on thinking about his paintings and as a result he can maintain his natural element in his paintings.

Otherwise, no one can know when the gloominess in the mind of an artist would enter on to the canvas through his brush and colors. On the other hand, the gallery too on its part plans in a detailed manner as to how to exhibit and when to exhibit the pictures of the artists associated with it. In this way everything goes on smoothly and the shows become successful. So finally, I firmly believe that an artist should get associated with a gallery of his choice and liking and sell as many of his works through it only. Thereby maintaining the prices at par and the purchaser too will not feel that he has been cheated.

JCAM: What are your goals for the future: for both work and life?

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MC: All human beings have a fixed goal, a special dream in their lives – and they carry worries regarding fulfilling their dreams, attaining their goals. And it is true for all – whether the person is poor or rich; simple (common) or outstanding. And this ought to be there, otherwise in absence of any goal (in life) why and what for would a person continue doing all activities? Our dreams inspire us to live our lives; they fill enthusiasm and vitality in us. In absence of any goal, life of people living meaningless lives is similar to the lives of animals, who wander about without any planning. In spite of all these, the life of an artist is quite different from that of a common man.

Life of an artist is very much full with struggles. It is not sure whether anyone will buy his pictures or not, but in all circumstances an artist continues making pictures, he does not quit making his creations, because selling his pictures is not his goal. His goal is to make excellent creations, such – that people may remember him; that he may become famous in the field of art; that his name may be taken along with the best artists and that he may enthrone appropriate position. For all this the artist has to struggle a lot. I too have a similar dream, a goal. But I will not try only to reach there.

However, by adopting some strategy I would deal in that way, etc…. I think that by doing so I would not only be wasting my time, but will lose my joy of making pictures; and slowly it will so happen that I will start making pictures not for the sake of my soul’s pleasure or for my own joy, but for the sake of becoming a great painter. This greed is for gaining popularity and fame, for proving myself to be the best. In doing so, I will be doing injustice to my pictures/paintings. The natural element and the divinity of the paintings will then become artificial and instead of soothing it will prick in your eyes.

The Divine Scripture of Bharat – ‘The Bhagwad Geeta’, it is said, “कमर्ण्ये वाधध कारस्ते र्◌ा पऱेषु कदाचन”, meaning – Engage yourself in some work, but without any expectations in return. If we worry about the fruit, then we will not be able to do justice to our work. If we do not concentrate in our work, if we do not engross ourselves in it, if we do not give full justice to it, what will happen? The work will remain incomplete; even after completion there will be some shortcomings in it. As a result far from being the best, it will not even be of average standard. So, in the greed of becoming a great artist, I cannot do injustice to my pictures and to me as well. Whether my paintings will be great or not would be hidden somewhere in the core of future, which may or may not be revealed; but my only prayer to the God is that I may be able to continue making pictures throughout my life, because I cannot live without creating my art. It really doesn’t matter if I am not able to become a great painter, but I feel a strange gloominess if I am not able to express my feelings, my sensations through my pictures.

I have a very simple logic – if I have experienced joy in my creation, if I have been able to identify myself with my picture while creating it, then, when another person views it, he too will surely have the same experience as I had while creating it. This itself is the sign of a good painting and a good painter.

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I think that this simple and basic knowledge that I have will be able to give my pictures a unique place in the world. So my goal is only to be able to make pictures throughout my life; my goal is that I may be known not by my face, but by my pictures, because they only reflect my personality. This only is my prayer to life, to God, to self that I may never be distracted from my goal. May it be so!

JCAM: Do you try keep any of your artwork and why?

MC: Presently I am preparing for the biggest ever exhibition of my pictures in my life.

There is still some time to go, but I have been working for it since last two months, and this exhibition is going to be exhibited simultaneously in the halls of three galleries.

Approximately eighty pictures will be on the display. This exhibition is important to me because after that I am preparing to bring about changes in my work. It is possible that the type of painting that I presently make may not be seen by the people in future after this show. Hence I intend to give a pleasant end to this type of work, and then I will put a full stop to this type of work.

This show is therefore going to be very important for me – from largeness point of view and from the work perspective too. These types of works are very few in my personal collection. Hence in this big exhibition too I am going to keep very few works for the purpose of selling. Because I want to keep some of the selected works in my private collection as a part of memory of my life and for my next generation to have a glimpse of my work. After many years from now, when people see them again, they would find my pictures most palatable. So this is going to be my most interesting, most palatable and a wonderful exhibition, major part of which will remain in my possession.

JCAM: What or who inspires you?

MC: Each painter or say each artist is definitely impressed or influenced by someone or something. It may be a place, a person, environment, some other artist, painter or some great person. Each person has a role model, an ideal personality in his or her life who inspires at each step of our life to become a forerunner on our path. In my own life, my spiritual mentor / Guru has been the source of inspiration to me. Everything in my career has been possible through his blessings, by following the path shown by him and by the guidance provided by him.

My life was surrounded by so many struggles that it was very difficult for me to pursue the practice of art. Then I read one of the greatest artists of the world- Van Gogh and I found that my struggle, my difficulties were very insignificant as compared to his struggle and difficulties. On reading about him I realized that instead of finding lame excuses and finding baseless reasons for complaining about my condition, I should focus more on thinking about how I can make more pictures and go ahead and just paint pictures.. From then on, whenever making of pictures would become less and the speed drop, I would read a few pages from his book and get myself rejuvenated and energized. My tardiness disappears and my mind gets filled-up with great energy. I will therefore always remain obliged to that great artist for indirectly making my path free of

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obstacles and thorns. It would not be wrong if I may say that he energized me, emboldened me to tread even on thorns without any fear.

I am even more obliged to Nature, which has enthralled me with its forms and colors.

Flowers, their colors, trees, bushes, leaves, birds, animals, butterflies, bees, constantly changing matter and the consciousness throbbing in it – all these have inspired me to see how beautiful, how lively and how fresh the whole nature is, which has been created by God. Its barrenness too appears beautiful and lively to me. This beauty, serenity and pleasant sounds of Nature also became the beautiful elements of my pictures. They became the inspiration for me. So these are the things, which have impressed me forever and I am inspired to paint series of paintings with beautiful colors.

JCAM: Do you have a favorite or influential living artist?

MC: Actually I like Van Gogh the most as my favorite artist. The way he dedicated his whole life for painting pictures, the struggles he went through, his renunciation for pictures, his heart filled with love and apathy – all these are sufficient for making him a great artist. The approach towards life that he had, his crazy passion for painting pictures and his attempts – all are very inspiring not only to me, but for anyone.

In the present age, amongst the contemporary artists I am very fond of the Indian painter - Paramjitsingh’s work and especially his landscapes. Then there is Manjitbaba (although he is not alive now) - whose pictures I like very much, especially his soft mixing, naturally drawn lines, drawings filled with simplicity and flat colors filled in equally natural way – looking at which your heart goes all out and exclaims, “Wonderful, wonderful!” So these are my favorite painters, who have impressed me on account of their special styles.

JCAM: What work of art do you wish you owned and why?

MC: Yes, there is one picture, owning which I would consider myself to be the richest person in the world. I love this picture very much and of course – the maker of that picture too is my favorite artist – Vincent Van Gogh. The title of that painting is “The Starry Night”. It was created in June 1889 and according to me it is the best example of Post Impressionism. If a wall of my house is decorated by this painting, I would consider my life to be blessed beyond imagination!

JCAM: From where do you find ideas for your creative work?

MC: When an artist wants to gain something new, he/she should always remain vigilant.

The universe created by the God is very beautiful. Each object is beautiful and complete within itself. Everything has been created with great fineness. Even if you pick up a small seed, then you will find in it light-dark shades, color variations, texture, color mixing - the minutest details which are there in a large tree or leaf, and that too in totality.

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Manish Chavda “Untitled” / Painting

Manish Chavda “Untitled” / Painting

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Whether it is a stone or a small pebble, everything in the universe is filled with everything in themselves. Wherever you see, you will find the immensity of God’s creativity. But what is needed is that we should observe all these with a creative eye, concentrate our vision on it and understand the integrality of the creation. Then with that understanding we should try to paint it with the same integrality. I derive all the techniques and thoughts for my pictures from God-created Universe, but I do not copy them. Deriving inspiration from them, I create my own world on my canvas. I especially make dramatic use of light and shade. Instead of following the common rule of light on one side and the shadow on the other side of an object, I make changes in the rules to suit my world of paintings.

I sometimes paint leaves in red, blue, yellow and sky-blue instead of green. My pictures are part of my world and I consider myself free and independent to create anything as per my liking in my world. This creative experimentation itself is very pleasing and joyful.

The joy of discovering something new, the joy of creating something new – which is our own production and totally unique!

JCAM: 2. What does being creative mean to you?

MC: It is not that easy ‘to remain creative’ always, because a human being is a sensitive animal and hence all the ups and downs coming in life affect him/her. A human being cannot remain unaffected by the characteristics that are prevalent in the world and because of this his mood, etc. continue to change.

Creativeness means to ‘remain creative always’ and ‘continue trying to do something new’. True creativeness is to remove one’s inherent short comings and see everything with a positive attitude and understand everything in right perspective. When positivity enters one’s vision, the mind will constantly keep a watch on the changes taking place in the nature and will automatically experience changes taking place in oneself. The nature is constantly changing, altering, mutating and we are accustomed to see that.

We get bored and fed up seeing only one type of view. Thus creativity is the inherent natural character of we human beings, who are associated with this world and another world. What is required is to know one’s own inherent nature and stay unchanged in it.

JCAM: What is the best advice you ever had about how to be more creative?

MC: I feel that each person has his/her own inherent nature/character and according to that nature one must be meditative to remain creative. Yet, if there are some other things present not only in an artist but in all human beings, then the inherent creativity continues to remain in that artist/person. First and foremost is to change the ‘Way of thinking’ and the ‘Way of seeing things’. However one must always think optimistically and positively; develop one’s vision to see things accordingly; and accept the changes taking place in the field of Fine Arts, in the nature and in the whole Universe in a very natural way and with open mind. As long as there is inertia and insensitivity in one’s thoughts, beliefs and traditions, Creation is not possible.

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Always have a liking for learning something new. Never think – that we know everything, that we are very wise and knowledgeable, that our thoughts and techniques are the best, etc. Because a human being actually remains a student until he dies. Observe the things taking place around you, see how children behave because their hearts are totally clean and pure and without any falsehood. They have no idea of seeing the difference between good and bad. They just live in a natural way. So we must adopt that simplicity, that straight forwardness and that egolessness. Always look at things with open eyes, that is, always be alert.

This Universe is full of Art. The chirping of a bird is no less pleasing than harmonic music. Water coming out through stones, the flowing of rivers, the chirping of a rivulet, the form of water along the shores of oceans, the striking of waves on the sea-shores and receding back, the sound of wind, the swinging of trees due to wind and the sound created by their swinging – how melodious and rhythmic are all these! They create a song filled with sweetness. The changing colors of the sky throughout the day, the appearance of a rainbow, the golden silhouette formed around the clouds at the sunrise and sunset, the daily changing of the form of the moon, the reflection of sky in water ….

How beautiful are all these! They fill our minds with pure delight. An artist especially ought to fill these sights in his/her eyes.

Human beings create variety of pleasing and sweet sounds through so many things created by him – by striking pieces of glass, blowing air through bamboo sticks, beating on leather; and he himself gets so much engrossed in the music created by him. So there is art and music present in each particle of this Universe. What is needed is to see it, experience it and assimilate in ourselves. The more we identify with the nature, the more freshness shall we get. Then there is a saying in Bharat, which means that where the rays of Sun cannot reach, there the heart of a poet, an artist can reach easily. Only an artist has the capability of creating a new world; by knowing his/her capability, the artist should give proper justice to his/her creative capacity and dedicate the creation in the compound of this world. It is so said in Sanskrit too, In this boundless world of poetry, an artist is no less than “Brahma” – the creator of this Universe, or say even better than “Brahma”, because the artist can bring about changes in the world according to what he likes, what he appreciates. An artist has his/her own world and the only thing is – to know what is there (in him/her) and awaken it.

So, talk to yourself, observe yourself and find out what pleases you and repeat it. For example one may have a great liking for different types of flowers, while another may have similar liking for trees and flowers and fruits laden on them, while yet another 40 may have liking for vegetables coming in different shapes; another may mentally climb up to the peak of a mountain on seeing it and yet another may go on a mental journey across the oceans on seeing the waves of an ocean.

So awaken yourself, make a list of subjects of your liking, know your likes and dislikes and even search deep within yourself whether the thing you like very much is not really infatuation, or you really like it forever. Then concentrate your mind more on it and observe it frequently. Slowly through their inspiration, some forms will start forming

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within you. Many colors will also start getting filled. Some thoughts will start taking concrete form; just put it down on a canvas – sing its song and get engrossed in it. A jubilant heart, peaceful state of mind, deep meditation, inexhaustible patience and natural attempt to transform that abstract thought into concrete form – all these can make a person more creative and keep him/her energetic and in high spirits forever.

Manish Chavda “Untitled” / Painting

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Manish Chavda “Untitled” / Painting

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Jo Hoyle My name is Joanna Hoyle. I’m a selftaught artist and I discovered my love of being creative from the time I was a young child. I was born in Wilmslow, in Cheshire UK. I was born in the 1960s.

No computers, no technology to speak of.

I had a sister and for the most part we were free to roam. We had a very creative childhood in all sorts of ways. I could say so much about my childhood.

You know I'm not really sure why I create art now to be honest. I went back to college as a mature student and I was bombarded with long essays and I lost my love for creating. But I found it again when I started taking photographs with my phone. I just fell in love with creating again and that developed.

I love trees and I started to layer my photographs, and I ended up really enjoying creating abstracts of trees. I’m passionate about the environment and animals and our connection with everything in our world in our planet.

I tried to show that especially in my black and white images of figures in the environment. The figures are often quite small and dwarfed by the environment. I think that is my way of trying to show how insignificant we are in the world, in the universe … but how we are inextricably connected.

Here are some questions I’ve recently asked myself: What is my most important artist tool(s) and why? What are the art making tools I use now? What new creative medium would I love to pursue?

My phone is currently what I use to make my artwork, although I have used many different art media. In the past I've done etching and printmaking, painting, ceramics and collage etc. But at the moment I'm happy to create using my phone through the use of photography as a base and then creating abstracts. I’d like to do more printmaking with with my abstract work. I would also like to get more used to using my camera and take raw images, working much bigger in some way. In the past I worked quite small, in great detail, and created large and bold images..mostly painting and collage.

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Here are some other questions I’ve recently asked myself: Who are the artists whose work inspires me? What are the things out there in the world that I find most inspiring?

All of the work of Paul Klee and Gustav Klimt, and more recent artists such as Andy Goldsworthy, an environmental artist who works with land art in natural and urban settings.

As children we had a beautiful willow tree in our garden..our playtime revolved around that … if we weren't in it we were under it creating theatre for all the other children on our street … writing plays, dressing up. That willow was an inspiration to me. Well Andy Goldsworthy is a living artist and he inspires me. Some of the work he creates is so transient. His abstract work, creating leaf patterns in natural environments for example — do you know him? He's well known. Have a look at his work. I'm probably not explaining it very well. I like the idea of his creations going back into nature.

Here are even more questions I’ve recently asked myself: Where do you find ideas for your creative work? What does “being creative” mean to you? What is the best advice you ever had about how to be more creative?

I work intuitively. I feel my way. I sometimes have ideas, but not often. Try not to be too precious when you're creating art I suppose. Just create … let thing's flow and evolve. I go through dormant phases but that's okay. Sometimes I fall out of love with art, but not for long. Art and creating have got me through some very dark periods in my life. Such is the power of creativity.

And being in nature of course, amongst trees, by the sea, wild swimming – which I love are all very inspirational for me. I enjoy working with my mobile phone camera which enables me to be spontaneous, especially with street photography. Simple and easy to carry with you, although they do have their limitations. Once you get used to using them you understand their strengths and weaknesses. Both can be very creative.

I have quite a simple lifestyle and try to step as lightly on the earth as possible. My partner and me have a micro camper van which started out as a basic delivery van. He has beautifully converted it into a off grid, stealth camper, evolving bit by bit.

We are involved with environmental activism. More recently involved with attempting to save trees in Sheffield in a relentlessly destructive nightmare by Contractors and the City Council. It eventually ceased due to the actions of a passionate group of amazing tree huggers. People power in action! … Animal welfare and rights. Deeply passionate about animals. I’ve been vegetarian from the age of 12 when I realized what I was eating, and stopped consuming meat overnight. This progressed to my being a vegan, about 40 years ago, for a number of years. But that affected my health as it was difficult to do then. Now I'm predominantly vegan again, mainly because of compassionate reasons but also because of the impact on the planet. Meat consumption is horrendous and totally unsustainable.

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Dreams. It’s very important to have dreams also … to open an animal sanctuary … to rescue animals from abuse. The list is endless. But I'm particularly passionate about the horrendous and unbelievable suffering of animals in factory farms and abattoirs. So the animal sanctuary would be a lovely lifelong home for those few animals lucky enough to be spared the hell of all that.

Singing is something that I would love to develop; finding my inner voice, and singing with confidence … bluesy and spontaneous –with Joy. I'm in Recovery too; in my 7th year. Got involved with a group working the twelve step program working with alcohol addiction. It changed my life, it's been the most positive and challenging thing I've ever done. And, the ripple effect on other people's lives is remarkable. This is a huge part of my story and without it I doubt that I would still be here.

Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle
 Smartphone screen shot

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Joanna Hoyle “Untitled” / Digital photography

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Mark Anthony

JCAM: What is your professional name?

MA: My name is Mark Anthony. My Art I do is more a passionate hobby than a profession.

JCAM: Where were you born and does that place still influence you ?

MA: I was born in Manchester in the North of England (United Kingdom), I still live in and around the North, give or take a few miles. I suppose this will always influence me indirectly but with traveling and the connections and information you can have through social media this can also influence my inspirations.

JCAM: When and how did you start making art?

MA: As a child I was very creative but as I became a teenager I knew I wanted to draw and paint. I used to get very upset when I could not make what was in my imagination come to life. But, with vigorous perseverance and many processes, I managed to put it onto paper. When I gazed at what was in my mind brought to life on to paper—when this finally happened, I literally started to cry. It's hard to define; the only way I can

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describe it is, I would say, it was like an epiphany (the image was of a surrealistic nature). I know now that then, I was attracted to an artistic journey into surrealism.

JCAM: Why do you make art now?

MA: It's my nature. I suppose it is an outlet or release of a mixture of turmoil and joys in life. Even so I do get horribly frustrated as I have accumulated hundreds of ideas and images in my head. It can become impossible to get them all out. And, with life as we all know, we have responsibilities and bills to pay. So work can take much time and energy from our life. Some people say that I should not wish my life away but I cannot wait to retire. In retirement I can then completely focus on my art and maybe chisel away at images and ideas I have had in my head for years and years. Perhaps I can get these ideas onto paper along with some new ones too. Emotionally it can be a burden but the price can be worth paying sometimes.

JCAM: How has your work changed or developed over time?

MA: This is hard to define. But, I have gone through phases of many different styles.

When I went to college to learn more about different styles plus the history of art, my art developed towards different routes too. Such changes also depend on the particular idea, and what art medium expresses this more. Now I tend to be able to squeeze more time using digital which really is my least favorite medium, but digital is easier to access too. So, it’s a trade off. This digital route can give a temporary release and it works for me at the moment, until the time is right to pick up a pencil again. As I said before life's responsibilities can get in the way and time does fly.

JCAM: What new creative medium would you love to pursue?

MA: Oil painting one day. This is totally different from acrylics, pastels, pencil and collage, and even clay, which are still not easy to use and can be hard. Oil painting is a very tough one for me. This is one for me when I retire, if I am still on this earth.

JCAM: What's the first artwork you ever sold?

MA: Despite this being a passionate hobby for me, it was in my early twenties. Quite a while back! Ha ha ha! I did become very good with pastels and used to sell portraits of people and animals. And I also sold a couple of landscapes. Recently I have sold an image for the cover for someone’s music album. This was quite unexpected and I felt appreciated being asked.

JCAM: Do you have a favorite – or influential – living artist?

MA: There is a list of dead artists I could name. But living? I cannot name a specific one. At this time all I can say is I see many in galleries/museums and on social media of which I can be inspired from. There are also ideas that can inspire me instantly, or they can fester in my mind for years, until they are ready to be put into practice.

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JCAM: What or who inspires you?

MA: Something really profound that has generally happened to people. This is going to sound negative but generally tragic, but I met a person once with a life changing brain injury and his story haunts me to this day. When he was younger, him and his friend stole a car and became embroiled in a car chase. This may sound typical I know, but the bit of the story that really hit me was they were going at least 130 mph down the street being chased. He was in the front passenger seat and there was a loud bang. As he looked out of the window he seen one of the tires had burst on his side. As he turned around to look, his friend was no longer at the wheel. He looked around again and his friend was curled up with fear in the back seat of the car –all this within these split seconds. His friend had heard the bang of the tire and realized without a doubt the car was going to crash. The whole scenario is incomprehensible. The fear concentrated within this situation can trigger inspiration within me. It can take over you, like a character does to an actor. By this I mean that when the drawing or painting is done the feeling lifts and you move on to the next thing. This is only way I can define some inspiration.

JCAM: What work of art do you wish you owned and why?

MA: This is another hard one but I will try. Maybe if I could choose it would probably be any sketch book by Picasso of the human form, mainly the 1920s era. This is the art that inspired my sculptural work while I was studying in college.

JCAM: What does “being creative” mean to you?

MA: Heaven and Hell! Creativity can take you to heights of euphoria or take you to the depths of despair. But both these states have to be endured to feed creativity so they have to be accepted as part of the process, This is my experience of it. Other artists probably have their own levels of creativity or choose where to be taken mentally.

Either way I have to live with being this way and I do not think I would change it for anything. Like some lyrics I heard in a song once… “it's not my fault, it’s how I am programmed to function.”

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Mark Anthony “The Guardian of Behind the Waterfall” Digital

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Mark Anthony “A Time for Reflection” / Digital photograph

Mark Anthony “Reflection” / Digital photograph

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Mark Anthony “Boing Twang” / Digital

Mark Anthony “Untitled” / Digital

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Mark Anthony “The Fear of Aging, An Undeniable Point of No Return” / Digital

Mark Anthony “Epiphany of a Subdued Reality” / Digital

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Mark Anthony “Untitled” / Digital

Mark Anthony “Untitled” / Digital

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Mark Anthony “Untitled” / Digital photograph

Mark Anthony “Untitled” / Digital

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Jill Eberle Sitting on the stool atop a low platform, I was trying not to fidget with the apple in my hands. A dozen artists stood in a semi-circle around me, intently working at their easels. The middle-aged instructor gave out few compliments. He was a well-known artist from New York City who spent the summers in Connecticut teaching. I was the morning model.

I held the same pose for two-weeks, three hours a day. Every twenty minutes the timer rang and I’d get a five-minute break. Usually, I’d walk around checking out how the portraits were progressing.

One day, I stopped to look at a piece I particularly liked, painted by a kindly woman. I liked the way she made me look. Later, when I was back on the stool, the teacher loudly critiqued her work. “We are not here to paint pretty pictures!” he bellowed. “We paint the truth. She is not that pretty!” I cringed. To another student he said, “Look how you have handled her chin! No, no, no – she has a very weak chin.”

While these are things no 12-year old girl wants to hear, nevertheless I loved being in that studio. Despite the gruff assessments and the aches from not moving, there was something that felt intangibly right about the place. The smell of the oil paint was intoxicating – perhaps literally as real turpentine was being used – there was no odorless thinner in those days. I modeled there until I turned sixteen and was old enough for a real summer job.

I took a long, circuitous route to get back to the comfort of that studio. In college, I considered majoring in art but I was drawn more strongly to my other young passion – theatre. After graduating with a BFA in set design, I moved to New York City where I held a host of different jobs – scene painter, assistant designer, architectural draftsman, paste-up artist, prop builder, sign language interpreter, counselor, technical illustrator, and sailmaker – but whenever there was a need for something to be drawn or painted, I eagerly volunteered.

Eventually, I left the city on a 38-foot sailboat headed to the Virgin Islands with the guy who became my husband. After living aboard in the Caribbean for six years, we were

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planning to head to South America. Everything was ready – the boat was outfitted and the cruising kitty was flush. But then my husband did one of the nicest things anyone has ever done for me. At the time, he ran a shipyard while I managed a sail loft. One evening he said, “I’m learning a lot on this job, so instead of taking off, I want to stay here for another year. Tell me what would make it worth your while to stay here too.

Don’t reply right away, think about it and dream big.” A couple of days later I had my answer: “I want to paint. Not assignments for other people, I want to make my own paintings.” I quit my job, rented a small studio on shore and devoted my time to painting.

It was worth staying.

I only had a smattering of formal training, but I taught myself how to use an airbrush and produced tightly rendered images in a style that today might be labeled magical realism.

I recall there being quite a few fish in them. I tried watercolors. Since this was preinternet and I was on a tiny island without a bookstore or library, all I could do was experiment.

We sailed back to the US to have a baby and eventually moved ashore. I continued painting and started to show work locally. Once my daughter was in school, I set my sights on the MFA program at East Carolina University about an hour from my home. I thought it would fill in the gaps in my painting knowledge; not realizing they would assume my foundation was solid. But they let me in and gave me the freedom and support I needed. I finally got back to those oils I had admired as a young teenager.

By my second semester I was teaching freshman courses. Once I got the degree, I started as an instructor and over the next fifteen years taught courses in drawing, painting, illustration and artistic anatomy. I was lucky to lead such a variety of courses, for it was through teaching that those gaps got filled. I’d decide there was something I wanted to know about more fully, research it to death and then go share it with my students. Teaching became my education.

At school I painted many still life works, which included dolls, toys, puppets or other objects that were arranged in staged scenarios. It became clear that these items were only substitutes for the humans I wanted to be painting, so I stopped avoiding them and started creating figurative compositions.

A couple years ago I did some drawings I rather liked. But they were on newsprint and would eventually disintegrate. I began playing with ways to preserve them. Eventually I adapted an image transfer process that allowed me to remove the drawing from the paper. Color could be added to the back of the transparent drawing with watercolor or acrylics and the results were then adhered to aluminum panels. I thought I’d do just a couple of these and move on, but I’m still using the process and it’s still evolving. Now I’m often combining multiple layers of drawings and painting back into the surface with oils. I’ll admit that some days it feels like I’m taking a simple and straightforward process – making a drawing – and seeing how ridiculously complicated I can make it.

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The models I use are sometimes acquaintances, sometimes actors. I’ve sat in on the rehearsals of local theatre companies, drawing and photographing the actors as they work, then creating pieces back in the studio. Several times a month, I’ll have a model come to my studio and do an alla prima study. Occasionally, something in their countenance sparks an idea for a larger, more encompassing piece. But generally, my ideas for work grow out of my own experiences. They come from my gut more than my head.

I look at how people treat each other or my own experiences. I think we are all trying to find equilibrium between our autonomy and our connections to others, between being an insider and outsider. We want to be independent, to feel unique, simultaneously to be part of a relationship, or a group or community. How we try to maintain this balance brings up issues of power, control, devotion, loyalty, and ego – all those things that sometimes help us maintain that balance and other times, trip us up. I examine how I negotiate these connections in my own life, and I’m banking on the fact that others aren’t very different from me and that something I’ve felt might resonate with them.

I believe I taught my final college class last spring. I decided it was time to focus solely on my own painting. My goals are twofold: to deepen my work – to create paintings with more nuanced concepts and strengthened craft – and to market the work more broadly.

Giving up teaching means I have both the time and new pressures to do something more with my work. Coming up this summer, I have a month-long residency at Jentel Arts in Wyoming, and work included in a show at the Art Museum in Steamboat Springs, Colorado.

So many artists work alone, it’s easy to get sidetracked. I’ve found having accountability partners enormously helpful. Every three weeks I have a group call with two other artists, which we limit to one hour. We always begin with a recounting of “This is what I’ve done since our last call” and end by listing to what we’ll do before the next one. In the middle, we help each other sort through our concerns, be they obstacles or opportunities. Although our work is very different, there’s a lot of respect for each other and we’re committed to the calls. We all agree this partnership has pushed us and kept us focused.

An artist is running a small business, and you have to devote a lot of time to marketing – but it’s not all about just selling work. There are hours spent writing for grants, residency applications, show proposals and just telling your story. The most important (and gratifying) task is building authentic relationships - that’s where most of the opportunities come from anyway. I’ve become good friends with gallery owners, curators and other artists. Every good relationship is mutual; you find ways to assist each other. I don’t see a problem mixing business and friendship. In fact, I think it’s essential.

A wise teacher, Steve Huston, once told me there are three ways to be creative: The first is to be original – just do something no one has ever done before whether or not it’s a good idea. Every once in a while, the results will astonish everyone, but 99% of the time it’s just a dumb idea.

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The second way is to become amazing at your craft – to outdo the excellence that has been done in the past. Of course, that’s not very easy and 98% of the time, you’ll end up with a mediocre copy of a master’s brilliance. Or you’re recreating an idea we’ve seen so much, it’s now a cliché. Certainly great craftsmanship matters, but replication doesn’t breed creativity.

Which leaves the third and most effective way to be creative: mix two ideas that don’t normally go together and force a connection between them. For example, there have been plenty of books about British boarding schools - that’s not a new idea. Stories about witches are also not new. But when JK Rolling created Harry Potter – something completely new was made. Combining things that seemingly don’t fit, but finding a way to mesh them creates something that is both familiar and fresh. The contradiction between the parts leaves a little gap that intrigues or entertains us.

This is the most helpful explanation of creativity I’ve found. I’ve seen it at play in others’ work and used it in my own, sometimes with forethought, and sometimes unconsciously.

Jill Eberle “Slinking Away” / Painting

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Jill Eberle “Speechless” / Painting

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Jill Eberle “Crowded” / Painting

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Jill Eberle “Encircled” / Painting

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Jill Eberle “Entrapped” / Painting

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Jill Eberle “Hubris” / Painting

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Jill Eberle “King Nut” / Painting

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Jill Eberle “PrudenceWaiting” / Painting

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Jill Eberle “Voices” / Painting

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Jill Eberle “Yellow Belly” / Painting

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Jill Eberle “Not This Time” / Painting

Jill Eberle “Where to Now” / Painting

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Taufik Rahman

The artist Taufik Rahman lives in Nandar Surabaya, Indonesia. Taufik Rahman was born on 4th July 1975 in Sumenep, East Java, Indonesia.

Mr. Rahman is a self-taught artist. Taufik painstakingly deepens his long stroke impressionism style. Taufik is upholding Indonesian original cultural artistic artworks. One of these is Barong Dance which is originally from East Java and Bali. There is another dance in which he uses webbing bamboo as the medium, that is Kuda Lumping. Kuda Lumping dance is also a popular traditional dance which comes from Central Java.

Taufik Rahman also makes work that depicts other aspects of the cultural life in his native country. For example, Taufik’s best known artwork is a cock fighting series painted in his unique and contemporary style. Rahman has been very successful in exhibiting his work internationally. For example, his energetic cock fighting artwork has been selected as the first winner in WCA competition which was held in Hong Kong and was awarded as the best painting of the year for 2017.

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Taufik Rahman “Untitled” / Painting

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Chris Panatier JCAM: What is your professional name?

Where were you born and does that place still influence you?

CP: My name is Chris Panatier.

I was born in Bartlesville, OK. Only recently has the place I was born influenced me artistically. And it’s not the city itself. It’s the setting of the city within the greater stretch of the central plains that make up the bulk of the United States’ geography. There’s a spartan quiet to it that I find myself drawn to. I wouldn’t say that it directly influences any of my imagery, but it certainly affects my mood.

JCAM: Where do you live now and how does that place influence you?

CP: Dallas, Texas. It has a lively artist’s community and in that respect it is very inspiring. But you have to find it.

JCAM: Do you have family, friends, or fellow artists who support you in your work, life and art making and how do they make a difference in your life?

CP: My family has always helped me to foster my interests, chief among them being visual art. They are all my biggest fans and so it’s nice to have that when you are taking risks.

JCAM: When and how did you start making art?

CP: I don’t think you sit down one day and decide to do it. It just comes out. I doubt many artists could even point to a specific point where it clicked for them. Art isn’t a talent, it’s a practice. Now, most artists can probably tell you when they thought they got “good” and for me that was later in life, in my mid 30’s. I had decided I wanted to do album art and so I had to really focus. I introduced the use of references, tailored my pen and ink skills, and began learning the watercolor palette.

JCAM: Can you describe the time when you first realized that creating was something

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you absolutely had to do?

CP: I’ve always enjoyed creating, but your question is slightly different than that. But it’s a good question: when did I feel compelled to create? Probably within the last 5 years. I realized that I was miserable if I wasn’t doing it every day. Whether it was drawing, painting, or writing, I had to engage in one or more of them or I got depressed.

JCAM: Why do you make art now?

CP: Creating something from nothing is fun. Also, making the people happy that I do the work for. I really love being part of music, even if it is just making their art. How has my work changed or developed over time? It’s gotten better! Because it’s all just hours invested, as with any endeavor. Beyond that, I’ve broadened my color palette to sometimes include some bright, almost neon colors, while maintaining a dark theme overall. That’s fun for me—the contradiction of bright happy colors with macabre or dark themes.

JCAM: What are you trying to communicate with your art?

CP: Beauty. Truth. That sounds cliché, but that’s all art really is—a pointed finger at some element of life that says “look at this, it’s how things are.”

JCAM: Do you have any creative patterns, routines or rituals associated with your art making?

CP: Sketch, erase, sketch, erase. Stand back and look. Leave it for a bit. Come back.

Erase more. Ink, then paint.

JCAM: What element(s) of art making do you enjoy the most and why?

CP: I enjoy all phases, really. The hardest is the sketching. I do everything right there on the paper. Sometimes I just stare at it. But it is raw creation. My favorite step is inking over the pencil. That’s when it really comes to life.

JCAM: What is your most important artist tool(s) and why?

CP: Reference photos and my replica skull. There are some artists who insist on not using reference photos and they are one of two types. They are either that rare unicorn of an artist who absolutely can draw without reference and get it true to life (I’m not that) or they are a purist for no good reason whose work is not dependent on getting the trueto-life bits represented accurately.

JCAM: How do you know when a work is finished?

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CP: Usually when all the color values appear balanced. Then I’ll ink over the watercolor one last time. Then it’s done.

JCAM: What are the art making tools you use now?

CP: Mech pencil, many erasers, micron and rapidograph pens, grumbacher watercolors, white paint pen.

JCAM: What new creative medium would you love to pursue?

CP: I’m pursuing writing now, so words, I guess.

JCAM: What's the first artwork you ever sold?

CP: Selling art hasn’t been my goal, but I sold something like twenty or thirty large format abstracts back in 2007 for a ton of money and then the recession hit. Haha.

JCAM: Do you make a living from your art?

CP: People do that? No seriously, I don’t. Most of my work is with small metal bands who pay what they can afford. I am not driven by money. I cover my costs and then a little bit on top of that. If I was paid hourly, and I think this is true of most artists, I’d be at ¼ minimum wage.

JCAM: What strategies could you share with other artists on how to become successful professionally?

CP: What is success? Some people might say money. I disagree. I think success is doing the art that makes you happy without compromise.

JCAM: What are your goals for the future, for both work and life?

CP: Continue to do more art, maybe publish one of my many unfinished novels. Raise my daughter to be a good person.

JCAM: What interesting project are you working on at the moment?

CP: A novel inspired by Nellie Bly’s “Ten Days in a Madhouse” JCAM: What or who inspires you?

CP: I don’t believe a whole lot in inspiration as the driving force behind art. I think hours —time—is what produces good art. I may get inspired now and then, but I don’t count on it or rely on it.

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JCAM: Do you have a favorite – or influential – living artist?

CP: Michael Borremans, Jeremy Geddes, Allen Williams.

JCAM: What work of art do you wish you owned and why?

CP: Damien Hirst’s skull that he encrusted with diamonds titled “For the Love of God,” so I could smash it in a paper sack and use the proceeds to buy up people’s health care debt.

JCAM: Where do you find ideas for your creative work?

CP: Day-dreaming really. My mind never really goes quiet, so it’s always trolling for ideas.

JCAM: What does “being creative” mean to you?

CP: Taking raw materials and mixing them into something that didn’t exist before.

JCAM: What is the best advice you ever had about how to be more creative?

CP: No one ever gave me advice like that. I don’t subscribe to the idea that creativity is some mysterious, innate gift. I think that creativity comes from a combination of two things: desire and time. Sure, there are people with more natural talent or skill, but in the end the majority of people who would tell you they feel they are successful got there because of those two factors I mentioned.

Web links: https://panatier.com/home.html https://chrispanatier.wordpress.com/ https://www.rebelreprints.com/chrispanatier https://www.facebook.com/ChrisPanatier/ https://www.facebook.com/ChrisPanatier/videos/1442267979246564/

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Chris Panatier The artist working on a sketch

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Chris Panatier “Scribe of Hades” / Traditional media illustration

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Chris Panatier “Frankenswine” / Traditional media illustration

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Chris Panatier “Clean Water Act” / Digital collage

Chris Panatier “Commuters Tunes” / Digital collage

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Chris Panatier “CAELUM-HEAVEN” / Traditional media illustration

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Chris Panatier “Sentry of Tomorrow” / Traditional media illustration

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Chris Panatier “Mindstripper-Color” / Traditional media illustration

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Chris Panatier “Resolve in the Tempest of Famine” / Traditional media illustration

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Chris Panatier “MORTIS-Death” / Traditional media illustration

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Chris Panatier ““Ignite-Extinguish” / Traditional media illustration

Chris Panatier “The Quiet Terror of Autonomy” / Traditional media illustration

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Chris Panatier “Communion-Color” / Traditional media illustration

“Communion-Color” / Traditional media illustration, as a print, in situ

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Summer 2019 – Vol. 5, No. 1 “The Final Word”

This issue of the journal marks the beginning of our 5th year of publication. We are proud of this milestone and humbled by the trust put in us by the visual artists, creative writers, and project creators who have allowed us to tell their stories.

And, as with all previous JCAM publications, this issue has been a significant learning experience for our staff. As our essays in the front of this issue have suggested, we could never have foreseen the variety and breadth of our interactions with those with whom we discussed the JCAM. Together we have built a marvelous international network of creatives.

This has all come to pass in ways that we never would have believed when our developmental efforts first began in 2014. We began this online publication with the idea that we could, without significant funding or a large staff, reach out online, through mostly no-cost tools, to connect with creative writers and visual artists internationally.

We regularly hear from JCAM artists who have begun to collaborate in some creative way. We regularly receive updates from previously published artists and writers whose work has later been presented in another exhibition or a journal some place on planet earth. This is very gratifying indeed. It is wonderful to see an ambitious plan put into action and produce such positive results.

The JCAM staff is always interested in how we might betters serve the online art and writing community. What other kinds of features would you like to see in future issues of JCAM? What are the names of the contacts to whom you might direct us? Let us hear from you.

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Information for Submitters for the 2019 Issues

The Journal of Creative Arts & Minds (JCAM) is a unique project of Jumbo Arts International which holds all rights exclusively.

JCAM is a juried publication. All submissions are reviewed by a panel of experts assembled by the JCAM editors.

JCAM publications focus is on artistic creativity. We publish original visual artworks, articles on the visual arts, crafts, creative writing, poetry, performing arts, interviews, reviews, and columns on subjects appropriate to the focus of the journal.

JCAM submissions: On request, interested parties will be sent the information and documents required for the formal submission of work to JCAM editors.

JCAM publishes in English. Are non-English submissions possible? Yes, in certain cases JCAM editors will work with artists to translate into English text documents that are directly related to visuals that have already been accepted for publication.

JCAM publication schedule: In 2019 JCAM will publish 2 issues. The publication schedule is Summer (June-July) & Winter (October-November). Submitters should contact the JCAM editorial team well in advance of these publication dates for information and guidance.

Current JCAM information is available on our Facebook page: https://www.facebook.com/JournalofCreativeArtsandMinds Previously published issues of the JCAM are available online: https://issuu.com/jumboartsinternational Information about the JCAM publisher Jumbo Arts International is available online: http://jumboartsinternational.org/ All questions regarding the JCAM should be sent to: jcam.jal@gmail.com

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