ART BY THE HOUR
J u n e , 2 0 1 3 , Vo l u m e 2
A r t fo r Artists and Creative C o n n o i s s e u r s
We Color Outside the Lines You have on your screen or in your hands
the second edition of ART By The Hour (ABTH) Magazine, a creative digest for artists and creative connoisseurs from around the world. ABTH supports creativity, inspiration, and artistic endeavors of all medium. In an effort to help you promote yourself and your work, ABTH advocates for you, the artist, in a manner that is sustainable and affordable. We bid you welcome and please enjoy! 1 Moving Forward by Summer Blackhorse
Pirate King , Director, Sally Garrison
2 Visual Cues - Kenneth J Meyer, JR by Summer Blackhorse 7 Featured Artist, Lisa Brandel by Michael Walter 17 Writers Block, Alison Wiley by Summer Blackhorse 19 Constructs, Gayle Nowiki by Michael Walter
Art Direction and Writer, Summer Blackhorse Primary Writer and Editor, Michael Walter Primary Writer and Editor, Mary DeVine Contact firstname.lastname@example.org http://artby-thehour.com/
22 Chiaroscuro, Keegan Hitchcock by Michael Walter
Credits Cover photo, J Kovach, Ga No Sheishin
29 Under Cover, Elaine Grogan Lettrull by Mary Devine
Header art, William Pitman
33 Letters From the Edge, Bill Pitman edited by Summer Blackhorse
Side panel art, Land C Studio
37 Mixed Media acknowledgements
Back cover art “Danse” Dave Smith
(C) and TM of all artists’ work and content is the property of the artists represented here in ABTH logo and all writen and visual content all rights reserved
Moving Forward By Summer Blackhorse Greetings ABTH readers and happy summer to you, or winter depending on which hemisphere you’re currently reading from. First, we would like to apologize for the magazine being a few weeks late for release this quarter. Art Director Summer picked up e. coli somewhere and, after two months and three courses of antibiotics, managed to get over it.
Ohio, gothic art from Washington, graphic art from California, art and love from Ohio, bodypainting from Florida and more poetry and photos from the Northwest territories. So, find a comfy spot to relax, sit back and turn the page...
In the meantime, Writer and Editors Mary Devine and Michael Walter had been busy interviewing and writing, editing and generally keeping the ball rolling while Director Sally Garrison cheered from the side lines. Many, Many thanks to all of them for their help and fantastic work! Your Art Director is indebted to you. You dear readers, also deserve a huge thank you. You’ve hit our site many times, downloaded the very first edition of ABTH magazine to read, and have viewed it hundreds of times. We were (and still are) rather stunned, since this was really our first attempt at supporting artists on a visual and written level. We also heard your suggestions and have added “more white space” to this volume as well as “change(d) the damn font” so you can read it. Thank you all for your thoughtful, heartfelt and colorful input! It’s why we love our readers. We are always on the hunt for new talent! We’d like to start a music section, and are always open to your suggestions of what you would like to see in the pages of ABTH. Email us at email@example.com we want to hear from you! As the title above implies - moving forward! we have for you in this second volume: new authors to read from Oregon and
Visual Cues - with Kenneth Meyer, Jr. Interview by Summer Blackhorse Kenneth Meyer Jr. of fantasy art and rock star illustration Fine art fame - a goodnatured, intelligent and mild-mannered artist located in sunny southern California, enjoys working primarily in watercolor, acrylic and ink media. His work covers everything from Magic the Gathering cards to portraits of Jimmy Hendrix. Ken is a superb colorist and his work is emotive and engaging.
wanted to peruse more independent and smaller companies. Unfortunately, I felt that I lacked the skills and found out that the amount of work I was producing was not work the money I was being paid or the time I was putting into it.
Ken holds an impressive resume of accomplishments and work. In Ken’s own words he has “completed hundreds of pieces of art a year for the last 25 years while working full time in industries, such as online education, web development, online games and more. This includes: Sony Online - Everquest, military contracts, including the “then classified Stealth Fighter Freelance clients, such as The American Cancer Society, RAINN, The Savannah College of Art and Design, the Veronica Mars television show, Marvel Comics and Wizards of the Coast – Magic the Gathering, White Wolf Games, and more.”
Ken: It changes with whatever subject matter I am working with. I do like acrylic though, because it is less likely to mess up the surface I am working on. Sometimes I like to use ink also.
Finally, Ken also creates beautiful works of art doing people and pet portraiture and nature and plans on making a break into the horror genre. Summer: I asked Ken what kind of expectations he initially had around making art and how they may have changed over time? Ken: As a kid and I loved comic books and wanted to create them. When I because a high school senior, I submitted art work to fan magazines in the 1970’s and 80’s. Illustrators were pretty main stream in the 80’s. However, I realized that my tastes had changed from super heroes and I
Summer: You work with acrylic and watercolor primarily. Do you have a favorite medium?
Summer: Tell ABTH readers a little about your workspace and workflow. How did you develop it? Ken: My workspace varies from piece to piece. I usually use sketches and thumbnails drawings I use as a reference on a specific surface before I decide on a medium. Once I’ve made a decision on what medium to use I’ll prep illustration board or watercolor paper. Summer: Tell us a little about your creative process. Do you have multiple projects going on, or do you focus on one piece at a time? Ken: I like to work on projects one at a time, but that doesn’t always happen. Water-based media dries quickly, so if I have enough work on the table, I will most likely begin working on other pieces. Summer: Who inspires you? Are there particular artists whose work you return to repeatedly? Ken: My inspiration seems to come in
stages. When I was younger I was drawn to Barry Windsor-Smith and Neil Adams. Later I discovered David McKean, Bob Peak and Bernie Wrightson, of horror comic fame. I am also inspired by Michael Angelo. Summer: Your work explores a wide range of graphic design, science fiction and fantasy subject matter. What subjects are you currently most drawn to? Ken: I love doing portraits of musicians. It seems to be my favorite subject matter. I am not great at drawing from my head or imagination though, so I usually have a picture for reference. This makes it realistic in nature for me, but it also helps me to adapt the painting to what I visualize. Summer: Your work is very precise and you seem to find a connection in facial imagery. What are some of your favorite subjects to work with and why? Ken: That depends on the subject, I guess. Sometimes things just grab me: a cool photo of a tear-drop, the human figure a face, a particular look. Sometimes it is something organic that has high contrast lighting or color. Summer: I consider you a precision colorist. To me, color appears to jump off the surface of your work. What do other people or artists tend to respond to most upon viewing your work? Ken: People respond to different elements. Sometimes itâ€™s the realism or precision of
the piece, or different contrasting areas of a painting. Sometimes it’s just the subject matter. At times I find it’s more fun to work with a medium like watercolor - when I am not sure what it will do. I end up with these” surprise areas” that seem to draw people in, too. Summer: ABTH considers you an artistic purist in that you do not use technology to create your work. How does your work stack up against those artists who do use digital media? Ken: It’s a short stack. Digital art is definitely “in,” especially in the gaming industry. Digital work is fast and I think it’s amazing, but I don’t like staring at a screen and I don’t have the experience or patience. I don’t find it as enjoyable as holding a pen or paintbrush in my hand. Summer: What is your artistic dream? Where would you like to be as a successful artist in the next few years? Ken: Well, there’s the alley downtown *laughs*… It’s tough really…difficult to get back into full time art job, which makes it hard for me to see the future. Doing freelance work full time is difficult at best. It ebbs and flows with the needs of the person commissioning the piece or the buyer. Right now, there doesn’t seem to be enough freelance work. Summer: What advice would you give to artists who are experiencing artistic downtime? Do you have any suggestions on how to recuperate from financial losses? Ken: I don’t have any suggestions. If I had an answer I’d be doing better than I am currently. I guess I could suggest for me as well as other illustration artists that going back to school and learning new software and design disciplines may be a good idea. I could also suggest that
illustration companies hire more experienced artists instead of the ones who just make the pay-grade. Summer: You’ve worked with a wide variety of clients. What are some of your personal favorite experiences in working with specific clients? Is there a set of criteria your use when working with clients in general? Ken: As long as clients pay a fare rate and hold to a reasonable deadline. It also helps if the subject matter is something I can get into. I will work with anyone who appreciates my work, is honest and pays well. Summer: How many conventions do you attend a year? How do you decide to which ones to attend and do you have a specific set of criteria? Ken: I like attending cons but they are costly. I can’t always make enough money to justify going to a specific convention every year. In the 1990’s I had more material to go out of state and afford the travel costs. Now I don’t make enough so stay within driving distance of Los Angeles or San Diego. Sometimes I will try going to a new convention, but I try to make at least five cons during the year. Summer: You’ve told me recently that you are working on a new project. What is the project about? Ken: I am working on several projects actually. One is a book project around Uncle Remus. I am also working on a few jobs in which I am painting and altering actual Magic cards. I am doing one large Magic painting and three smaller ones. Finally, I am working on an Uncle Sam character for a point of purchase display. And as always – I am looking for new work! To get in contact with Ken Meyer Jr. and view his work, go to: http://www.kenmeyerjr. com/ or contact him at firstname.lastname@example.org, 714-749-5201. He can also be found on Facebook https://www.facebook.com/people/Ken-Meyer-Jr/100000454478641
Featured Artist- A Light in Darkness The Art of lisa Brandel Interview by Michael Walter “I ascribe,” says Ohio-based artist Lisa Brandel, “to the old saying, “Inspiration comes, but it better find you working.’” Certainly, Brandel’s art is chock-full of inspiration. It features vibrant lines, myriad textures, beckoning colors. The green eyes of one of her painted cats look directly back at you, unflinching and uncanny. The white-edged wings of one of her mosaic butterflies are stark contrast to the black that runs down its center. She paints a cross, and it’s more than a cross: it’s a contained spiritual unit, a spaceship with passengers boarded and ready for take-off. In Brandel’s hands, colors not easily pliable surge with a force of their own; a fundamentally active style shapes even the most passive of her subjects. Oh, yes, and that part about working? Brandel does that. She does a lot of that. She keeps a minimum of six pieces going at a time. Mediums she’s explored include oil, acrylic, mosaic, pyrography, etching, and woodcarving. She’s recently founded Light 2 Dark, which is her own art studio, and a “micro-movement” called Art Ambush (more on both in a moment). A generous and outward-bound philosophy infuses this creativity: since 2012 alone, Brandel has worked with at least ten charities. As an artist, Brandel is as active as any of her subjects. This creative genesis is the result of an astonishing backstory. Many, experiencing what Brandel has experienced, choose drugs, alcohol, a series of empty relationships, or anything else that might numb the pain. Brandel didn’t. She chose to shift her focus from pain to beauty and hope. She chose to fight back. In September of 2009, Brandel’s husband died of cancer. Her father died one month later. Three months later, Brandel lost her
great uncle. “Since then,” Brandel says, “there has been at least one or more death in the family every year.” Her paternal grandmother passed away in July of 2011; in November of 2011, Brandel’s uncle committed suicide. “I was the last person to speak with him, and I found him…” Brandel says, and then ruefully notes that it’s “not [all been] a good time [for me] for the last five years or so.” Brandel’s art has grown out of these losses, and she has channeled those losses into work that has meaning for herself and for others. How, then, did all of this art begin? Brandel says that she had “always been a creative person, but never considered myself an artistic person.” In 2008, she bought a set of acrylics for her husband. He’d indicated that he’d wanted to learn to paint; Brandel had wanted to learn to paint, as well. Unfortunately, the painting didn’t work out for him or, at that time, for her. After her husband’s death, Brandel “found the paint set under a box. It was broken and ruined. I sat down, holding the paints. I was sobbing. At this point my nerves were so frayed I shook, physically shook, constantly. The doctor had given me pills, but I’m just not down with taking pills to make my reality more palatable. So, I ordered some paint-by-numbers kits… those kits where it gives you step-by-step [guidance] on how to create the picture on the box… I thought this might be the best way to experience the feel of the talent I’d always wanted. What I found was that it was like I’d had some kind of stroke where, when you wake up from it, you can do some skill you never had before. The way the colors mixed made sense to me. Laying down colors next to each other
to create an object or a feeling just kind of gelled. So I… picked up canvases and paints, read up on preparing my canvases, and I went at it with a vengeance. I found when I was painting [that] it was like a drug. I didn’t shake while I did it, my mind was focused, and I was able to focus on putting what I felt and saw on the canvas. It felt like a miracle.” What Brandel wanted from art during those initial stages had nothing to do with sales or recognition; it was something much more basic. “The only expectation I had when I began was that it would help me endure,” she says. “It still does that when I’m having a bad day. I didn’t really expect anyone would like my art, but it didn’t matter to me—it was my therapy.” This art-as-aid-to-survival phase, marvelous in its own right because it did indeed help Brandel to survive, gradually took the artist into new and unexpected territory. “As I shared my art, things began to change and evolve. People wanted my art, and I was able to give people art and have it help them. I was even contacted in the early stages by a pair of sisters who were running an AIDS event [and] who asked me to do a piece for them, for their auction. I think that’s when I first thought, ‘Hey, I can make a difference with this, and perhaps even a life.’” Brandel’s workspace evolved from the kitchen table, to her husband’s old office, to a recently-remodeled garage. There, she has “an area for painting, and a separate area for some of the messier things I do, like mosaic work, wood, sculpture. I still don’t have great light… but I can keep things organized, and have space for the bigger pieces. I love it.” Brandel shares the remodeled garage with her mother, who has “a candle/soap-pouring area, because that’s her hobby.” Brandel calls her art studio Light 2 Dark because she “wanted it [to be] a symbol of a hope… to bring to light those dark things we go through, and
to make light out of it.” Brandel enjoys friendships with other artists, including Austrialian Kat Rippa, whom she calls a “very under-rated oil painter and a bestie of mine,” and is collaborating with digital artist Dave Smith. “All of those people have pieces that I return to, because even as I develop myself it’s all magical to me. More so now that I do the art because I realize I’m not just seeing paint or whatever, I am getting a glimpse into how the artists see the world around them. Even if the work is fantastical, you can see, if you look, how the world appears to them. It is amazing.” Two features unite the majority of Brandel’s art: symbol and story. Some of the symbols Brandel has worked with include crosses, skulls, hearts, lotuses, and masks. Symbols allow Brandel to communicate within the present, but they also connect her to past and (presumably) future artistic traditions. Symbols serve as gobetweens, allowing for reflection and dialogue where language, culture, and economics may otherwise create barriers. They make meaning accessible. “If you look at… hieroglyphics from the many ancient cultures,” she says, “and look at the symbols we use now, we are trying to say the same things. You want to symbolize sleek and fast, you use a cat: ‘Jaguar.’ You want to symbolize majesty and focus, use an eagle. You want sensual things, use a…well, you get my drift. Symbols are ingrained in humanity and have been since we started collectively gathering into societies.” The result of Brandel’s application of these symbols is art that, at its core, speaks to its audience throughout time. Her art is inherently mobile, in the same way that its textures, colors and lines are inherently active. Brandel creates from a sense of story. This sense of story might reference some aspect of the biography of the person who’s
commissioned the art, or be determined by the medium in which she is working; in any case, it’s what Brandel responds to, what drives the creation of her pieces. “Because my art is usually story-centric,” she says, “I never know how people will take it. I had an active heroin addict go to their knees sobbing when they saw Leaving Eden, a piece I did about addiction. Did it make him go clean? I doubt it, but for that one moment he was the person in the painting and it kicked him in the guts.” Brandel’s work has been purchased by cancer survivors and by the survivors of other tragedies because what she created “felt… personal to them.” Not everyone reacts so positively to Brandel’s art. “I’ve had people tell me I suck and my art is shite,” she says Positive or negative, however, Brandel’s response to peoples’ perceptions of her art is one of resilience: “Either way,” she says, “it [makes people] think. Both are fine reactions. We don’t see the world or art as it is, we see it as we are, so, whatever the reaction, it reflected them, not me.” Brandel’s humor—and the power of humor to make art—is demonstrated in a movement she’s recently started with her “adopted brother” and business partner, the aforementioned digital artist Dave Smith. The movement is called Art Ambush. One night, unable to sleep, Brandel found herself awake at 2:00 a.m., painting a portrait of a stage actor she’d never met but whose photo she’d seen on the Internet. “Using this tiny pic on Google, I sketched it out on a canvas. I started to do the under-painting in oils, and I was super-pleased with how it was coming out. I’d post the in progress on my Facebook page, and Dave loved watching my process. Then I picked it up one day and started to do some minor color corrections, and melted the face! I smelled my paint brush, and it had paint solvent on it. I posted it, and said for two cents I’d run over the thing with my truck. Dave piped up and said tire art should be my new medium.” As it turned out, tire art was not to be
Brandel’s new medium. “We [Dave Smith and I] were talking and he asked me what I planned on doing with the picture when it was done. I said, ‘I’m just going to send it to the actor.’ Kind of like an ambush of art you didn’t know you were getting. I didn’t have permission to paint him, and I didn’t want to steal… so, giving it to him because it was my practice, I thought sounded cool. I did salvage the piece, and in the process I made and sent Dave a painting of tire tracks through mud. He ambushed me with one of the pieces he was working on at the time. It was fun and exciting! So, we thought, we’d start a micro-art movement called Art Ambush, where we found people that were everyday heroes, doing good things, surviving darkness, or working (like a stage actor or artist does) because they believe in what they are doing.” What’s happened since has been remarkable. “In less than 4 months, [Art Ambush has] gone from the two of us to 24 artists from all kinds of disciplines and all over the world. We’ve ambushed nearly 300 people and organizations. Chemo centers, childrens’ grief centers, animal rescues, people fighting for equality, people who are struggling, some of the victims of the Boston bombing, people who feed the hungry and work at ending hunger, cancer researchers, hospice nurses, people who donate their time to save animals, artists who are helping others, every day heroes. We have potters, glass workers, jewelry makers, food artists, painters, digital artists, candle and soap makers, spoken word story tellers, and the list goes on, growing all the time. All because I melted some poor man’s face who didn’t know he was getting a painting, and then had humor enough to make a painting as a joke.” What advice does Brandel have for artists who are interested in working
for charities? “Well, you know that ‘exposure’ everyone wants you to work for? Come on, you know…I don’t care what the discipline you practice is, we’ve all heard, ‘This would be great exposure for you.’ [The translation is] work for free for me. If you are trying to get exposure, go on your own terms. Work for a cause. That has a twofold benefit. You are raising money or awareness for something you believe in, and you are letting people see your work. I generally like to work for small charities and benefits where the money raised is going to the human or animal directly. Large charities are fine, but they have millions and billions. I want the small guy to have a shot. That makes a difference! That makes impact! The last two animal charities I did I knew the names of the animals it was going to help. Makes it personal for me, and allows me know I’m making a real difference one I can see… Start local, start with something that is a cause near to your heart, show up when you can, look for creative ways to amplify their work using yours. I make simple videos for one of my local cancer charities when we do events. You are making a difference and people remember people who do. My personal favorite experiences didn’t have to do with my art. It was watching a piece in the Doors of Encouragement art auction made by a 12-year-old boy go for $300 and seeing the light in the boys eyes. It was knowing that the piece of art I donated to Jaded Paws was going to help save a dog’s life, in a real way.” Brandel hopes “that one day my cancer art, and art that I’ve done about diseases, will hang in a museum of how life used to be but isn’t any more. I won’t be around to see that I’m sure, but being an artist is an act of faith. Planting seeds you don’t know how might grow.” Because
challenging times, I ask about what advice she has for artists who are going through hard times. Her response: “Grieve. The only cure for grief and pain is to grieve. Give yourself permission to be where you are, experience what you are going through, and then when it’s over use it as fuel. It will change you, and it’s your choice if that change celebrates or destroys. It’s harder to make something beautiful out of pain, and it takes no talent at all to destroy. Consider that a challenge.” Brandel’s personal message is one of liberation and of determination to acknowledge the sorrow of life while balancing it out with joy: “I’ve fought depression all my life and I’ve learned a few things about it, more so after all the trauma that has happened. You can’t fight depression with depression. Watching my husband’s health deteriorate, I found myself faced with a choice: wallow in the pain and steal from him what might be the last good moments of his life, or choose to focus on the beauty he could still enjoy. It changed me profoundly. It changed the way I choose to look at the world. After all the death and tragedy, I asked myself, what do I want my life to be? I wanted life to be beautiful, not just for me, but for everyone. So as I do art, I think about how to tell the story in a way to release the pain and make it into something beautiful, because I believe we can. I have, and I’m not special. If I can, we all can. So I make it a point to tell people, that I don’t do what I do because they died, but because they lived and who they were made me a better person. Simple as that. We all have a choice. Pain isn’t always optional, but suffering is. I choose not to suffer.” To see more of Lisa Brandel’s art, visit www. lisabrandel.com. To learn more about Art Ambush, visit www.facebook.com/artambushproject.
Writer ’s Block - Revelle By Alison Wiley
Interview by Summer Blackhorse
Oregon Based author, Alison Wiley’s debut novel is a beautifully written piece about love, victimization, spiritualism and being true to the things that inspire a creative person, their needs as an artist and as a human being.
her novel for three years still can’t think of a name for it. Naming-wise, I guess I was lucky, sort of just following orders.
Summer: Give ABTH readers the title and genre of your book
Alison: Christina Cartwright designed the cover. I found her through Craiglist. She lives in the Midwest; we worked together on the phone and online.
Alison: Revelle is a novel. Genre would be literary fiction, though one reader has said it has a lot more action than most literary novels. A charismatic dancer and aspiring mother, Revelle, discovers that her husband has set all her possessions on fire. The setting is Portland, Oregon. Revelle recounts her non-conformist choices, emotional roller-coasters, and the ways she is and is not a victim in a voice that’s lyrical, candid, sensual and spiritual. Summer: Who is your intended audience and why should they read your book? Alison: My intended audience is people who need or want to take some risk in their lives. Because Revelle does that. Some people have told me that reading the book inspired them. Summer: How did you come up with the title of your book? Alison: Years ago I was having a pear martini with a friend at the Jade Lounge on SE Ankeny in Portland. The waiter energetically shared that he and his partner were expecting, and were going to name their child Revelle, no matter if it was a boy or girl. I fell in love with the name, which was new to me. Shortly after I started writing my novel, the protagonist claimed the name for herself. Then the novel told me it was named Revelle, too. My friend who’s been working on
Summer: Tell us a little bit about your cover art. Who designed it?
Summer: What does the name Revelle mean? Alison: It’s an old English surname. I think it has a connotation of freedom and wildishness, though it doesn’t literally mean those things. Summer: Who is your favorite character from your book and why? Alison: Both Paul and Mary. They’re unglamorous, heavy-set people who carry gold for the misguided main character. One reader told me he Summer: How about your least favorite character? What makes them less appealing to you? Alison: You know, when you asked that question, I wanted to point to Rachel, which surprised me. She’s the minister who advises Revelle to try harder with Sonny by getting couples counseling. That was poor advice, given who Sonny was Summer: Is any of the content or characters in your novel based on personal experience or the experience of someone you know? Alison: Parts of the story are based on my
experiences, and other parts are pure fiction. Summer: Give us an interesting fun fact about your book. Alison: While I was writing it, a friend remarked to me that I seem to like hanging out in artistic places fused from a blend of what really happened and what could have happened. Seems to me that a lot of us like to hang out there, in that both/and world Summer: Do you have any plans for future book(s)? Alison: This was my first book. And to be honest, writing it all the way through to completion was much harder than earning my master’s degree. It was not nearly as enjoyable as writing my blog, Diamond-Cut Life, which I started in 2007. So, my plan is to keep writing at Diamond-Cut Life, and to not write another book, unless it would be in partnership with someone I loved working and writing with.
have that kind of patience. I needed completion that was under my own control; I needed my book to get out there into the world without a doubt. Self-publishing gave me that. My other advice is to be willing to keep making revisions. The first draft will have a thousand problems, even though you’ll feel it was brilliant, and you’d like to move on to something else. Get feedback on it, be humble, and keep rewriting. Join a writing group. They will make you much smarter and your book much better. Then, finally, decide that your book or art IS good enough, and finish. It’s all quite tricky, a real discernment process. Summer: Do you have any unique talents or hobbies that helped (or help) with your creative writing process? Alison: I often got up at 4 or 4:30 in the morning in order to finish the book (like most artists, I have a full-time day job). I’ve gathered that that rising hour is somewhat unique.
Summer: What can readers who enjoy your book do to help make it successful?
Summer: Is there anything else you’d like to tell ABTH readers?
Alison: Thanks for asking. Please suggest to other people that they read it, and hand them your copy. Write a short review on Amazon or post about Revelle on Facebook. Ask your library to stock Revelle, or if you’re in Portland or Seattle, to stock more copies of it. I don’t need to make any money from my book; I have a day-job I like. I just crave readership.
Alison: Do your art! The world needs lots of artists, and your spirit has absolutely got to express itself. And take good care of yourself in the world, at the same time, including financially. Those things do not have to be mutually exclusive. They can both coexist in that world I love.
Summer: Do you have any tips for readers or advice for other writers trying to be published? Alison: I advise self-publishing, which is what I did. Some people have the patience to spend years finding an agent, who may or may not then find a publisher willing to publish your book, or even stay in steady contact with you in the process. I don’t
Author, Alison Wiley
Constructs - Gargoyles take Seattle An Interview with Gayle Nowicki , Owner of Gargoyles Statuary Interview by Michael Walter Vampires, werewolves, shape-shifters, and their supernatural ilk have taken over pop culture – again. From films like Underworld to novels by the likes of Nina Bangs and Emma Holly to puzzle-me-out-if-youcan band names like Vampire Weekend, modern American pop culture is delving into ancient myths and stories for cash, fun, and artistic creation. Might we soon see renewed interest in gargoyles? If so, the first place we plan to shop is Gargoyles Statuary in Seattle, Washington. Store owner Gayle Nowicki describes Gargoyles’ specialties as “medieval statuary, columns, and fountains with a dark, gothic edge.” The store is located in Seattle’s University District (close to the University of Washington), and has been at its current location since 1994. Situated among bookstores, clothing shops and international restaurants, Gargoyles Statuary is unique and, suddenly, somehow quite timely.
Much of the merchandise at Gargoyles is made by local artisans. Nowicki, who holds a History of Art degree from the University of Michigan with focuses on Gothic/ Renaissance art and nineteenth-century art, says that she seeks out art that is “unusual, [preferring] handmade or hand-cast and finished pieces.” She says that “attention to detail and subject matter are also very important aspects of what we look for.” In addition to running a successful artsbased business, Nowicki has been active in co-managing the University District Art Walk. Visitors to, and residents of, the University District can view different art at different venues by strolling from block to block on the third Friday of every month. The Art Walk affords pedestrians not only the opportunity to see a wide range of art – in the month of June 2013 alone, that range included video, collage, photography and woodcut prints – but also, often, the opportunity to meet the artists whose work they’re seeing. “We have good turnout and feel it’s not bad for not having any funding to help us with advertising and promotion,” Nowicki says. Some of Nowicki’s favorite experiences include meeting multi-genre Seattle-based artist Braden Duncan, as well as “having live sculpting demonstrations in front of my shop during a show and watching people come over from off the street and be amazed.” As part of the University Arts Walk, Gargoyles Statuary holds a “featured artist” show once per month. Nowicki says that “We have an artist’s reception for the opening that night and run the show for a month, then switch out to the next one. We always set up an event on Facebook, send out 2000 emails, post the event on our website, and ask the artist to create a postcard or flyer
to promote the event in-store and around town. We did our first themed group art show recently and had a blast—it’s a great way to really enjoy even more diversity of the subject and style.”
Vermundo, “a concrete gargoyle that we get from a local company up in B.C…. he is on all fours, crouching like he’s going to take off forward. He has a very feline face and a doglike body…” Nowicki says that she “consider[s herself] an artistic and creative person, however, more of businesswoman than an artist. I enjoy sculpting but really need to practice that craft. I have only created one piece for our signature line of statuary, I hope to make more in the future.” Sculptors, take note: Nowicki says that Gargoyles Statuary is “always looking for sculptors to do custom pieces for customers and for pieces to add to our hand-cast line of statuary.”
Given that Nowicki has run a successful arts-based business for nearly twenty years, what tips does she have for artists who are looking to sell their work at artrelated shops? Nowicki first emphasizes the importance of good communication, and then the importance of “be[ing] sure to show [the buyer] what’s new.” She also says that it’s good to “merchandise… art shows with not just the art pieces, but with cards, prints, and small related items so that people who can’t afford something large (an original piece of art) can still take a part of the show home…” For those who’d like to learn more about gargoyles in general, Nowicki recommends Holy Terrors: Gargoyles on Medieval Buildings by Janetta Rebold Benton (“it covers all the different genres of gargoyles”). She also recommends Nightmares in the Sky: Gargoyles and Grotesques, with text by Stephen King and photos by F. Stop Fitzgerald (it features “haunting stone images [from] all over the United States.”) Nowicki adores the 1923 silent film version of The Hunchback of Notre Dame with Lon Chaney, Sr. When asked which pieces sold at Gargoyles are personal favorites, Nowicki mentions
Interested in learning more about Gargoyles Statuary or contacting Nowicki to discuss your work? Go to www.gargoylestatuary.com or call Nowicki at 1-800-253-9672 (from outside Seattle) or 206-632-4940 (if in Seattle). To learn more about the University District Art Walk, visit www.udistrictartwalk. org
Chiaruscuro - Skin and Transformation A Q&A with Keegan Hitchcock Interview by Michael Walter Reader, meet Keegan Hitchcock. A Miami-born face and bodypainter, her extensive portfolio demonstrates the transformative power of bodypaint and its capacity to meld dreamscapes with the texture of human skin. The result of that intersection takes us–immediately, from our very first glance–into a fluid world, where zebra stripes curve gracefully around a woman’s body, constellations blossom atop chest and stomach, and eyes watch meditatively from human legs. Hitchcock has painted at the Powder Group shows in both Miami and New York. Her work has been featured on album art (including Pitbull’s Rebelution cover), on TV, including Kourtney and Khloe Take Miami, in spots for Corona and in German fashion magazine Jolie. Hitchcock works with the Breast Cancer Awareness Body Painting Project (BCABPP), with people of all ages, and she’s exploring painting in other mediums. Hitchcock is a refreshingly direct and accessible artist. Her route to bodypainting is a fascinating one, and she has some great advice for artists when it comes to marketing themselves (“I say, if you’re not good at something, find somebody who is and work with them.”) Tell Art by the Hour a little bit about yourself. Where were you raised? Where did you go to school? Were you always interested in creativity and art? I was born and raised in Miami, Florida, the middle child of three (older sister, younger brother). I was home-schooled by my parents from second grade up through high school. Because home-schooling can have somewhat of a stigma, I would like to point out that my parents chose this for my siblings and I mostly because they had what some would consider a hippy-ish point-of-view and wanted
to spend more time with their kids, as well as to let their kids have more of a say in how they were educated. I then attended community college (never finished my degree) and…went to make up school only AFTER already making [the] majority of my living off of face and body art. Why did you decide to become a bodypainter? I became a body painter both by choice and by falling into it. When I was about seven or eight years old, my mother had my little brother and wanted to spend more time at home with the baby but still needed to bring in money. So she answered an ad for weekend work as a “children’s entertainer” and started working as a clown at birthday parties. I got to go to some seminars and workshops with her…. Like many little girls of that age, I already loved make-up. So learning about face paint was extremely interesting to me. As I got older I was into theater and stage make-up and would play with it any time I got a chance….By the age of 21, I was still into make-up and face paint and thought about maybe becoming a makeup artist for movies, but couldn’t afford school and really didn’t see myself devoting that much time to something that was mostly all about “normal” looks rather than the creative and colorful stuff I loved. I finally saw body painting in person for the first time at the first annual Face and Body Art International Convention in Orlando…. I was hooked. Seeing face painting and body painting as more of an art form rather than just a party entertainment (like face paint was for me then) was the best things I had ever seen! …When I got home, I asked friends to let me practice on them, took photos and started offering that service to the people I was working with as a face painter. I guess to bring all that together and answer the question more simply; I became a body painter because it brought
many of my interests in art and make-up together in a way that made…sense to me… You work with so many different kinds of body art! What do you like about these different areas? Is it ever a creative challenge to balance them? I love that I can go from painting something quick and cute on a child for a birthday party or team colors at a sports event to maybe painting a cheerleader for that same sports event, a top model for a photo shoot, an expectant mother’s cute belly, some times all in the same day! I feed off the variety. Though it is all paint going on a body, it is all for different reasons, all requires a different level or details and or speed, and it all means something different to the person being painted. Sometimes it boosts their confidence, makes them feel pretty, or strong or special. It’s a humbling and special feeling to share that with somebody… The challenge is also… what I like. The variety can make it hard to have routine. Though I like the differences, it can sometimes be difficult to mentally or creatively change gears. I don’t get to only paint when I feel moved or inspired. I have to be ready when I am booked, no matter how I’m feeling that day. Most of the time I thrive on it, but sometimes going from “fun kid” to “creative artist” mode takes more effort that I’d like. Tell Art by the Hour readers a little bit about your creative process. What do you begin with – color, or an idea, or a texture, or just from seeing someone? This all depends on the purpose of the painting. Is it something just for myself/portfolio, is it for a client, is the client the model, or has the client hired a model, is it one of the BCABPP survivor models? Each one gets a little bit different type of brainstorming and different level of
input from the model/client/photographer, etc. With all of these though, I usually start with a concept (either my own or at the request of a client), spend some time looking at reference, whether that be in books, comics, movies, the Internet, and then I’ll sketch something (or many things) on paper. I’m a very visual learner/ processor, so that will help me fine tune the design, figure out what is and isn’t working. I’ll then also… decide if there’s anything I can add to it. For example, contact lenses, rhinestones, head pieces, hair extensions etc. There are definitely those ideas that just pop into my head fully-formed or nearly fully-formed. In those cases, I still sketch so I can explain to potential models and photographers a little better than just in words, and yes, I will look for a model whose body and face type/shape would fit it. What inspires you? So many things inspire me! I am a little bit of a “nerd” in some ways. By this I mean, I’m into sci-fi TV shows and movies, I love ‘80s pop culture, I read a lot, I collect toys, I spend probably way too much time on the Internet, etc. All of those things inspire me as well as music, other artists of all kinds, kids (I love kids, I think they’re hilarious and incredibly insightful), animals, thunderstorms and the sky in general. What are some of your favorite experiences as a bodypainter? I still can’t get over how trusting people are some times. I literally have people’s bodies and faces in my hands! That’s just crazy! People I don’t know for more than a few minutes allow me in their personal space and trust me with not only how they will look when we’re done but with being completely vulnerable physically. I always find that very humbling and remind myself of it if I’m having a rough or stressful day [or] week… Aside from that, the places I get to go are pretty fun. I have gone into [the homes of people]…. who probably wouldn’t even speak to or look at me otherwise, I’ve been flown… on a private
plane with a magician and a band to an exclusive island to paint at a party. I’ve been behind the scenes at events and venues that not many people get to [attend]… with pro sports players… musicians, actors or celebrities walking around, and I can’t imagine any other way I’d ever see those kinds of things. Have you ever encountered funny or unexpected situations when you’ve been working? How did you handle them? Well, I’m around naked people a lot, haha, so yes. They aren’t even very awkward any more. I can’t think of anything in particular, but painting at a nudist event was pretty interesting the first time! With any funny/ awkward situations I guess I just kind of roll with it the best I can in the moment. I haven’t had any really bad experiences, so I guess I’m doing okay with that so far. Part of being a successful working artist in any area is marketing, knowing how to get your name out there. Do you have any general marketing tips for artists and creative types? I feel like this is my weak spot actually. I am very fortunate…to say I have great people in my life, and have since I was just getting started, and I am grateful for all they do for me. I work through several party planners or agencies who account for a large part of the gigs I get. I also know the majority of other artists in my area who do what I do and we work with and for each other whenever possible. I think if you work in events that is the best idea. Many (though definitely not all) artists I have met either don’t want to, don’t know how, or just aren’t good at the business side of being a working artist. I say, if you’re not good at something, find somebody who is and work with them. Whether it be an agent who works directly…with you, or an agency that works with many artists, put yourself out there! Network, or at the very least let them know you exist, what you do and what kind of work you are available for. Aside from that, definitely have a website. Social media is a great form of
marketing, things like Facebook and Twitter specifically, but any kind of social networking is great. I’m not a fan of hard marketing or pushing yourself on potential clients, but I do think networking is important. If you want to be in a certain field, meet people who are already in that field so they can contact you should they need somebody…on a project. I love the “Artwork” category of your website, especially Skyline. Do you currently work or have you ever considered working in other artistic areas, such as painting or photography? I often struggle with this. I would love to do more “non-body” art, since I love creating things in general in any media. I haven’t tried too hard to get anything going with any other artistic areas. Currently, I am trying to change that. Not having had much education in art, and being a typical creative who is maybe a bit too hard on themselves, for a long time I didn’t consider myself an “artist” (and still have a hard time with it), so I didn’t consider doing anything with any other artwork besides making gifts for friends. Having seen some friends become more and more successful with art shows and selling their art online has inspired me a bit. I’ve got myself a decent DSLR camera that I’m trying to learn to use so I can at least photograph my own body paintings, and I have made a goal to get myself to paint and/ or draw on things other than bodies more often and more regularly. To learn more about Keegan, visit her website: www.bodyartbykeegan.com
Under Cover - Arts and Numbers. by Author Elaine Grogan Luttrull Review by Mary Devine Elaine Grogan Luttrull is a CPA, accounting consultant, and teacher, as well as the founder of Minerva Financial Arts, a financial consulting company. However, she is also an artist with a heart for helping other artists find financial and, hence, artistic freedom. Her first book, Arts & Numbers, is a down-to-earth financial guide for what she calls “members of the creative class,” which she defines as “entrepreneurs, freelancers, and those who run their own businesses on a freelance-type basis.” This short guide is an easy-toread manual for artists seeking to get their finances under control. It offers guidance for the beginning budgeter with basics like goal-setting, budgeting, and taxes, as well as touching on more complex topics such as evaluating a budget, using negotiating in finances and creating a master business plan, all with a focus on the unique needs of artists. Arts & Numbers is accessible and useful, full of worksheets and practical assignments that will guide you to getting your cash flow organized and flowing in the right direction. Luttrull is a genial and sympathetic guide through it all. The book is well-written, concise and thoughtful; its one flaw is that it is, perhaps, too concise. I wanted more: more depth into certain topics, as well as more advanced topics. But this is only a guide, and one aimed at beginners, so this is a small complaint about an otherwise exceptional book. If you want to take control of your finances and make your artistic career profit, Luttrull’s book will point you in the right direction. To learn more about Luttrull and her work,
please read her interview on page __ or visit her website at http://minervafinancialarts. com/ Mary: What do you think are the top three most common mistakes artists make in terms of money management? Elaine: Taxes – Artists don’t always realize that being self-employed comes with selfemployment taxes, and neglecting to save for them and make quarterly payments can lead to an unpleasant surprise at tax time. Budgeting – Many artists I know have trouble articulating where they spend money and planning ahead for major purchases. Often they live in a sort of financial treadmill, where they keep up (usually by living very lean existences), but can get into trouble when things go off track. Paralysis – Artists are known, of course, for their creativity, but they are often unable to apply that creativity to the business side of their work. Sometimes artists find themselves paralyzed by their financial comfort zone (charging a certain “safe” amount for their work, for example), rather than thinking outside the proverbial box to solve evolving business challenges. Mary: And what are your top three tips to help artists overcome those mistakes and successfully manage their money? Elaine: Be aware – To the extent that artists can be more aware of tax requirements and long-term budgeting goals (not to mention marketing, social media, and business plans), they are better able to make informed, strategic decisions that help them accomplish their longterm goals (financial and otherwise).
Connect the pieces – I spend a lot of time in the book and in my classes illustrating how these financial tasks are interrelated, and how ultimately, they are meant to bring us closer to our goals. We don’t budget because we miss arithmetic; we do it to reach our long-term goals, whatever they may be. Embrace failure – As artists, musicians, performers, or simply creative entrepreneurs, we never mind getting our hands dirty. We experiment with new mediums, push the limits of our talents and expertise, and dabble with things we’ve never tried before. And then we learn, practice, and improve. Dealing with financial topics should follow the same pattern: L [learn], practice, and improve. No one is expected to build a flawless budget spreadsheet from scratch or know the answer to every possible tax question offhand. It takes time to educate ourselves about relevant topics (learn), figure out the nuances of the tools (practice), and tailor them to our own professional practices (improve). Mary: What advice do you have for an artist who is mostly good with their money? Elaine: Great job! Keep it up, and keep it going. Rarely are we perfect at anything we do – including managing our finances. There are always small ways to improve our processes, whether it is improving the record keeping system to better reflect reality or enhancing our budgetary analysis so we can ask and answer increasingly sophisticated questions from our numbers. The investment options and the risk and reward tradeoffs change as our lives and circumstances change, so resting on our laurels once we are “mostly good with money” can be problematic. The amount of reserve a 22-year-old who is mostly good with her money needs is very different from a 42-year-old’s required reserve. Mary: What can they do to go from moderately successful money management to top-notch money management?
Elaine: I think there is always room for improvement, even for those with topnotch money management skills. Not only do circumstances continue to evolve (often personally and professionally, economically or geographically), but also the hallmark of a good “system” is one that is continually improving. Even those with top-notch money management skills encounter things that are annoyances or things that could be better. Maybe someone is annoyed with the way he has to translate his accounting system into his tax return, so he could improve his system to better reflect his reporting needs. Maybe someone else was surprised by something – good or bad – during a year and didn’t know how to handle it from a budget perspective. She could use the experience to better prepare for similar surprises in the future. The exact same situation may never unfold again, and system improvements may not work perfectly at first, but the desire to continue improving all aspects of our financial management skills, tools, and perspectives is the hallmark of top-notch money management. Notice, by the way, that top-notch money management has nothing to do with the number of zeros in a bank balance or the size of the money being managed. Skill, awareness, and experience aren’t necessarily correlated with the size of financial assets, and the excuse that someone will be better “one day” when he or she has enough assets to justify a more serious look at finances is a total fallacy. To paraphrase the business book Good to Great, the hallmark of a company that goes from good to great is one that sustains itself beyond simply one project or one leader. Creative entrepreneurs who are top-notch money managers and top-notch business experts will sustain a career beyond the first project, especially if it is a successful one. A career is built on a lot of different projects, a lot of different challenges, and a lot of different successes and failures. A good entrepreneur might be content with
past success. A great entrepreneur builds ongoing success. Mary: If you could get all the members of the “creative class” to follow just one piece of finical advice, what would it be? Elaine: Embrace the business side of your business. The creative aspects of a business (e.g., technical skills in an artistic context, people skills, or honing a unique point of view) make a creative entrepreneur unique. The business aspects of a business make a creative entrepreneur’s endeavors sustainable. Maintaining business savvy isn’t equated with selling out or sacrificing creativity. There isn’t a linear tradeoff between financial security and creative liberty. The two can coexist within the same person and within the same business pretty easily. Mary: You outline several principles in Arts & Numbers to help artists improve their finances. Can you give us some real-life examples of artists who have put these principles to work? Elaine: I just met an artist who recently began doing his own framing. He realized – through budgeting, by the way – that much of his cost for each piece was devoted to the framing process, and that the prices he was charging weren’t covering his supplies, his taxes, and what he wanted to earn. So, he in-sourced his framing process. (In business, we’d call this “vertical integration.” He just wanted to frame his own work.) As a result, he was able to capture more of each piece’s profits (and improve his bottom line) without necessarily selling more work, and certainly without compromising his product. Not long ago, one of my students wanted help running her business more profitably. (She runs a small shop in a shared space, and in addition to the cost of each piece she sells, she pays rent, the salary of her lone
employee, and a percentage of sales to the collective.) She figured out she was making something like $15 per month after paying for all her expenses and supplies, so I helped her build a model in Excel that would let her solve for the gross amount she needed to sell each month to earn what she wanted to earn after paying taxes and expenses. The amount was high, but not completely unreasonable, and the conversation quickly switched from lamentations about being poor to a proactive strategy to increase sales. Mary: You mention that you consider yourself a member of what you call the “creative class”, yet your work as a CPA and financial consultant is primarily with numbers. Could you define what you mean by the “creative class” and how you feel your work fits into it? Elaine: I subscribe to a broad definition of the creative class, which basically means entrepreneurs, freelancers, and those who run their own businesses on a freelance-type basis. That’s how my business works, and I face some of the same business challenges that freelancers – particularly creative ones like artists, writers, performers, and others – have been struggling with for years. It is a challenge to seek out a steady stream of fulfilling work, manage cash flow, and plan for long-term business goals (not to mention long-term personal goals). I’m lucky because I’ve had plenty of technical preparation for those challenges based on my field. Creative entrepreneurs don’t always have that luxury. Mary: What inspired you to start an organization like Minerva Financial Arts? Was there a personal event, or specific moment that made you realize you wanted to do this? Elaine: I’ve always had a passion for the arts, but it wasn’t until I started volunteering with the Arts & Business Council of New York that I realized I could have a career as an accountant in the arts industry. I learned
quite a bit as a volunteer and eventually started pursuing full-time jobs with arts organizations, which is how I ended up at Juilliard. While I was there, I realized there was a massive need for the work I was doing at many smaller organizations who didn’t have the capacity to hire an in-house Director of Financial Analysis.
My most recent purchase was a piece by Marcus Adams. It is a gorgeous wine photograph (a “conversation starter” as he calls it) with acrylic detailing, and I love hearing about his process. My husband and I both fell in love with his work and were thrilled to have an ongoing “conversation starter” in our dining room.
So there may not have been one moment in particular, but rather a series of small steps and moments that culminated in the growth and expansion of Minerva Financial Arts.
The first piece we bought when we moved to Ohio was a recycled metal sculpture by Eric Marlow. I will forever associate it with the exhilaration of moving from New York and starting a new chapter of our lives, and Eric interpreted my description of what we were looking for beautifully, instilling his own mark on the commission. He sketched out the idea during a presentation I was giving at the Columbus Museum of Art, and it amused me to no end that he could derive something so beautiful and creative during my comments about taxes, budgeting, and business planning.
Mary: Do you consider yourself an artistic person? Elaine: I do. I’ve always been creative and inspired by artistic pursuits. I’ve danced, I’ve sketched, I’ve painted, and I’ve performed. I crave new challenges and seek out creativity in almost everything I do. I live and operate in worlds that use both parts of my brain – the right half and the left half – and I think most of us fall somewhere between the extremes.
See? Arts and numbers might not be so mutually exclusive after all.
Plus, the idea of design thinking or the ability to think creatively about solving problems is a tremendous asset in business. And the ability to think analytically is an equally tremendous advantage for artists. By mastering a basic understanding of financial topics, harnessing them in a way that is relevant, and employing them strategically, artists build long-lasting, sustainable careers, rather than simply a series of projects. Mary: Who is your favorite artist, and why? Elaine: I am unabashedly a fan, not a connoisseur. I love any artist or any piece that comes with a memory or recalls an experience or period of my life. Some of my favorite works are by Salvador Dali, whose surreal commentary always struck me as intensely witty (or maybe I was projecting!).
Author Elaine Grogan Luttrull
Letters From the Edge - Twisted Shadows Photos and Poetry by William Pitman Edited by Summer Blackhorse
Twisted Shadows Grapes on the vine the curl and the spires shuffled wind and stifled sin one day soon passion desires the orbâ€™s womb would fill...
...the mudâ€™s perspired swill skin of stone and fleshy foam, toxic fumed dead andornment, then sold The head and heart swoon leaded gold the alchemistâ€™s dream looms...
...deeper in the dark, the light bears doom spared of the shadow painâ€™s guilt the dim path soon black the wound so real the death born of the fail and the wane the wax on her pillow melts with the wicker...
...driven insane, the drops getting thicker but fall just the same twisted shadow falls ending its parody of lighted walls ending all clarity as the knight of night falls.
Mixed Media Acknowledgements ABTH would like to thank each person on staff for their outstanding contribution to ABTH magazine. This is just the beginning of a great creative adventure and we hope that all of you will continue to travel the aesthetic wilderness with us.
Sally Garrison Owner and artist - SEGartworks, Tempe, Arizona. She works for Tempe Center for The Arts. Sally is a Photographer, enjoys ceramic work, abstract painting, printmaking, and upcycled/recycled work. She is also a motivational speaker and holds a BFA in photography. Practices percussion, rescues dogs in distress and sails the seven seas in her spare time. Contact SEGartworks@gmail.com. On Facebook h t t p s : / / w w w. f a c e b o o k . c o m / p a g e s / SEGArtworks/146111718833097.
Summer Blackhorse Owner and artist - Land C Studio, Portland, Oregon. Photography and fine arts, including painting, drawing, wood and metal work, resin sculpture, and recycled art. She is also a skilled musician and lyricist. She also released a photo poetry book in 2011, titled The Light of Day. She holds a BFA in painting and drawing, and an MS in criminal justice. Contact - email@example.com Photo sites http://landcstudio.photoshelter.com/ and http://www.modelmayhem.com/545564. Fine Art http://summerblackhorse.wix.com/land-cstudio#
Michael Walter Michael Walter is a writer and photographer. A graduate of Portland State University, he holds an MA in Writing and has worked on the editorial teams of Classic Style and Make-Up Artist magazines; additionally, he has worked at Christieâ€™s Auction House in New York City. In 2013, he has published a collection of his portrait photography and Objectography, a collection of his object photography. His website is www.masculineimagephotography.com
Mary Devine Mary Devine a graduate of the University of POrtland holds a BS in English wiht a FIne Arts minor. She has workedin the editorial teams of Classic Style and Make-Up Artist Magazines. Mary as a freelance editor, writer and crafter. As an artist, her focuses include clay and decoupage. Her art can be seen at: http://devineendeavors.weebly.com/ Additionally, she writes a blog, The Bold Sensualist http://theboldsensualist.wordpress. com/ contact her at firstname.lastname@example.org.
William Pitman A recent tranplant to the NW, Bill has added his wood working, writing, photography and drawing talents to Land C Studio. He also is a stellar tattoo arist. He can be contacted at email@example.com
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