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NO.4

PORTRAY

$14.99


Founder/Editor-in-Chief Donnalynn Patakos donnalynn@portraymag.com Digital Media Editor Lynn Grant Website Manager Nick Galatis Contributing Editors Albrecht Behmel Victor H Lynn Grant Contributing Photographers Joanny Machin Jens Zagorni Ben Watts Adrian Wilson Walter Cooper To Subscribe, Visit portraymag.com To advertising information, please email : donnalynn@portaymag.com Miami, Florida 33133 Tel: 305-699-5556 Follow us on Instagram @portraymag_


CONTENTS FEATURES

SPOTLIGHT TRENDS MINDING YOUR COLLECTION

LUKE LAWRENCE:

EPIC STUDIO VISITS BREAKFAST AT ROTHO'S STUDIO


Donnalynn The months have been flying by. Travels have taken me to Germany, Switzerland, Amsterdam, Paris, New York, with several studio visits for upcoming articles. In this issue, we are featuring some self-directed, distinct talent from all over the World. Australia, England, New York, Germany and Miami and to Brooklyn, where I met with Al Diaz for an upcoming article and did a podcast on the "The Gentle Art" podcast, with my old friend Gene Dunn. It was a lively, fun conversation about the art world, what it's like on the inside. If you have some time, have a listen! There is an interview with four-time World Sailing Champion, Luke Lawrence, who I spent two days in a row out on the water. I sit down with Leonardo Valencia, owner, and operator of Logic art, where he tells us his story and gives us some great advice on the care and preservation of your collection of art, rare books and documents. Being enriched by creatives, sharing with us regularly and learning about their stories, lives, and experiences and what propels them, is what inspired Portray. Collecting art is a journey, a reflection of you, where you've been, and what resonates from within you. There is a courageousness to be oneself and like what you like, and exultation in the quest and adding to a collection. This magazine dedicates itself to authenticity, creative freedom, life's sublime moments, and human connectivity. I couldn't be happier to have you on this journey, sharing these stories with you.

With heartfelt gratitude, Donnalynn


CONTRIBUTORS

Raul Zamudio

Afra Zamman

Albrecht Behmel

Lives and works in New York City and has curated or cocurated 139 group and solo exhibitions in the Americas, Asia, and Europe. Author, coauthor, or contributor to 87 artrelated books and exhibition catalogs; many of his publications have been translated into other languages: Bulgarian, Chinese, Finnish, German, Italian, Japanese, Korean, Polish, Portuguese, and Spanish. Corresponding Editor, Art Nexus, and other writings appearing in numerous periodicals. Studied art history at the C.U.N.Y Graduate Center, Columbia University, and the Institute of Fine Arts, NYU; and was a Helena Rubinstein Fellow in Critical Studies, Whitney Museum of American Art Independent Study Program.

Has a background in engineering and business administration, a graduate of the Universities of Damascus, Cottbus and Brandenburg, Germany, she founded a consultancy agency for medical doctors and wrote a best selling children’s book. In 2012 she co-founded Studio Zollernhaus, an artist’s studio and media company in the Black Forest with her partner Albrecht Behmel. Afra develops exhibition formats and publication concepts for the art world. She is a regular contributor to Portray Magazine.

Albrecht Behmel, 47, is an award-winning artist and bestselling writer. He studied art, philosophy and history at Heidelberg University and Humboldt University of Berlin. His colorful pop art paintings have been shown in the Louvre, Empire State Building, at the Cannes film festival, Houses of Parliament, Potsdam, Brandenburg and the Federal Presidential Palace in Berlin, Schloss Bellevue. This year he was the featured artist of DMEXCO, Cologne, and of The Taste of Contemporary of Art Basel, Miami. Other recent exhibitions were in London, Paris, New York, Los Angeles, Moscow and Manila. His work has been featured both on TV and radio, GF Luxury Magazine, Creative Magazine, Family Office Magazine, Art and Museum, and Portraymag.


BRAD TEODORUK The Flavor for the layer By Donnalynn


Nobody can know for sure what could be behind the finished works of Australian artist Brad Teodoruk. He has a flair for fashion, a gutsy bravura in dramatically altering a canvas with the flick of a wrist and a calm, gentle demeanor, resolve with deep consideration. There is a maturity to Brad and to his approach which demonstrates, all that exists is happening right now and there are no accidents. He is creating, collaborating and sharing his craft and people are gobbling up his art. He is a surging star from down under.


There's what you can see, and then there is the what is in the depths of the work. There may be a creature beneath the top acrylic layer of the lighthouse you see or a bird perched on a patch of white paint. Layers of fragmented images and words. Sometimes, there is a large cat (We will call him Brad), in all sorts of moods, that likes to make a partial or whole appearance. The cat can be spotted or striped or solid. He can be sleepy, or sad, or angry, growling or skittish surrounded by fragments of stratagem. Lately, there have been beach balls and birds in play representing moods or moments.

When I first saw Brad's work, I felt very connected to the color and curious juxtaposed capping off of something that wasn't completely shown. Then I watched Brad paint and it is effervescent. The King of his canvas, he giveth and he taketh away. He is immersed in the immediate. There is a thought, and then it changes, or maybe it was meant to be that way, to begin with. His intent is to emulate art on walls in streets covered partially, painted over as if it was another day, another thought, another outcome. It then all merges together in beautiful sassy blues, shades of reds, washed out pinks and yellows or whites.


What I have observed of Brad in the months since we first spoke, is not only is he dedicated to his work, he is also a team player. There is a sincere kindness and kinship for other artists he works with and knows. He will spend days with someone else sedulously creating something that represents both styles and when the other artists aren't there, he is back at his work alone, conceiving something new. Whether working in tandem or solo, his giving, stalwart nature is refreshing and inspiring. Looking into his work, his life, and where he is going is exciting. He is working on the upcoming busy Spring and Fall with six shows from now until September in different galleries, I seem to have gotten him at just the right moment. Here's what he shared with Portray.


Where do you live and where do you create your work? BT- I currently live and work in Sydney, Australia. What message does your work aim to convey? BT- The message is loud and clear, my work says ‘Fuck You!’ to how I feel on the inside. It’s really quite personal in that regard. This approach would/should convey playfulness, ambiguity, tradition, history, resistance, love and hate, and above all a vibe - like listening to The Kinks on the radio or something. I make the work for me, first and foremost, if other people like it then that’s a plus. I thought about it for a long time, if I’m going to put something into the world, it better be positive. Love is the greatest thing. I’m not a hippie, I’m a punk. How do you cultivate a collector base? BT-Mostly through Instagram and exhibitions. Social media is fascinating. I wish I didn’t use it, but really that’s how I cultivate a collector base. Thank you to all who have collected my work.

What do you think is most notable about your work? BT- Color and composition, without a doubt. Content is secondary. When did you begin painting? BT- I began painting in 2005 or 6. Drawing my whole life. I stopped painting for a long time, about a decade, and picked it back up in 2015.

Who/what motivated you when you started? BT- When I was young it was my Dad who inspired me, he’s a painter/draftsman also (just not professionally). Then in high school, it was Andy Warhol. I made Pop Art (maybe I still do) throughout high school. Fast forward to a bad break up with my ex-fiancee, where I would throw all of my major work away upon leaving. The work went in the bin or out in the street for people to take away. This was around 2015 where I picked up painting again. Where is the most exciting place your art has brought you? BT- It’s exciting for me to be working and living in Sydney, but also on a personal note, it has allowed me to arrive at where I want to be in my life with who I am as a person. And ultimately that matters the most if you could have a show anywhere, where would your dream show be? Why? Who would be there? BT- It kind of already happened when I showed at Robin Gibson Gallery in Sydney. Brett Whiteley showed there. In fact, I was in a group show with him there. Of course, though, the dream would be a show in New York or London but that will come in good time. The people who would be there would only be people who enjoy what I do. Have you shown your work in the US or Europe or Asia? BT- Internationally, I have only shown work in Copenhagen. I am planning a solo show this November in Seoul, South Korea and am waiting for my invitation to show in the US.


"I thought about it for a long time, if I’m going to put something into the world, it better be positive. Love is the greatest thing. I’m not a hippie, I’m a punk." What excites you the most about the creative process? BT- Probably the exploration between consciousness and subconsciousness or the game of chess that takes place. Making a move, seeing how it plays out. Having a laugh and being expressive or feeling defeat and attacking the canvas one more time before you call it a day. The transcendence that occurs to oneself when in the act of creating. There is magic happening. You’re in it, fully, you just don’t know it until you come out of it. That is the ultimate mindfulness when you allow yourself to give in to pure observation and attention to detail (if you want to)

If you could go back at any time in history and have an afternoon with any artist, who would it be, what would you do, and what would you want to learn from them? BT- I’d probably just want to hang out with Andy Warhol in his factory and watch what he does. I wouldn’t say anything, I would just observe. There’s nothing he can teach me or that I would want to learn. Not from him, Picasso, Van Gogh or any other artist. They were all students of art just as I am. We are learning from art. We are learning about ourselves. Whatever formal techniques there are to learn, I will learn in time, on my own accord. If another artist taught me anything about art, I would become a copy of them and that’s really not what I’m about. That’s also one of the things that excites me most about art or the creative process. Discovering it for yourself.


I Do you remember to whom you sold your first painting? BT- I do! It was a collector from Norway who bought three works. I happen to be a fan of your fashion, does it influence your work? BT-Thank you. I wouldn’t say it influences my work but it definitely falls under the umbrella of expressionism and the need for wanting to express myself. What do you think the social function of art is? BT- I really think the social function of art is, connection. The connection between the work itself and the viewer is art in itself. It can create controversy, make society question, it can bring us joy and pleasure also. It can certainly bring awareness politically to what's happening in the world around us and this is really important to bring people together (connection).

What are your goals for this year? BT-I have a solo show in Sydney in August, an art fair in June in Seoul as well as a solo show in Seoul in November. Maybe there’s a group show or two this year. Then off to Europe in September to explore where I might relocate to for 2020. And I plan to launch my fashion label this year also. Tell me about painting big cats on blue backgrounds, and how that makes you feel inside? BT- The leopards featured in my paintings are self- portraits. They are depicted as being fearful or tired which is the case for me most of the time, unfortunately. My work is mostly about contrasts or opposites, so the blue that I use just happens to be the most exciting color for me. Sometimes when I’m painting with this particular blue I am laughing with joy. I am in ecstasy!


"THAT IS THE ULTIMATE MINDFULNESS WHEN YOU ALLOW YOURSELF TO GIVE IN TO PURE OBSERVATION AND ATTENTION TO DETAIL"


ROSÉ DAYS icks p p to e m o s to e Your Guid this summer

Summer is here, and so are the lazy days spent watching sunsets with friends and sipping summer's favorite wine. Sommolier Heath Porter narrows down the list for us with some excellent selections. Impress your friends and family by picking the winners right off the bat! As he puts it, "Real men drink RosĂŠ, and so do I!!"


All Day

ROSÉ

Billecart-Salmon Rose Champagne......truly one of the most iconic sparkling Rosés year in and year out, consistently at the top of their game, its not cheap but its a standard bearer for pink bubbles....I was at a wine geek party a few weeks ago and someone popped a bottle and somms came scurrying like octogenarians to a Lawrence Welk album

STIFT GOETTWEIG Stift Gottweig from Austria.......Rosé of pinot noir from the grounds and vineyards of an ancient monastery......on the label it reads Messwein because it was the wine they used for communion....Hell, I would have gone to church for that!

BOYA Boya from Leyda Valley, Chile.........super crisp, fresh and dry styles wine with tons of tangelo, kumquat and almost saltiness from high elevation coastal vineyards a few miles from the Pacific

CHINOE Charles Joguet, Rosé, Chinon, Loire Valley, France......from the center of France this OG producer makes some of the best Cabernet Franc in the world, and here he uses Cab Franc to make world class pink juice........really pretty aromatics like fresh mint and verbena flow with strawberries and cream......this bottle is looking for Cioppino like a Kardashian looking for talent.


All Day

ROSÉ EDITOR'S PICK If you are in the New York City or the Hamptons, look out for .. Watts Rosé "As a photographer Watts a better place to fall in love than Provence! And Watts a better way then over a beautiful glass of Rose with friends. In that moment I was inspired to create an Organic Rosé that I could share with you. Salute!" Ben Watts Le Domain des Masques looks down over the region of AIX EN PROVENCE. Completely isolated, the estate is situated more than 500 meters above sea level on the Cengle plateau, looking down upon the SAINTE-VICTOIRE mountain.

Photo credit Ben Watts


Artistry Meets Precision by Donnalynn Patakos

By Donnalynn


Untitled, 2018

Issue 27 | 234


You Fill My World With Colour 2018

You pull yourself up from the ladder and someone hands you a towel before making your way back to land. You hear the water sloshing gently on the side of a nearby boat, rocking hypnotically. You dry your head, feeling the tingle of the salty water drops evaporating into white speckles from the warm sun on your skin. You look at the water as it changes colors and the land in the distance. Gazing up observing the clouds, you realize you are completely present in the moment.

"They are almost like portholes into a parallel world. A world where you are embraced by the environment."


All of the paintings are made with a surgical knife, tape, patience of a saint and some very high quality acrylics. Will sketches and tapes the entire scene out first. You can only imagine it must be paintstkingly precise labor. "Masichistic at times" according to Will, but yet a labor of love.

Do You Think About Me, 2016


ill Martyr remembers sitting on the balcony in his father’s office in London, looking across the Thames River and beyond, to the Houses of Parliament and drawing at the age of six. Drawing was very much encouraged in his world. His father was an artist, and yet encouraged to take the business route to make a living, so when he saw his son’s interest and talent he happily encouraged him to foster his talent.

Will went to the Slade School of Fine Art in London straight out of grade school, graduating a year early from his studies. When you speak to him, he says repeatedly, "I was lucky enough to" or, "I am so lucky." There is an underlying gratitude everpresent in his thoughts and dialogue. Pondering over our conversation and his work afterwards, I must say, in my opinion, in life, "luck" seems to be coupled with hard work more often than not. He worked his tail off, got into some of the most prestegious art schools on his own merit, where he painted 24/7 while making his way. A "baptism through fire", he calls it. Sold out his entire body of work before graduating. He was one of three students from the Slay School to be chosen from his graduating class to get a scholorship to choose where they would like to study next. This was not luck. This was perseverence and focus. Will went across the ocean to New York City, repeating the process.

Treat Me Like It’s My Birthday, 2018

Living in New York in the 90’s and

"I try and paint those

going to the New York Studio School

moments of our lives

was a time in his life he won’t forget. He had been given a studio to work

where we have all stood

in by one of his father's friends from

in front of a vista, on

college. He was living on Park

holiday and we have

Avenue, rooming with a model and recalls with a laugh, going up the

looked on a balcony

elevator to his flat and thinking, will I

across these amazing

ever live like this again?

places that you have

He returned to London to get his Master's at the Royal College of Art, (Hello Hockney) and made a name and a place for himself in the art world. Everyone I speak to that have seen his works in person absolutely love them.T10.4 hey simply light up with the conversation of it!

been."


"The sky may be from water from Cancun or the Greek islands, the table could be from the South of France. They are snippets." Will Martyr

Will in his studio Works in Progress..

Will in his London Studio


Take me back to the time when you were just starting out. When was that "moment" for you? WM- London in 1998, with the wave such as Damien Hirst coming through all the art schools, and at the same time fine artists such as Peter Halley came through the Slade. Of my Alumni, there are Spartacus Chetwynd and Director of Herald Street Gallery, Nicky Verber. I was very lucky straight out of the track.

The Tondos! How did you start with the Tondos? WM- For me, it's kind of a wholesome loving shape, like love lockets you have around your neck. You open up and you embrace them. They are almost like portholes into a parallel world. A world where you are embraced by the environment.They are so much softer and allow you to dream. You fall into them much more than just a square or a rectangle. I try and paint those moments of our lives where, we have all stood in front of a vista, we’ve been on holiday and we have looked on a balcony across these amazing places that you have been. You know you are going to remember those. I try to to make paintings that get as close to what that feeling is, and something about a circle gives you that inclusively, that warmth. There is a huge amount of philosophy that goes into the value of certain shapes and I think a circle of those things ,that is pan culture, that womb-like circle that envelopes you.

You slice everything out with a surgical knife and masking tape first? WM- It is masichistic at times! (laughing) I love that accuracy with a surgical blade and each individual color hand mixed and then use foam brushes to paint under the surface. It's this trance-like state you get into when you are making the work. I love the control of that process. What mediums do you use? WM-Pencil, all hand drawn and I discovered Golden Fluid High Pigmentation acrylics you can buy, with this incredibly glossy surface, There is an intensity of color. I've been using them for 20 years. Did you start on smaller circles, or was it, "Im gonna dive in and go big?" WM- I've only been painting on ovals or circles for the last three years, and lots of time its on squares or rectangles as well. Whatever fit's the composition best, but I have been painting large for a very long time now. I love to scale. It's a privilege to paint to scale. A lot of the commissions come in at scale. You have all these beautiful places and you can almost insert yourself where you are. Are they actual scenes and if so, where are they? WM-The sky may be from water from Cancun and the Islands or the Greek islands, the table could be from the South of France. They are snippets. All of those fabulous moments in your life and I put them into composition. They are hybrid locations. Its all dreamy. It's from your memories.


How do you find Inspiration? WM- 90% of the images I take myself. I can be looking through a magazine and see something that reminded me of a trip I made to the Joshua tree 30 years ago. I remember there was a jacuzzi, because it was ludacris because of how hot it was outside. I'll find a particular image that remind me of that. I bring these things together. So, it's no particular place, its about finding those particular memories and bringing them all together to create something completely different. Hybrid locations. I love being able to control a particular sentiment of a particular place and I think what I try to do with every painting, the time of day is very important. I am able to create that warmth or cool of a morning or a evening, Even if they are hybrid locations, they do feel very consolodated as one location.

The Answer Is In Clear View 2019

Tell me about sculpture and your expertience with Sculpture. WM- For the "Fathom" show, I created a neon sculpture with a parasol, with a play of color, gently luffing in the breeze. I am interested in incorporating that into a more 3d neon object. I enjoy the painting process. The sculptures I have made have been wall based, not something you walk around completely. It's something I need to explore more. Have you had any other jobs, other than being an artist? No. WM-I've been very lucky. I started selling my work directly after my undergraduate studies, when I graduated from the Slade School of Fine Art when I was 21-22. I sold out my graduation show immediately, and I moved to New York City and studied at The New York Studio there. Graham Nixon went to college with my father in Rome

in the 70’s and gave me a studio to work in for a while. I continually sold my work and then I came back to London to do my Masters at the Royal College of Art. Again, alot of it was large scale work. I was selling work to ABN AMRO, Prudential, Standard Chartered, lots of institutions. I graduated at the worst possible time for selling art in 2007, when the financeial crisis hit but because I had the large corporate interest in my work, it kept me buoyant and kept me working and being a full time artist. What is your dream project? WM-That changes all the time because I am realizing dreams as I go along. The last 5 years have been quite spectacular. My dream is obviously to be an artist for the rest of my life, but a specific project would be to do a large scale painting size to scale for a major art institution or gallery, whether it be in the UK or US or far East or wherever, but to not only have the recognition of my peers, but the recognitiontion of the art work would be fantastic definitely.


You make me hold my breath, 2018

I realized as we spoke, that Will is just as talented at the depiction of his work and drawing you in with his words. It takes a unique mind to undertake and analyze the obvious and make it relatable and stir a desire to return to the imaginary. You can see more of his work at www.willmartyr.com. He is also represented by the Unit Gallery, London.


LUXE GIFTS

WRIST CANDY The Graff Hallucination watch Bedecked with colored diamonds the rarest on earth, with a very small camouflaged dial there you can see the time, if the diamonds arent blinding you. This one will set you back around $55 million dollars, but hey, it goes with everything!


LUXE GIFTS

Jacob & Co. Billionaire Watch 260 carats of emerald cut diamonds Created as a unique piece, this 260 carate watch with exposed heart in the center. $18 million USD


MARKO BRANDON S H O W I N G U S T H E " I N S A N D O U T S " O F M A S T E R W O R K S

With a passion for Old Master paintings, sculpture and a solid eye for decoration, Marko Brandon has managed to reconstruct beautiful bedecked works into contempo, cutting-edge, sonorous displays on etched metal.


The most intriguing discoveries are illuminated from within these distinguished works, where you can see what no one (except the artists themselves) over the ages has been able to, until now.


TALK ABOUT AN EXPOSE! Talk about an expose! Marko Brandon literally delivers with his creative works showing us what is behind what we see.

f you are a fan of paintings, you also know what you see on the top isn't where the story started. Being an old master fan, and a very curious fellow, Marko, took his curiosity to another level. Having access to some Xray machines, he wanted to get the core of the entire history of a work. With a keen eye for design, the results were not only interesting but beautiful. He began asking some friends, who also had glorious paintings if he could x-ray theirs as well. The bones of the work, the nitty-gritty, the hidden images and landscapes, the unseen scarring and mending, all memories within the canvas. The hidden flaws, when what you see on top could be something completely different and seemingly flawless. Just makes the work more relatable and intriguing. Good conservators can tell you a date on work from looking at the back, the labels, and other telltale signs of restoration. Marko can show you what has happened all the way through. Works of art that have survived for centuries – and even those that are just a few years old – come with a story.


You can see the before and after effects. The color painting below turns into the four you see on top. Historically made from tightly woven hemp—the word canvas derives from the Latin "cannabis"—it began to be a mainstay for painting in the 16th century during the Italian Renaissance. Venetian painters utilizing cloth because it was easier for them amidst the humid environment than frescos or wood panels both dried poorly or worse yet would warp in the humid air. There was an abundance of the canvas, and it was readily available and inexpensive, given that the material was also used to make sails. It was easy to mend, and preparing the canvases was an art in itself, large paintings were more comfortable to transport. he canvas was wrapped around wooden stretchers and prepared for paint. Throughout the Renaissance, artists went to great lengths using gesso to ensure their preparatory layers hide the texture of the canvas and the color wouldn't come in direct contact with the canvas, which would cause decay. Often reusing the same canvas, artists would switch ideas or gears. Even recently, three was a Picasso Blue period painting they were examining, and they found an entirely different picture underneath it. To see what is behind a painting is exciting! You may have two paintings, one you see and the story you do not. In these two works, part of a Quadpict, entitled the Four Seasons, Marko exposes the mending in the works, the patching. These works, when all displayed, are fascinating to admire.


It's not all in Black and White. There are some pieces like "Noblemen" where the subject gazes ahead with a wisdom. Notice the scarring on the head from within. The Tryptich is solid and powerful on the wall.

Noblemen


Marko is a perfectionist, and spends many hours creating the finished images as all of the pictures do not fit on the x-ray machine. He will repeatedly take the images and connect them together seamlessly until they are precise. It can take days for him. It does not happen in one shot. It takes many, many hours to get the product we see. Having done collaborations with Saks Fifth Avenue and other designer shops. His work is in very highend retail spaces. Designers love the works because they are new looking renditions of masterworks transforming a lobby or room with the reflective properties to some of the works and metallic elements. Lighting is everything with these metal works. He showed me in Miami before his show. He came in with his crew, and they worked on lighting, so each piece was lit just right. He also has a unique hanging system that comes with all of his pieces, so they hang the way they are intended.


POST-WEDDING TRAVELS Or your "honeymoon", for short. We have six best places for you and your husband to go to, after your wedding.

1 2 3

BAHAMAS

4

HAWAII

5

PALAWAN


de la Haba RIDIN G THE C OSM IC WAVE E SS A Y W R I T T E N BY Raul Zamudio


de la Haba

The artist de la Haba in Montaukl holding one of his totems.

The ocean or sea as subject matter in art is varied as art itself. Romantic painters including Casper David Friedrich and Theodore Gericault whose respective works of The Monk by the Sea (1810-12) and Raft of the Medusa (1818-1819), for example, dovetail on two notions of the maritime sublime wherein the former concerns transcendence and the other horror. More recently have been contemporary artists such as the photographer and architect Hiroshi Sugimoto who focused on the sea but from a conceptual framework. It is through all of these antecedents that one should approach the recent solo exhibition of Gregory de la Haba titled Vertical Horizons/Horizontal Waves, Totem Poems, at Monaco’s Meta Gallery.


Homage to Guccio Gucci

Presented under his paternal nom de plume of de la Haba, the exhibition consists of photographs, assemblages, and sculptures thematically oriented around surfboards, the sea and tangentially the surfing subculture found throughout the world’s coasts. More than just a sport or recreation, surfing at its absolute is a lifestyle in which its practitioners have an almost Zen-like reverence for their activity and all things associated with it. The permutations that de la Haba configures in these intricately crafted sculptures encompass the surfer’s ethos and not only are they visually arresting artworks, but he manages to imbue this sculptural corpus with a broad purview of meaning that in lesser artistic and imaginative hands would suffer from thematic and formal singularity.


Some sculptures are parred down where the arabesques seamlessly carved into the boards are animated by a rich and other worldly palette. The interplay between negative space and the positive contours of the sculptures create, among other things, a sensuous allusion to the curvature of the human body. Most of de la Haba’s sculptures seemingly drift afield from their primary source, however: although the works are upright and generally resemble a surfboard, that is where surfing ends and a myriad of complex narrative possibilities begin.

Vertical Horizons

Autumnal Moon / Horizontal Waves

The Swell & The Equinoctial Points

PAGE FOUR| JOURNEY


IN THE THREE MUSES OF MONTE CARLO (2019) for instance, the vertical forms in the three black totems, each with a painted gold stripe running down its center, take on religious and anthropological dimensions. The Christian Trinity as well as an evocation of some ancient, tribal deities manifest with an aesthetic elegance and discernibly confident mĂŠtier.

The delicate and masterful cuts in the sculptures are not only compositional devices, they also allude to archaic notation or some other worldly system of communication, or even some type of ersatz ornamentation found in the royal accoutrements from a long, lost or futuristic civilization. But the word totem is more than just a metaphor in the series’ title, for each individual artwork embodies the totemic in its diverse meanings: on the one hand they could outwardly signify the totemic as materialization of animal or spirit entity; on the other they also seem to rub up against psychoanalytic theories of the totem as representative of subconscious archetypes.Then there’s the classical anthropological reading of the totem as having to do with dreams as well as family, clans, and gender.


But de la Haba’s formal and thematic use of the surfboard is not only touching on what might seem as the intangible; in two other works, Bleached Coral Totem #1 (2019), and Bleached Coral Totem #2 (2019), he has incorporated on their surfaces, front and back, an array of quotidian detritus, mostly plastics, found on New York City beaches. Hence these sculptures are a stark reminder of the fragility of the sea and the dangers of using it as some kind of public waste disposal. At the same time, de la Haba manages to make these works hauntingly beautiful: the white pigments and materials incorporated to 'bleach' the totems' polychromatic waste (bleaching occurs naturally to coral reefs when they die, when the water they live in becomes contaminated and the healthy algae which gives the reefs their color is killed off) meta-morphosize the plastics into something grander, a rallying cry, one that's chillingly clear: We must do more to protect our oceans.


The wide formal and conceptual purview of the exhibition is astonishing considering its use of the surfboard as the point of thematic departure, and this is underscored in comparing other artists who used the same format consisting mostly of painting or printing on a surfboard’s foam surface before it is sealed with resin.

The Three Muses of Montauk

Marina Roeloffs Von Hademstorf, Gregory de la Haba, and Kira Roeloffs Von Hademstorf

As an artist de la Haba is known for his work as a painter, and it’s revelatory to see him delve into another medium with such artistic deftness and assurance. We can only hope that he continues to ride out this wave wherever it will take him.

Gregory de la Haba with Raul Zamudio and Donnalynn Patakos

For Inquiries on Gregory de la Haba and his work please contact: Donnalynn Patakos donnalynn@portraymag.com


ON BOARD AND BEHIND THE LENS WITH

Picture courtesy of Walter Cooper photographer


Let me rewind to a few weeks before. I sat gazing out

As I watched and listened to the wind inflate and deflate the sails, with a powerful wrinkle, and "FWAP" sound, I had a profound realization life is a lot like sailing. You aren't always in control, which can be exhilarating for a moment, and sometimes you have to listen, adjust your jib, and use the elements from a different angle. Even if it seems hard, keep going, have a direction, and you will get to where you want to go faster if you have the right teacher and tools. Hence, my cliffs note experience with Luke Lawrence, a four-time World sailing champion and photographer.

the passenger window traveling slowly over the Macarthur Causeway in Miami. Looking over at the cruise ships and docked yachts, a thought came over me

watching a sailboat breeze by. Why not write

about a pro sailor? I've read articles about a lot of sports but this would be unique. A good friend, Stefan son sails. I asked him if he knew any professional sailors I could interview. After a couple of weeks, he came back and said he knew of a pro I could speak with, who had recently won his fourth World Championship. I then found out he was also a photographer, which piqued my interest further. The mindset and motivation of excellence adding the capacity of a creative spirit is the makings of a great story. Luke Lawrence, accomplishing this before his 29th birthday is a great example. I met with Luke a sunny morning in Coconut Grove at the Coral Reef Yacht Club and he took me out for my first lesson. I am under the belief, if you are going to learn something, try and learn from the best.


Keeping His Eye on the Prize I asked him if he would be open to a new, significant corporation sponsoring him for a race in the future. He said he would. I asked him how he would do it, and he looked me dead in the eye and said, "Whatever it takes." What he was silently saying was, I would enhance and demonstrate excellence any way I can. He didn't say, "Look what I have done." It was more like; You have not seen anything yet! Growing up in Florida, Luke had spent his fair share of time on the water. For those of you hesitant to try sailing, Luke revealed to me his mother, who he refers to as his “Driving force” had signed him up for sailing camp one summer. His first time on a sailboat alone ended with him crashing onto a dock about twenty seconds into it. He didn’t get back in a sailboat alone until he was around eleven. Having more confidence at that age, he recalls sailing in his backyard with some of his friends on a sunfish. It is one of his happiest memories. He said it as the first time he felt, “Completely free.” He won his first race two years later. Interestingly, he won three out of four of his World Championships on the same day, his birthday. August 24, 2010, 2014, and 2016. They were three different classes and locations. When he won in San Fransisco, in 2010, he was the first American (and only to date) to win the Junior Silver Cup World Championship — beating out some sailors that have since won Olympic medals. He says the first win changed his life. His first World Title altered the plan. His second World title initiated a concept of an idea. His third earned him a “Lay up” and the fourth, he wrote the speech before he even showed up. Reminds me of a story I read once about a pro tennis player who once said when asked, “What do you think before a match?” He responded, “I look over at the other guy and say to Winning the Juniot Silver Cup World Championship

myself, I wonder why you even showed up!” It’s that internal dialogue that most elite athletes have in common, including

Luke Lawrence, has four World Titles, and four Rolex Yachtsman of the year nominations. He will wander off a sailboat and be invited up to the dock to a black-tie event at the yacht club, and join in the festivities in shorts and his Sperry's. Why not? (true story) He can go with what the world brings, and I like that about him. (He also dresses up with notice). Being around a lot of yacht clubs globally, he has seen his fair share of it all, but his mind is on growth.

Luke. He realized young that he had to work hard, repeat the victories and the World could be his oyster and open up opportunities to him.One of his private coaches claimed Luke was one of the most naturally talented sailors he had ever seen. Luke comes from a long line of sailors, (generations of ice sailors) it’s no doubt in the blood.


"I never took no for an answer, and was always me. I trusted my gut." Luke Lawrence

One thing being a pirate, ahem,

a sailor has taught him was the disconnect. He learned at a young age, through sailing, that he had the capacity and ability to overcome challenges. At 19, after one semester in college, he spent 295 days on the water. I'm inclined, after spending time with him, to consider this time for him would be the equivalent of a chasmic sociology experience and clocked

time

experience.

in

Unaware

his

sailing

where

he

would be one day to the next, or with whom. He learned how to be brave, gregarious, and how having a knack for accents can keep one safe

in

an

unfamiliar

situation

abroad. He didn't see his family. He focused on sailing. He was fixated to make a massive change in his life and

committed

himself

wholeheartedly spending almost a year on the water. Being away, he saw enough real-world problems, and it taught him to let go of resentments and prioritize. This time ignited his real passion for racing.


"Faces" Limited Edition of 5 Photographs by Luke Lawrence

Giving Back

Journey into Photography

One of my next questions to him was, "How do you give back? " He then asked me what I was doing the next day. He asked me to come to the Coral Reef Yacht Club, where they were hosting a sail lesson day for injured veterans with an organization called Team Paradise. Team Paradise Sailing delivers free sailing programs to individuals with disabilities, veterans, and underresourced youth. www.teamparadise.org. I showed up the next morning for the event. It was an excellent turnout, and they had a brunch and then took them out on various boats for the afternoon. The veterans seemed to enjoy and appreciate the time people had taken to share with them a day out on the water earning something new.

Luke travels the world on a sailboat, challenging himself and generating creative photographic responses to powerful thought starters. I asked him when his enthusiasm for photography began. He one day noticed drops of water on a sail mast. Within the drops, he noticed the reflection of a storm that was coming. One of the pictures is a close up of just a drop of seawater revealing, like a crystal ball, the pending storm, within it. Every time I look at the picture, it reminds me of a quote from the poet Rumi, "You are not a drop in the ocean. You are the entire ocean in a drop." Most would likely wipe the water away. Luke seems aware of his surroundings, wherever he is. This attention to everything, gives him the ability to ascertain things some of us would never detect. It can be another universe.

Luke is fascinated by how his natural subject matter allows him to control the composition of his image. His photos are Mother Earth's creations, devoid of people. More than a simple record of nature, through his lens, Luke, exposes a parallel universe and invites us to examine them anew. What makes his work unique is how he has made the seemingly invisible look so absolutely vivid, as if they had a secret life of their own that only he knows how to portray. Luke has the extraordinary ability to capture all the small details that make the difference and reveal all the stories that remain hidden behind the surface, conveying an almost deafening silence, as if time had stopped and humans had suddenly disappeared leaving nature to show it's glory.


"Focus" photograph by Luke Lawrence

Luke with his Photograph "Faces"

"Parallel Worlds" Photograph by Luke Lawrence

Being with Luke for a couple of days was refreshing. I enjoyed being on the water with him and his friends, who were from all different walks of life, but when they were on the boat, were a team. He taught me a few things: Take the time when you need it to reset, it's ok. Get out on the water and defrag with people. Notice the details and something else that has stayed with me; I will share with you. If you happen to be on the water and see a boat with the fenders hanging off the side as it is moving, steer clear. They do not know what they are doing. You're welcome. Thank you to Luke, the Coral Reef Country Club, and Team Paradise for the hospitality. You can see Luke's photographs on Portray Magazine's gallery and 1st Dibs.


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October 3-6 2019 Special Invite only VIP October 2

November 1 - 5, 2019.

December 5-8 Miami Beach Convention Center

FAI RS


MARC DENNIS

Marc Dennis is Northbound in his career and seems to be relishing the ride.


From a collectors perspective, his art is in some very prominent collections, which for all intents and purposes may be enough for some, but there is more behind the momentum. He is an intellect, unabashedly himself, a father, and a teacher. He has undeniably, an incredible talent. He imparts this in not only in the output of his work but by his actions as well, teaching others what he knows about living and succeeding in the art world, all the while, completely conscious of the fact that this is the gift that keeps giving. I am intrigued by his hustle. I once read a quote by Woody Allen that said, “80% of success is just showing up.� Mr. Dennis does this well. He shows up to teach his classes; he shows up to events and art fairs and openings. He shows up to his studio, He shows up to talk about what he believes in. This guy has shown up so much, that now; every day people show up to his work in Wantagh, NY at the train station there! Admiration, 2018


INSPIRED BY HIS FLORAL “A GREAT PIECE OF TURF” I APTLY NAMED THIS ARTICLE AND ALSO WAS INSPIRED TO LOOK UP BOTH FLOWER AND INSECT NAMES. STRIPED PARROT TULIPS, STAG BEETLES, OLIVIA ROSES, BANDED NET-WINGED BEETLES, BLACK SWALLOWTAIL CATERPILLARS, LADY BEETLES (THEY ARE NOT BUGS, THEY ARE BEETLES). THERE WILL BE MORE ON THAT LATER..

A great piece of turf, 2018


The end of the World,2013

Some of his hyper-real portraits may place you in front of, and simultaneously behind the head of a head ahead of you, observing someone observing something else or the same thing, or maybe they are just standing there not paying attention to anything. But isn’t that in itself reality? Is it ever really just you and a great painting in the museum? This work is entertaining and quite literal in its execution. He spent years sketching the backs of people’s heads, and one day decided to place them into his work. Yes, you want to move them and get your turn, but you are now part of the experience of the conception. It’s a beautifully orchestrated jocose allusion..

NOT TO JUMP AHEAD, BUT WANTING TO

AI met him at TEFAF recently. He wasn’t hard to spot, walking jovially and briskly towards me on a large, red carpet as I descended the stairs and greeted me warmly like I was visiting him in his home. Already with some cronies and collectors, breaking away for a second to find me and walked me back to his group. I observe him as he spoke, taking it all in and I realized what he can produce on canvas, which is arresting, is equally matched by his ability to entertain and engage people with his energy, sense of humor and wit. If I were to explain his works, it would be inconsistency meets metonymy. It is an etherial enchanting ocular coalescence — He succeeds in stimulating the desire to observe the veritable, the lavish and creates a moment of solicitude, which is also prevalent in his thoughts on his work and life.

Betty, Lawyer, Pony,2013


KEEP THEM HAPPY

Allegory of the Fourth Freedom, 2015

In short, You teach at University, It’s an opportunity to give a younger version of yourself artist self-advice. What is something important you have learned that you try to convey to your students to take with them when they leave? MD- I take great pride in not only teaching but also mentoring – and my advice has been consistent over the years, coming down to one very basic perspective, which is: There is no key to success, but there is a key to failure and that is trying to please all the people all the time. In terms of life advice for young maturing artists, such as my students I would always remind them of three basic principles; (1) Strive to create effective artwork, (2) Don’t be in a hurry, (3) Be nice. This is, of course other “don’t burn bridges,” which is the most important!

If you could insert yourself into a painting, what/who would be with you, around you? MD-I am symbolically in every painting I’ve ever made. If however, I were to insert myself physically, that is, as an exact likeness of myself it would be a painting hinting at a contemporary interpretation of the mythological character of Apollo and the Memento Mori (a Latin phrase meaning ‘remember you must die’) theme. I would be surrounded by animals and flowers in a forest setting but would need to think for a long time before arriving at who would be with me.

Now, let us hop over to another subject. You practice entomophagy, Does your family also partake? What is your favorite insect to eat and with what? I created an organization in 2009 called “Insects Are Food” because I believe strongly in cultivating awareness towards rethinking our definition of food and what are viable food sources as we move towards more sustainable processes. Eating insects made and still makes the most sense. Many other countries eat insects and/or include them in their diet and I felt it was/is time for us as a leading nation to create more insight into the idea. Al Roker contacted me several years ago to do a cooking show on the Cooking Channel (part of the Food Network) of which I obliged and we did one episode, which was successful and fun and a lot of work, and well worth the effort! The project has taken a back seat to my painting and teaching in the past few years, but on occasion, I reinvest my time and energy into cooking and eating insects and offering demonstrations. My family does not partake by the way. Maybe one day my kids will eat bugs with me – maybe during halftime of the next Superbowl! Grasshopper tacos are delicious!


This work, is a painting of a security guard in front of a painting. Being fully aware that we are in a digital age, he plays a visual slight of hand making it appear it is a picture where in fact, it is all the painting.

What do you hope for in the pause, as someone first sees your work? MD- I never know what anyone will think or feel when they first see my work. It is often nerve-wracking. But I do hope for them to walk up close and want more. And of course, I always want people to smile. Islanders, or Rangers? Giants or Jets? Nets or Nicks? MD- I was born just outside Boston, MA. I am a diehard Boston sports fan. Patriots. Bruins. Red Sox. Celtics. I think one of the things outstanding to me about your work is the voyeuristic property, there is an intimacy, How long did it take you to master intimacy in the inanimate and what influenced that? MD- This is a wonderful question. I believe in intimacy. I’ve always been what many might call a romantic at heart. I still hold on to a rather idealistic vision of life. I think the element of intimacy was simply a natural transmission into my work. It just happens. I guess I like to keep it real.

Who are your biggest cheerleaders? MD- My kids and my parents. If you are asking me who are the people in my life who have demonstrated the wonderful support and admiration for collecting my art then they are: Glenn Fuhrman, John and Amy Phelan, Beth Dewoody, Carl and Donna Hessel, Sean McCarthy, Maria Bell, Joanne Cassullo, Charlotte Eyerman, Conner and Ginny Searcy and Jennifer Stockman. What do you listen to while you paint? Or do you need silence? MD- I do not need silence. I mostly listen to podcasts (such as Radio Lab, Criminal or This American Life), and sports radio (Dan Patrick Show in the mornings and Colin Cowherd or Stephen A Smith in the afternoons). When it comes to music, my tastes are wildly diverse! There’s just too much to list – from Beethoven and Bach to Bob Dylan, Metallica, Anonymous 4, Neil Young, the Ramones, Tupac, Biggie, Dr. Dre, Eminem, Nas, Nirvana, and the Talking Heads. And definitely Black Sabbath and Led Zeppelin. I also love to listen to Mexican Norteno music, bands like Los Tigres del Norte, and old-time country, gospel, and bluegrass, such as Earl Scruggs, Doc Watson, Faron Young, Merle Haggard, and Dwight Yoakam. And last but not least I love listening to big band and swing, such as Glenn Miller and Tommy Dorsey, and in particular the crooners, like Dean Martin, Dick Haymes and of course there is nothing like Ella and Louis. The list of what I listen to in endless – seriously. Street music from Cairo or Bollywood soundtracks, for example, are killer stuff when in the right mood. It transports me.


What do you consciously want to improve as you cultivate your paintings? What have you made the most improvement in? MD- I always strive to achieve two fundamental things with my work: (1) To strike the eye, and (2) to seduce the mind. I continue to improve upon this credo. Tell me about the train station windows in Wantagh and what that was like? MD- I was awarded a commission by the MTA in 2016 to create artwork for the Long Island Railroad Wantagh / Jones Beach train station. It was a $32,000,000.00 complete renovation project of which I received a small percentage to come up with the idea to make the station a more happy place for commuters. I definitely felt honored to do this project. I thought long and hard about the ideas; having visited Wantagh and Jones Beach talking with local residents in restaurants in and around the station I believed I arrived at an effective approach. I created thirty handpainted glass windows to surround the entire waiting room and two large mosaics on the east/west staircases. The glass windows comprise imaginative scenes of fun and symbolic images of the magic of the town of Wantagh, the beach, and local flora and fauna. The mosaics display two distinct images of the sea – one at sunrise, the other at sunset. They give off a nice mellow golden shimmer effect in the right lighting. The project was finally completed in November of 2018. I hope the windows and mosaics provide daily smiles and feelings of peace to commuters.

Everything ,2018


What do you feel has been your most important contribution to date professionally speaking? MD- It would have to be my job as a full-time tenured professor at Elmira College in upstate New York. In retrospect I know I affected many of my students in positive and productive ways. I changed lives and to know that (my former students continue to remind me in emails and letters) is a very big deal for me. I realize my paintings have also affected lives but having been able to teach and mentor enabled me to affect change for the future in a real measured way. I miss teaching but my career took off and keeping up with the demanding schedule of academia can be brutal.

Tell me about titles, do you name the work before, while or after? Favorite title of all time? MD- I only title something either half-way into it or when it’s done. I have an idea of what theme, narrative, feel or mood I’m going for before I begin a painting, but while I’m working on a piece I may change direction. So it’s best to wait to title a painting when I’m done with it. Titles are hard! My favorite title “of all time”? Wow, what a question! There are many titles, but one that always popped out to me because I really felt good about the cleverness and humor behind it is “The End of the World” – a painting of a girl seen from behind standing in front of Courbet’s “The Origin of the World.”

"Katty", Marc Dennis

What does success look like to you? MD- Success is the appreciation for what I do. It’s also a happy feeling in my gut. Recognition. And money. What is the most gratifying part of creating a painting? MD- That happy feeling in my gut. Do habits help or hinder creativity? MD- Good habits are always helpful. Bad habits should be defeated. What else do you want to accomplish in your career? MD- Things I’ve not conceived yet. I want my future accomplishments to be a surprise.

What’s cooking Marc is working on a new series of modern-day fairy tales that he feels will be by far the best work of his life (other than the painting he did of a chipmunk when he was 11). He is working on a solo show in Vienna for the fall at Ernst Hilger Galerie and a New York solo exhibition as well. He will also be participating in a few fairs in 2019. All of this will be posted to his Instagram account @darcmennis


October 2019 • Issue 10 • Volume 12

EPIC STUDIO VISITS EPIC STUIDO VISITS

Photo Courtesy of Adrian Wilson


ONE LAST LOOK IN ROTHKO'S STUDIO

Surprisingly, struck with emotion, I stare down at the splintered, splattered wood boards on the second floor former studio of Mark Rothko. This floor is an homage, amalgamated in reds, greens, and blues, thoughtfully protected by artist Michael Goldberg decades earlier with drizzles of black and white sputtered interrupted by the creases of the floorboards, retract the eye. An unintentional masterpiece, under my feet, reminding me of all the significant work made right here. The walls of the two-story studio are all white, equivalent to a plain envelope encasing a love letter, stark in divergence to the sentiment on the inside. This floor, just as he left it so long ago now — with specks depicting a story themselves. You are almost brought to tears, coincidentally, precisely what Rothko wanted you to feel every time you looked at one of his works. It's an overwhelming, almost spiritual experience. You can contact the abandonment of the space, coerced by the still somberness. It is an entirely different degree of preponderance — the long, now otiose brittle ladder propped against the wall. The wooden work-frame sits like the giant blank mass of vacated possibilities, outcomes, and reminders of the temperamental, morbid mindfulness of a diehard zealot, and pioneer of the color-field movement of art.


Rothko's studio Photo courtesy of Adrian Wilson

Collector Abhishek Poddar and Visual artist/Gallerist Adrian Wilson

Rothko's signature style consisted of rectangles of vibrant color and light that seemed to be wafting, drifting unattached, yet all-encompassing against a colored background aiding in creating an allowance of dispensation for Rothko to instigate different moods and variations using color and proportion. What emerged in this space (where he created the famous "Seagram paintings) was a shift in his color palate. An evolution into somber, shadowy, overcast blues, fervent plums and rich reds in some of the works. Trademark vertical tufted lines created with an intentional astriction between the foreground and the background inviting the viewer into "a place." You take a deep breath in hoping for a hint of linseed oil and remember that even after Rothko departed, this was space where other artists and writers such as William S. Burroughs and poet John Giorno along with painter Andy Warhol would convene. (more on that later)

Cowboy, Ray Kelly and Donnalynn Patakos Editor in Chief of Portray

For those of you that aren't familiar with the complexity of the artist. Rothko foresaw when one gazed at his art, an acute reaction of a human's ability to feel would ensue: Basic emotions such as fear, happiness, sadness, and anger, would become terror, doom, disgust, and ecstasy (emotions 4.0) In early 1958, Rothko was commissioned by the Seagram building to create a series of works for the Four Season's restaurant there. This studio is where he created the works. (the former "Young Men's Institue," gym) Was an ideal place, permitting him to emulate the dimensions in comparative relation to the restaurant’s private dining room in which they were to be displayed. He famously canceled the commission owing to the fact he felt his art would be misconceived as merely

decorative, proclaiming an edict that his work would not be ornamental, which would have been the antithesis of the intent and Rothko annulled the project. The canceled Seagram commission was for seven canvases, in this space Rothko would ultimately create thirty works in all. The murals in the first series were designed to have a correlative relationship and dialogue together to be, hung in consecutive order.

Artist Gregory de la Haba , Writer and cartoonist Anthony Haden-Guest and Sculptor/Photographer Greg Lefvere


The original sink Photo courtesy of Adrian Wilson

The Red Velvet couch upstairson the second level

View of the back of the studio and upper level Photo courtesy of Adrian Wilson

Long before Rothko was in residence, this space was known as the "Young Men's Institute." Architect Bradford Gilbert with help from Vice President Cornelius Vanderbilt II named the building in January 1885. For $4 a year, a young man between the ages of 17-35 could join the club. It was there for the physical, intellectual, and spiritual health of its members. They could go and watch lectures, concerts, debates, even talks given by Theodore Roosevelt. There was a library, with thousands of books circulating, six educational classrooms where one could learn freehand, mechanical and architectural drawing, bookkeeping, penmanship, and arithmetic. There were bowling alleys and baths, a pool and a rooftop for reading and chess. In 1932, the Y moved out as the neighborhood was in demise. In 1940 Fernand Leger moved in fleeing Normandy, where Nazi's had overtaken his studio. In 1958, The XRay Machinery Group bought the building and leased the old second-floor former gym to Rothko. The 222 Building, "The Bunker" has seen it's a fair share of iconic artists and writers through the decades. I Andy Warhol, in 1963 did his first, "anti movie" movie, pre-screening for Jonas Makes in Wynn Chamberlain's art studio, thus beginning his film career in this very the building. It was a nearly six-hour film called "Sleep" he is featuring an actor sleeping. The actor was named John Giorno, Andy's lover at the moment. Giorno, a poet, and artist, moved in the building in 1965. With CBGB's around the corner, 222 Bowery was a haunt for the downtown art set with frequent visits from Jasper Johns, Andy Warhol, Robert Rauschenberg, Roy Lichtenstein, and Patty Smith. In 1971 Giorno began practicing Buddhism and in the early '80s convinced Dudjom Rinpoche to come to the States and make a Buddhist Center in the building. William Burrows famously had a studio in the old locker room from 1974-1997 until he passed away, affectionately calling the studio "The Bunker." The red velvet couch in the upper level of the studio I'm sure would give a great interview if it could speak, but we tried to avoid getting too close to it. It just lent to the series of stories left better up to your imagination in this now Landmarked space.


Brandon Wisecarver, manager of the Con Artist Collective & Artist TJ Bavelas

Sacred Spaces: Artist, TONY "RUBIN" SJĂ–MAN Becoming a Part of the experience..

Art Advisor Judy Kilichand,Collector Abhishek Podder, Adrian Wilson, Artist/Interior Designer Kim Depole

Liam Sharp ,Rodney Dickinson and Artist, Gregory deLa Haba

Artist Tony "Rubin" Sjoman soaking up the vibe on the paint splattered floor


Founded in 2009 by Leonardo Valencia, LogicArt has been entrusted and with some of the most renowned works in the World - from global art fairs to museum exhibitions, auction houses and private collections. Providing clients with safe, reliable, discreet, and efficient art logistics services, executed to meet any demand. As Patrons and Protectors of cultural goods they offer: Secure, climate-controlled fine art, document, artifact and rare book storage Fine art transportation Packing and shipping International customs brokerage Installation Conservation and maintenance Condition reports Hurricane and storm preparedness Every staff member has a background in art education, with in-depth concern and knowledge of your collection. Logic Art is ready to assist you and will be there with quality, white-glove service, and rock-solid integrity! For Inquiries, please call: 305.463.7376 You can also visit their website Logicartmiami.com


A Vivid Depiction of the Human Condition Photos by Jens Zagorni


Photo Courtesy of Jens Zagorni

German artist Susanne Zagorni’s large canvases are painted from the memories of her experiences. Not exactly what occurred, but the stirring sensations that still exist, lingering inside of her. She is not only interested in what happened, but more interested in the psychology and the “why” that was behind it, the catalyst. Susanne doesn’t only address or believe the treacly greetings in human interactions people are the only embraceable feeling that should be acknowledged, as niceties mask the real dynamics at work, at times the subterfuge of the spirit. We as residents of the world like to bathe in the happy, the easy, the bright. Susanne, she paints the human condition. She feels, to only acknowledge the bright, is to ignore the dark, which is very much a part of all of us and our experience.

Sometimes, we are behind a mask or covered by something or someone, an inner turmoil, a feeling to shed one’s skin and step out to something new. At times we can be feeling hopeful, powerful or shy. We can feel in the cold, alone. Sometimes, why not paint that as well? Sometimes, its a wish she is painting. We are feeling something, and she is good at making us feel.


Susanne remarked, “Who am I without my paintings?” This can be asked of the collector too, who may prefer to gaze and admire, which is another form of participation. There is a deep connection and discovery between the creator and the observer, a shared belief. It is like asking a novelist, who are you without your books? The scholar could say the same. There is fulfillment in both.

Susanne was trained in theatre painting backgrounds and began painting full time in 2012. She works in her studio five days a week and gives thanks to her husband for being her “mountain.” He not only supports her career, but he is also the model and subject of many of her works. He will come in the studio and make videos and pictures of her and assist her in her social media and Youtube videos.


Susanne tells Portray, “I don’t always want them to feel good. If the story is horrible or dark sometimes then they should also feel like this. Art is not just something you put on the wall, because it fits your sofa. Art also needs to tell the words of the inner demons and the good things inside. Life isn’t always great and funny. We always want to talk about the light, and the dark also exists. I want people to identify with my work. I don’t want to explain it. Each viewer feels something different. I think it’s important not to explain.


If you could not live without something in your studio, what would it be? SZ- My books, all the drawing and sketches and collecting ideas, images, I could not give away. It’s the story behind the work. I never throw away such things. I sometimes collect my mixing colors on my palate. I collect these pieces for abstracts which is important to me, I don’t only work painting people and stories, I also create abstract works.

Photo Courtesy of Jens Zagorni

These mythical subjects whisk you into a forest, an enchanted garden, there seems to be a stoicism to many of her subjects, as they stand up straight, or sit idly waiting for something. The themes and colors she uses in many of her works are vividly potent, intense and glaring, summoning a dream you cannot quite remember where you were the victim, the hero, or the observer. We love to observe her work and cannot wait to see what she has in store for us next. You can see some of her paintings on Portray’s website www.portraymag.com that are for sale and on 1st Dibs., or click below the images to see more information on the works. You can also follow her on instagram .@susanne_zagorni


"Hanging" with Logistics Expert and CEO Leonardo Valencia

Founder of LogicArt Leonardo Valencia and his crew are part of the art world's unsung heroes, working magic behind the scenes. His organization is a powerful example of, an ounce of prevention is worth a pound of cure. I sat down with him and was completely enlightened by his knowledge and foresight when it comes to maintaining, moving and safeguarding one's collections. Much of the public art in Miami, and elsewhere have have quietly been put in place with the resourcefulness, hard work, and precise execution of Leonardo's team. Whether it is transporting, safely installing, and maintaining art or sculpture, (such as Colossal Botero sculptures.) They stealthily construct art fairs for Basel and/or other events, and work with major museums, hotel and private residences, aiding in installation and breakdown. They are on the ground, in the air, both domestically, and internationally, with staff advertent to the works, ensuring safe arrival at their destination or viewing. They make it all come together. If you have ever attempted this yourself, even the scheduling, you know it is not an easy undertaking, The team handles it so well, they have earned the business and trust of some of the most significant institutions and private collectors, not only in Miami but globally. Leonardo has, over the last ten years, built a reliable, dependable, company that people know they can trust.

Photos courtesy of Logic Art

Let's rewind a decade. At times, life can move you in directions you cannot appreciate until the big picture arrives. In this case, literally. Leonardo was living in Paris, working in the archival department of the MusĂŠe du Louvre. Having prior experience with handling and logistics and an education in art, he had landed a dream job and moved to France. His daily commute was a stroll through the Jardin des Tuileries, watching people in the park read their books. He was buoyant and carefree, young, and employed in one of the most influential arenas for art on the planet. More importantly, Leonardo was doing what he loved. Talking with him, you can see his whistful look as he recalls this time in his life. One day, he got notification his work visa would be expiring and returned to the states to renew it. Reckoning a quick visit home to see his parents, he couldn't have fathomed the ad nauseam and palaver of documents back and forth, resulting in sustained months living out of a suitcase and ultimately saying," Au revoir" to his apartment and dream job.


For a time after, he went back to work at his previous job, at the art handling business he worked at prior to the Louvre. His Parisian stroll to work was replaced by gridlock on I-95 in two hours of traffic going back and forth to Davie, Florida daily. Although grateful, Not exactly what he had planned, What he does next I admire. Sitting on 1-95 can make people want to do a lot of things, and in the best case scenario, helping push Mr. Valencia to create his own logistics company was one. Acutely aware of how small the art world is, he did it reverentially, leaving on a good note with the company he was working for. For a while, he also relied on his ability to play the bass guitar to subsist while he began securing his own, new clients. In spite of it being a tad daunting, he (like many heroes) did the best thing and showed up. He showed up to every vernissage, every show, talk and art fair he could. He made calls and created new connections, eventually scoring jobs with museums in the area, aiding them to construct and deconstruct some grand openings. Anything from Basel, museum openings, merry go rounds to some well-known mammoth displays.

II asked him about any moment he could remember when he knew he had arrived. He recalls the first art truck he had purchased at an auction. It just so happened to be the truck he used to work when he was handling art in his previous job. He knew the meticulous care they took of the truck. If a little light went out, it went into the shop. He used it every single day brand new. He knew this truck was built explicitly for the transport of art, it was temperaturecontrolled and was custom made. and he finally felt like he had an organization. It was a proud moment. It symbolizes the transformation from an employee to being a business owner. II think the most impressive part of my day with him was the fact he built his business with no loans or outside partners, but plenty of hard work. Also, I appreciated his open mind, and his drive to continually expand his business and service. He is quick to give credit to his experiences, and his sincerity is evident in his heartfelt gratitude and the praise he gives his team. Having been an art handler himself, he has empathy and respect for what they do.


Education is at the core of his mission; his entire staff must have at least a BA or an AA in art, some even have a Masters, and some are artists themselves. With an educational background and a passion for art. Any one of them can guide clients in making decisions and finding solutions much faster. Every handler has an understanding of not only the artist, but the materials, and how to wrap them and safeguard the work as much as possible. When they did the opening show at the Bass Museum, he sat his staff down and familiarized his team about all of the art and the artists work they would be handling. One of the things I didn't know about that his company does, is something called hurricane contingency. He and his team prepare and have a system in place, ready to transport the large

sculptures and collections to safety should bad weather strike. Collectors can retain them, and when they hear of a big storm coming, they call and ask if you want the art transported to safety. This service and dedication is just the kind of thing that makes what he does so helpful not only to his clients but to the public as well. They can also do condition reports on works annually with a conservator. They will then measure and prebuild crates for all of the works, store the empties, and in the event of an emergency, the collection is secure. When I got in my car after our time together, I had a lucid thought, reminding me that there are layers to everything. Like when you flip a switch on a wall and just expect it to turn on. But if you had to understand everything that went into that light functioning, you would begin to see the complexities of it all and appreciate the fact you have light. Since meeting with Leo, I have found myself admiring a sculpture, or piece of art for a second longer because the way it is presented prompts me to believe that it is a work of art itself.


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PORTRAY VOLUME #4