Meet LINKS. They are a group of four talented musicians ready to rock your world. Besides having the best hair in the business, they also have great music. Their sound is described as “soul with a twist of blues and a shout of rock.” With two albums already under their belt, debut EP “Tip Your Jester” and recently released “Echo Dogs,” there’s no stopping them.The band members are Robbie Arnett (lead vocals/guitar), Robby Barnett (bass guitar), Curtis Marrero (drums), and  Eric Frank (lead guitar). They took some time out to answer a few questions. Get on board, here comes LINKS!

Andrea Domoslai: How did LINKS form?

LINKS came about when two longtime friends from Northern California, Robbie Arnett and Eric Frank, met up in Los Angeles with two longtime Southern California boys, Robby Barnett (yes, that’s not a typo) and Curtis Marrero. The four musicians instantly found common ground and decided to get dirty in the studio and on the stage.

AD: Where did your band name come from?

One of our first shows was at a German themed pub. We were unnamed at the time, and after having a few beers, the owner came out and started yelling “LINKS” at us. We were supposed to load in our equipment on stage left, and instead, it was on the right. “Links” is German for left. For some reason, it stuck.

AD: Is there an OC connection? Are any of you from Orange County?

Robby (bass) and Curtis (drums) are both OC natives; Los Alamitos and Seal Beach, respectively.

AD: How would you describe your music?

Everything we do is rooted in soul music, but we like to drag it through the mud a little bit until it’s nice and filthy. We then bake at 450 degrees until moist in the center, and finish with an icing of the blues and some fancy sprinkles.

AD: What’s your song writing process?

It’s different every time. Every song has its own story. It’s entirely a collaborative effort, and every song comes out sounding like the four of us. Honestly, we really have no idea how this works.

AD: What’s the best part about being in a band?

The money. The gobs and gobs of money.

AD: Any funny show stories you’d like to share?

We once played a backyard party in Santa Barbara. It was a gigantic collegey rager, and when we had finished, the intoxicated party-goers simply did not let us leave the stage. We did our best to churn out a couple covers, but after a half an hour, it was clear we couldn’t last much longer. We ended up having to sleep on the lawn that night because we couldn’t even get our instruments back into the car, and didn’t trust drunk people to not destroy everything. It was quite the evening.

AD: Is your band a democracy or dictatorship?

Hmmm, tough question… oh wait a minute it’s not a tough question because this is AMERICA. Democracy.

AD: What sets you apart from other indie bands?

We have the best haircuts. And we don’t have a singer who plays an auxiliary tom at the front of the stage.

AD: What’s up next for LINKS?

We’re doing a big west coast tour in April with a bunch of our closest band pals. We’re also recording some bonus material for our latest EP “Echo Dogs” (released in January). Remixes, acoustic stuff, b-sides, you name it. Other than that… I don’t know, stickers? Anybody want stickers?

As you can see, these guys are lots of fun! Stay tuned for more exciting news and show announcements on LINKS at: www.linksband.com or www.myspace.com/linksband

Photos taken by Cooper Gross

Showcasing up and coming talents, RAW Natural Born Artists is on a mission to keep your community connected to local, independent artists in all creative disciplines.  So what exactly is RAW Natural Born Artists? I’m glad you asked. It is a collective movement started by Southern California’s own Heidi Luerra. The RAW team assembles and promotes artists through their online community as well as through their monthly events.  Their site features artists’ profiles, making it easier for you to get to know them and what they do.  Hosting four cites which currently include Los Angeles, Fullerton, Santa Monica, and Long Beach, RAW is able to freely promote Southern Californian artists to a waiting audience.

As a platform for up and coming visual artists, fashion designers, musicians, comedians, filmmakers, etc. RAW’s event nights make discovering new art and fresh talent more accessible to the public. RAW recently hosted a showcase at the Cherch Lounge in Fullerton. A veritable smorgasbord of creativity, the event highlighted standup comedian/magician Justin Rivera, music by Octavius Womack, fashions by Metevo Clothing, hair by Melissa McFadden, makeup by Yvette Mendoza, and the musical styling’s of DJ Martin Vidal. A pop-up gallery was on display with art from Kaleeka Bond, Patricia Cory, Shannon LeClair, and Raymond DeLuna. A short film by Luke Randall was screened for the audience to kick off the night’s events.  The festive occasion was an exciting experience and a fun way to discover something a little out of the ordinary.

When attending their showcase nights, you are exposed to great performances and art while also getting a chance to mingle and network with fellow art connoisseurs. Helping link artists to the public and professionals, RAW ultimately supplies the foundation for future harmonious collaborations. The team’s positive vibe is key to their message of “connecting independent artists with the tools, resources, and exposure to inspire and incubate creativity, productivity, and success.” The tools that RAW provides to their group of artists are given through workshops that coach them on the business side of their given industry.

Not only does RAW work to broaden your cultural horizon, but they are also good for you. And when I say “good for you,” I mean that they help out that planet you live on called Earth. By being completely green, RAW goes as far as making donations to the Carbon Fund to cancel the emissions of the cars that travel to their events. They also do the majority of their promotion via the web and texting. Only when paper is an essential marketing tool do they use only 100% recycled paper.  RAW also facilitates artists with giving back to the community by connecting them with charitable organizations. These simple contributions make a world of difference in the long run and make it a win-win situation for all parties involved in their movement.

Now that you know about RAW Natural Born Artists be sure to check their site and make your way out to one their showcase nights. Artists can also submit applications to become a part of the RAW team. To learn more visit www.rawartists.org.  Eco-friendly sensibilities and accessible art are what sets this organization apart from the rest. Looks like it’s time for you to go RAW.

Photos taken by Hiro Landazuri

A rare exhibit of drawings by Jeffrey Crussell illustrates the architecture of developer Joseph Eichler’s early 1960’s mid-century modern homes built in Orange, California. The exhibit will be displayed at Crussel Fine Arts, in Orange.

Eichler himself was not in fact an architect, but a developer. He would hire architects to pursue his vision. There are 330 Eichler homes in Orange County today. Purchasing a Eichler home is a very discreet process, there is rarely a ‘for sale’ sign, and almost everything is done through word of mouth and connections. The prices of the homes do fluctuate within the market, the most expensive shy of a million. However for a true Eichler fan purchasing one of his homes often takes great effort to renovate and restore the house to its original condition, in which Eichler had intended.

The home is designed to embrace nature, the windows facing the gardens and often leading to the atrium, a key element in Eichler homes. The atrium reminiscent of an open courtyard, is a repeated motif in architectural history. In more traditionally kept Eichler homes there are often no shades or curtains upon the windows, enabling further visibility with ones surroundings, the weather always evident, birds often about, the garden in bloom. The western side of the home receives a great deal of sun, and cools down as the hours progress. According to Crussell, the homes are a special type of environment to live in, everyone treats them differently, bringing their own persona with Eichler’s vision.

Crussell’s use of the square as the shape for his illustration exemplifies various perspectives, as though each square is part of a larger picture, almost as though an architectural plan made of grids. Crussell claims to have chosen the shape for its purity enabling him to balance shadow, and play with the horizon amongst the illustrations. The drawings are each at different levels of completion. Some more precise in detail while others are more sketched out with rougher lines. Crussel’s approach was if the drawing looked finished, it would be finished at that point, there was never a precise standard of completion.

This is Crussel’s first show that is self serving, he claimed it as a “fun project”. Many of his works have already sold, to preview the collection online visit (http://www.crussellfinearts.com/page_eichler_04.html)

I am always fascinated by how much I can learn by merely speaking to others, particularly in the arts. Jeffery Crussell is an ideal example of one such individual.  Crussell’s initial career was in architecture, he began working with other architects such as Frank Gehry, until he created his own architectural firm in 1984, Crussell and Associates. Crussell continues to create architectural plans and visions today, however he has also expanded his company to grow with the demands of society, establishing a specific sector of to Energy Efficiency Optimization, advising others for more energy efficient and green living solutions.  Crussel claimed that here in Southern California we don’t think about energy efficiency, because the weather is often so nice, however energy efficiency is vital and important to our future. Crussell and fellow UCLA colleagues have also established the Joshua Tree Project, a unique concept in which they use the CUBE or RHU (relief housing unit) designed to be both cost efficient and have a non-invasive impact on our environment. The CUBE can conveniently be built and assembled by two people.

There will be a panel discussion on Joseph Eichler Saturday, March 20^th at 6:30pm with Eichler owner, artist and realtor Mike Sasso, Eichler owner and president of affordable housing access Jon Webb, and historian and author Alan Hess, who will also be available for a book signing after. The show will close with a closing party March 21^st from 4-8pm. For more information on attending visit http://www.crussellfinearts.com/page_eichler_01.html.

Fashion illustrator and graphic artist Aileen Holmes can be best described as a “Jill of all trades.” Having an entrepreneurial spirit, Holmes has a wide array of talents ranging from jewelry design to painting. Her whimsical illustrations are easily recognizable as her own. With her feminine aesthetic, Aileen tells us how fashion, vintage patterns, and living in Orange County have inspired her work.

Alisha Domoslai: When and how did you become interested in art and illustration?

Aileen Holmes: I’ve always been interested.  I’ve been artistically inclined from a young age; constantly drawing pictures of the perfect dress, the perfect birthday cake, the perfect house.  I was addicted to the library:  checking out books on how to make books, origami, and make all sorts of random things.  I sewed my own Barbie clothes and later on made my own ‘zine in high school called “Inanimate Object.”  Today I basically do the grown-up version of all the art projects of my youth, except now it pays the rent.

AD: Where do you draw your inspiration from?

AH: Old things fascinate me.  I love going to estate sales to investigate people’s antique treasures and imagine what their lives were like.  There’s always a story – vintage is very voyeuristic!   I’m especially fond of the fashion, ads and advice columns of teen mags from the ‘60s.  I also collect wrapping paper from the ‘60s and ‘70s and vintage fashion from all eras.  I’m especially in love with fashion—it’s a major subject of my art.

AD: I read on your blog that you were working for Mattel, every little girl’s dream, how was that experience?

AH: Yes!  I was lucky enough to work in the Barbie Consumer Products Division as a Senior Designer.  As I mentioned before, I made my own Barbie clothing as a kid to being immersed in Barbie’s rich history was very captivating.  My job was to work on the style guide for licensees and help design graphics, textile prints, product CADs (mostly accessories like jewelry, handbags, socks, shoes, etc), and I also worked on special projects like developing signature product for the Barbie Shanghai store.  I got to work with very passionate, talented people and that was the most fun part of the job.

AD: You dabble in a quite a few mediums (painting, graphic design, drawing, jewelry making, etc.) What is your favorite form of expression?

AH: Drawing is by far my most favorite form of expression—and I do often incorporate illustration into everything I do pretty much.  Actually, a goal of mine is to narrow my focus on more illustration and to broaden its delivery.  My plan is to try out editorial illustration, stationery, and illustrating for books.

AD: How would you describe your design aesthetic?

AH: I’d say it’s very feminine with a bit of sassiness.  I tend to draw lots of flourishes with an organic but heavy line.  Definitely bold and colorful!  There’s a sexy confidence to all my female characters and, of course, fierce and quirky fashion.

AD: Tell us about your Etsy store: what kind of items you sell, etc.

AH: My Etsy store Tangyfruitgirl just launched in November.  It’s new!  So far, I am selling my cute and girly t-shirts, holiday greeting cards, and print reproductions of my colorful artwork.  I have plans to expand and diversify my product line.   To get the scoop on what’s coming up, folks c

an sign up for my newsletter.  Whoever signs up will be mailed a free 2010 Calendar Postcard!  (http://www.aileenholmes.com)

AD: If you could collaborate with any designer/artist on a project who would it be and why?

AH: I’d LOVE to collaborate with Betsey Johnson, Anna Sui, or Mary Quant.  They share my feminine vintage love and are known for their boldness.  As far as more accessible fashion, Free People is my all-time favorite line.  Most of what’s in my closet is by Free People!  I’d love to incorporate my artwork into their apparel.  As far as other collaborations, I’d love to work with the stationery line Paperchase, work with Urban Outfitters on their home goods, and generally have my art on everyday goods for every day people to enjoy.

AD: What is the most important thing you have learned about promoting your work?

AH: I always try to be friendly and helpful to everyone I meet.  Your friends are your best advocates!  We share information and promote each other; promotion is very important – people won’t know you exist unless you put yourself out there!

AD: How has living in Orange County influenced your work?

AH: I was born and raised in the OC.  I’d say that the music scene influenced me greatly.  I was exposed to indie music via KUCI 88.9fm in high school and am eternally grateful for how it shaped my tastes.  Also, I’ve been frequenting the LAB in Costa Mesa from its inception and shows at The ARTery often.  OC is home to many creative and friendly people with entrepreneurial spirits.  From the apparel companies to video game companies, there are many creative companies out there doing great work!

AD: On your site you list your monthly goals, what do you hope to accomplish in the new year?

AH: I’ve been so prolific with the creative side of my business this past year that next year I will focus on the left-brain aspects of business.  I’ve always been interested in licensing so I will investigate that.  Also, as I mentioned before, I want to focus on illustration and diversify.  I’d love to do editorial illustrations for local mags like OC Weekly or go national with magazines like Seventeen, BUST, Venus or art mags like Beautiful/Decay.  Also, next year, I’d love to interact directly with my fans and consumers by participating in local craft shows like Patchwork or the Handmade Brigade of Orange County.  I have many more projects in the works—but they will be a surprise!

Downtown Santa Ana is known in Orange County as the heart of the arts district.  Home to such places as Grand Central, The Yost Theater and the Artist Village, you never run out of things to do.  But this holiday season downtown Santa Ana is going to be a little different.  Two art center graduates, Adam Voorhees and Shin Fujita have come together to develop special animation components for Project: Holiday Projection. Using the Spurgeon Building in downtown Santa Ana as a facade, high powered projectors will be spilling a spectacle of light and shadow to create animated illusions of 3D design. It’s a trend that has been sweeping Europe and is now making its very first appearance in Orange County.

The process of the projection project combines some creative 3D mapping software that will trace the downtown Spurgeon building allowing the projectors to use it as a canvas to display some visually stimulated holiday animation.  And if that was not enough, it’s all set to an immerse soundtrack created by the co-owner of Santa Ana’s Crosby Restaurant. Chris Alfaro created the music to sync perfectly with the visual performance that will transport you into a glee of holiday ecstasy.

Project: Holiday Projections is a perfect mash-up of visual stimulation and auditory overload in a location that is perfectly well suited.  It’s needed to be seen to be believed and you only have a couple of weeks to do it.  Take your whole family and invite all your friends to visually feast on a really awesome collaboration of designers and artists that will tickle your senses.  It’s way better than that lump of coal that’s going to be getting in your stocking this year.  Go check it out!

PROJECT: Holiday Projection
The Spurgeon Building
206 W. 4th Street (between Main and Broadway)
Santa Ana, CA 92701
www.downtownoclife.com

Project Projection performances continue Thursday – Saturday evenings from 7-9pm through December 27th

NOTE: In the event of rain, the performance will be canceled

Curator/Director Stephen Crout from the ARTery gallery at the lab  in Costa Mesa has put together a diverse show of four local artists from Orange County, Lindsay Buchman, Jon Ginnaty, Jeff Alu and Mark Cummings entitled Explorations OC: An Art Scene Subjectively. The first piece upon the back entrance is Jon Ginnaty’s installation which he quoted  the piece as  “all I need is my flip flops, a hammock, and a blender for my margarita”, this statement marks the work true to its core. As one enters the gallery from the right, the installation is set up in its own corner. The space is approximately 12 by 10 ft is composed of three colors; a terra cotta orange, white, and beige. There is a large hammock occupying the center, a small round table to its left with a terracotta built blender, margarita glass, bottle of tequila and a shot glass. Upon the wall there is a life guard triptych, 24 by 12 inch terra cotta slabs placed next to each other with engraved/sculpted life guard towers in the left corners and a pair of sandals, seemingly Rainbows to the right of the hammock.

The installation can be viewed as though you are taking a sneak peak into a space waiting to be lived in and enjoyed almost like a model home. The space untouchable, the objects of practical function mere décor. Places the viewer, the person in gallery as the customer, on seeker where the only real function of any object would be the hammock, thus the most practical piece of purchase. Ginnaty builds up the setting while enabling the viewer to input their own ideas upon it. Thus by purchasing the hammock you are acquiring the vision of the space that could be lived in as provided by the artist, hence bringing the artistic vision into its reality.

When speaking to the artist, a calm, happy Californian he said he “likes to see his works come to life through the different ways people see themselves in the space”. Which is when I suggested he should work in Hollywood sets, he agreed, considering something good to look into. As I left the installation a soft breeze came into the gallery doors gently swaying the hammock giving the scene a more tranquil and serene atmosphere, it is truly a work about life a midst simple pleasures. Very reminiscent of life here in Southern California.

Mark Cummings occupied a great deal of space with his series of oil paintings. His works hold a very seemingly studied and structured technique, reminiscent of the renaissance and baroque masters such as Rembrandt. His works show hardly any visibility of brushstroke as exemplified in his still lifes: Red Red Wine, Evening devotion and Lovely green. His artworks are evocative of glaze painting, in which the work is painted first in a grayscale, then translucent pigments are used with oil which enable the tones to come through from the grayscale, and create a very smooth yet toned finish. The extremity of softened edges upon the folds of the drapes blurring the edges give the paintings a more studied air. Cummings also painted a series of nude female figures, peaceful afternoon, tranquility, the bather and little surfer girl. In little surfer girl the figures huddled position with her arms gently about her knees, almost gives her a sense of movement in the calm space. She sits a top a blue cloth above a red surfboard, on a cliff set against a background of aqua and grey blues in the sky. The drapery in the work is as though a mere semblance suggestion of what once covered her, like a Roman toga in its classic in its motif/suggestion. The artist describes himself as a classic realist drawn to traditional painting. Trained in Florence, Italy taught in the nineteenth century French Academic methods. Cummings will have his work in the National Portrait Gallery in the nations capital beginning August 2010.

Lindsay Buchman a young and talented artist works in printmaking; combined intaglio, relief and monoprint.  She uses old world technique to express an urban motif. She claims “Within my work there is a combination of both expressive and representational imagery, depicting emotions of the past, present, and future. Currently, I have been exploring my fascination with metropolitan life, which has become the focal point for my latest impressions.” In her piece City Ruins, (etching with monotype) she shows the flatiron building in New York as though a stamped print, with the expanded dictionary definition of city in the right hand corner giving length to its Latin derivation. Up on either side there are orange/brown curved shapes, which look intentional and planned by the artist. This tint to the work give it an antiqued look resembling an early 1nineteenth century newspaper, simultaneous to when the flat iron building was built, while at the same time because tinted shapes were planned gives the piece a modern edge, and a different interpretation.  Buchman’s piece  Sound (monoprint) places the perspective of the view at the bottom of a tall building, as though standing beneath the Eifel tower and looking up. The top and bottom of the vertical piece are covered in a lime green, thus placing further emphasis

upon the center which exposes the building and miscellaneous written font in its background. Buchman’s works hold unique perspectives and unparalleled visions. Her works are composed of three main elements, color, type print, and the print of the image, together she takes these features and creates works of art reflecting an urban atmosphere.

Photographer, Jeff Alu’s work resembles those of early photographer Alfred Stieglitz. His photographs were taken of simple subjects and compositions however depending upon the perspective were open to numerous interpretations of what was being represented. Alu claims “When I am out searching, I never have a set idea of what it is I’m looking for. I simply seek, occasionally finding exactly what it is I WASN’T seeking. For me, that’s the time I learn something new about life: When I discover a new path, a new way of seeing, a new reason for continuing my search”. The foreground, background and middle ground are all established foundations to Alu’s works. Occasionally the foreground and the background  would be blurred while the middle ground clear, from a distance the image required concentration to perceive what was actually being presented. In this way Alu’s photographs play with the perspective of the eye and the mind. His work causes one to step back, re-think, read the title, come close, and then walk away fascinated learned, yet still in ponderence.

All four artists Jon Ginnaty, Jeff Alu, and Mark Cummings brought their own visions and mediums to this exhibit. Curator/Director Stephen Crout made a documentary series  on the following artists which will air on PBS early next year. To get a sneak peak check out the posted episodes on the galleries website: http://www.coopgalleries.org/. To receive more information about the individual artists refer to their websites Lindsay Buchman: www.linsdaybuchman.com, Jon Ginnaty, www.jonginnaty.com, Jeff Alu:www.animalu.com, Mark Cummings: www.mcoriginals.com The exhibition will be up until Sunday, December 6^th so check it out this weekend!

Lamia Larkin: Please tell us more about yourself, your background, education and what you do as an artist.

Jon Ginnaty: My name is Jonathan Thomas Ginnaty and I am an artist, educator and a life-time student of Art. I make a wide variety of artwork, from life-scaled ceramic installations to functional pottery, paintings/drawing/prints to photography. My primary focus, however, has been my ceramic installations.

I was born in Humana Hospital in Huntington Beach in 1976, a Libra. I grew up in the center house of a cul-de-sac in the Moffett track, in HB.  Being a latch-key kid from the third grade forward gave me the gift of freedom. The ability to explore all that Huntington Beach has to offer adolescence.

After high school, I walked on to California State University, Fullerton’s men’s soccer team. My first semester at Fullerton, I walked by the ceramics studio everyday on my way to a health class. I had always wanted to take ceramics in high school but my father, an accountant, made me take math electives. So the next semester I took ceramics and found Art.

Fullerton exposed me to a wide range of mediums but nothing spoke to me like ceramics. The summer before my senior year, my professor caught me breaking into the ceramics studio. He was not mad; he gave me a key and a job as Fullerton’s ceramic lab technician.  After I earned my BFA in ceramics in 2001, I received a teaching assistantship to Bowling Green State University, Ohio.  I continued my education with a concentration on ceramic sculpture, and earned an MFA in ceramics in 2003. Then I returned home to Huntington Beach.

I got my first ceramics teaching position at Chaffey College, in Rancho Cucamonga, in 2004. In 2005, I became Saddleback College’s senior fine arts lab technician. In 2008, I started teaching at Chapman University. In the spring of 2009 I was named the grand prize winner of the OC Art Grant. Currently, I am a teacher and lab tech at Saddleback and I will be teaching a course at Chapman in the spring 2010.

LL: Do you consider yourself an artist? If so what do you think classifies you as an artist?

JG: The terms “Art” and “Artist” are funny words because they are so subjective. What is art to me may not be to you.  So if I say I am an artist, you may disagree and you may be right. I prefer to call myself an “object maker”. But yes, I’m an artist.

LL: Where do you get your daily inspiration from?

JG: My inspiration mostly comes from my daily life.  I am motivated by simple yet meaningful interactions with family members, friends, co-workers, and the world around me. These interactions are what I consider Art. The way we move through space defines who we are and allows us all to be unique and human.

LL: Your portfolio seems to contain a variety of mediums; painting, pottery..is there a medium that you prefer out of all the others? If so why?

JG: I would have to say clay, but all the mediums are an integral part of my creative process. I like to equate my use of mediums to writing styles; pottery is like a haiku, conforming to functional systems or structure.  Paintings are like sonnets or poems, free form and uninhibited. And then there are novels, very lengthy, in-depth and detailed explorations of a subject matter that are analogous, in my case, to life-scaled ceramic installations. All are unique in there ability to express different types of thought and all impact the viewer in their own unique ways.

LL: Any artists in particular that inspire your work, or that you look up to?

JG: Well, I have been blessed with amazing mentors/artists over the years; Vincent Suez, Robby Wood, John Balistreri, Steven Roberts, and Richard White to name a few.

Artists that have impacted my life and artistic beliefs; Peter Voulkos, Jun Kaneko, Goro Suzuki, Sir Anthony Caro, David Nash, Anthony Gormley, Tony Cragg, Jean Michelle Basquiat, Hans Hoffman, Jackson Pollock, Nancy Rubins, Judy Pfaff, Lee Bontecou, Anish Kapoor, Jeff Koons, and many more!

LL: Who are your target audience?

JG: Humans, and maybe some dogs and cats.  No, really, I hope to communicate on some level with all who view my work.

LL: How long does it take to create one of your pieces?

JG: Depends on the scale of the work, for instance the piece in the ARTery gallery, “All I need is my flip-flops, a hammock and a blender for my margarita” took me three months. Some of my paintings only take a day or two. The longest I have ever worked on a piece is one I am about to show called, “The American Dream in Terra Cotta”. I have been working on this for the past five years.

LL: How would you describe your art to people?

JG: I make life-sized ceramic installations that recreate everyday objects, and I arrange them so that they visually communicate familiar environments. Producing these familiar settings is a way for me to investigate my own life, and create a dialogue about universality and content in the everyday.

LL: How different is the Orange County Art Scene compared to the rest of the world?

JG: I think it is just in its infancy. Our culture is still very young in comparison to others.  We are in the midst of carving out our own cultural identity.

LL: Has the OC/ California lifestyle influenced your artwork?

JG: Yes, in more ways than I could possibly describe. But in this piece, “All I Need is my flip-flops, a hammock and a blender for my margarita”, I think the influence is apparent in the content, and candor, in which it is presented.

LL: How has teaching helped you to grow into a stronger artist? Or has it?

JG: Having my hands in the material everyday and using my creative thought process to help others create, define, and develop their creative thought process definitely helps me solidify my own. Students bring energy, excitement, and purity to art and what art can be. In other words, Yes! I am always amazed at how much my students teach me.

LL: Do you feel art education is important? Or can art never be taught?

JG: I definitely feel that education is important to life in general. Whether it is imperative to be formally educated in the art world, I’m not sure. There is something to be said about naiveté.  But, there is also something to be said against ignorance. In my experience, having an art education has allowed me more freedom.

LL: Do you see your artwork changing styles or subjects in the future?

JG: Yes and No. My work is an ever evolving product of my life and my research. As life continues, I am sure to have different influences and priorities, none of which I expect to have too much control over.

LL: What does a typical day of work look like for you?

JG: I am up at 6, at Saddleback by 7, tech or teach all day (hours vary from semester to semester), and hopefully surf in the afternoon. I go home for dinner with my girl-friend, and then either relax, go back to the studio, or sleep. Most of my studio time comes on Friday and Saturday nights and Sundays. When the students are away the faculty can play!

LL: What is the biggest piece of advice you would give to an artist that’s just starting out?

JG: Believe in yourself and stay true to your values. Be a sponge for information, techniques and experience. Get involved!

LL: Any art shows coming up that we should know about?

JG: Yes, please come out to my first solo-exhibition!

“The American Dream in Terra Cotta”

February 6th – April 11th, 2010

The Project room at CSUF’s Grand Central Fine Arts Center,

125 N. Broadway Santa Ana, CA 92701.

Opening receptions Saturday Feb 6th and March 6th 2010, From 6-10pm

Santa Ana Art-Walk

LL: Could you tell us a little bit about your work in the Explorations, OC : An Art Scene Subjectively at The ARTery.

JG: When I was approached, my first question was about the how much space could I have to play with. Once that was decided, I started thinking about what I needed to see. I think right now everyone including myself is a bit stressed-out; we are living in one of the most difficult times I have ever seen or remember. Money, war, government, globalization, are all waning heavy on our minds and it seems that everyone I know has been impacted by the recent events that are changing and challenging the world as we know it. This piece, “All I need is my flip-flops, a hammock and a blender for my margarita” is a metaphor I use when I am stressed out, feed up, and in need of relaxation and relief from the pressures of life. It is an ideal place where there are no worries and all you can do is relax and enjoy the moment. I think that this is a place that we all want to be in right now. I daydream about it like it was yesterday. A place so invitingly familiar, however the reality of the moment, simply will not allow it.

LL: Finally, where can we see your work?

JG: I wish I could say I had gallery representation but… I don’t. I do show regularly at Grand Central Fine Arts Center in Santa Ana. You can view my entire portfolio on my website, www.jonginnaty.com or you can contact me on facebook under Jon Ginnaty.

Lamia Larkin: Please tell us more about yourself, your background, education and what you do as an artist.

Mia Travonatti: I earned my BFA and MFA from California State University Long Beach, majoring in Illustration.  I’ve also studied in Paris at the Sorbonne, Parsons School of Design, in the studio of renowned French impressionist Monsieur Relange’, and in Italy and Greece numerous times with the California State University International Study programs with renowned international painters Dominick Cretara, Johnny Cariachi, and Demitri Mitsanas.

I’ve been creating art professionally for twenty years, and my work can be found in numerous private, institutional and corporate collections including those of Marriott Resorts and Harrah’s Casinos.  I have exhibited extensively in the US, Italy, France and Greece, and have had work chosen for exhibition at the American Museum of Illustration in New York and by the Los Angeles Society of Illustrators for their annual juried exhibitions

As an Illustrator, I’ve created the art for over twenty books, eight of which I’ve also authored, and the covers for sixty plus young adult, children’s and art instructional books which have been published in over 20 countries. I’ve also worked on various editorial illustrations for trade and mass-market magazines, and projects for corporations including Lysol, Marriot, Toyota, Tomy Toys, Seagram’s, Martha Stewart and Bravo/NBC.

I also paint with glass…my stained glass mosaics weave my experience as a painter with my love of high renaissance glass mosaics. I have created numerous mosaics for restaurants, private residences, corporations and public works projects throughout the US over the last ten years.  I have also taught painting at Laguna College of Art and Design in Laguna Beach, California for fourteen years, where my students and I have been responsible for the creation of five public murals.

Currently, I work as a fine art painter and the CEO and Founder of Mia Tavonatti Productions and Svelata Inc.

LL: Do you consider yourself an artist? If so what do you think classifies you as an artist?

MT: I certainly consider myself an artist and have for many years.  All of my energy is dedicated to and spent on the creation of beauty through the vehicle of art, and I believe I have fulfilled all the requisites of earning the title artist, including educating myself, passing my wisdom on to other emerging artists and withstanding the lifelong discouragement that comes with this misunderstood life path.

LL: What is the difference (according to you) between Fine Art and Illustration? Is there any difference (to you) at all?

MT: The only difference between being an illustrator or a fine artist is when you get paid.  One gets paid to create the work; the other creates the work and is paid after the fact. Historically, this division did not exist, not until the modernists who wanted to differentiate their non-representational work from all that came before them.  If there were a difference, we would have to call Michelangelo, Leonardo, and all the others who came before modern art, illustrators and not artists as we commonly regard them as.

LL: Where do you get your daily inspiration from?

MT: I am not inspired to work.  My work inspires me.  I practice ritual in my painting and creating that helps me to sink into the work and reveal the flow of creativity that is always there waiting for me.  If I am not working, all beautiful things inspire me, especially extraordinary light and great music, like epic soundtracks.

LL: Any artists in particular that inspire your work, or that you look up to?

MT: I love all the high Renaissance artists especially painters Michelangelo, Raphael, and Da Vinci.  My favorite painter is John Singer Sargent, an American artist. Alphonse Mucha’s Slav epic, a series of 20 mural sized oil paintings on canvas are, in my opinion, the most beautiful and significant body of work created by a single artist since the Sistine Ceiling.

LL: Who are your target audience?

MT: My current work is dedicated to the creative spirit in everyone.  My work typically appeals to people on a more emotional or spiritual, rather than intellectual level.  I set no limits for my work and the people who experience it and I hope that, by making it more personal, it will become more universal and appeal to the heart in anyone who can recognize themselves in my story.

LL: How long does it take to create one of your paintings?

MT: The time it takes for me to create one painting depends on the size and complexity of the piece.  The paintings in my current series Svelata, range from 100 hours for Emerge to 300 hours for Liberata, my largest 7′9″ x 10′2″ painting.  The more I bring transparent layers of drapery, on figures, under water, the longer it takes!

LL: How would you describe your art to people?

MT: Big and wet.  It is difficult to answer this question because they do not really fall into any one prefab genre.  Many have described my work as spiritual, realistic without being realism and ethereal.  One woman commented, “it is as if light is one of her colors”, which I thought was beautiful.

LL: What was it like being a part of the US Air Force Arts Program? What made you choose to become involved in that? Did it change your views on art, or your style or art?

MT: I did not decide, but was rather invited. As a member of the LA Society of Illustrators, and having had earned a reputation as a seasoned artist, it was to my surprise and excitement when one morning I entered my studio to find a message on my machine from the Pentagon, inviting me to participate in a series of missions as an artist for the Air Force, in the tradition of artists recording history with their paintings.  Going on missions, hanging out of helicopters, and basically pitting my own endurance and sense of adventure against trained special ops teams, pilots and night vision goggles taught me more about myself than them, but I also walked away from my missions with a newfound understanding and respect for what it takes to do what they do.  These experiences inspired my best work as a painter and communicator in order to honor them and return the favor of their heroism by serving them with my dedication.

LL: You lived in Italy for a while, did being around all of the classics inspire your artwork? Did your change or grow from that experience?

MT: Absolutely! I have been so fortunate to actually stand in Michelangelo’s footsteps…to know that he stood in exactly THAT spot to do his work…to see his notes written on the closet walls where he took his breaks…to explore a house that he lived in and see his and all the other’s work in person is incomparable to experiencing it second hand in books!  Living outside your own culture also teaches you a wider world vision, temperance and compassion and I believe this is reflected in my work and my life. I aspire to mastering my craft as a form of powerful expression, as the Italian and Flemish masters did.  Just living abroad stimulates your creative juices and inspires more moments of your day as you live in the midst of the history of art.

LL: Do you see your artwork changing styles or subjects in the future?

MT: To be honest, the future of my work is completely unknown to me.  At this time, I find myself completely compelled to paint paintings of myself veiled in drapery in water.  Something outside myself is dictating this and I can’t see past the current painting.  Each one arrives at the perfect moment and serves as a messenger for my state of consciousness for that moment.  I am content to surrender to this and just respond to whatever wants to get my attention.  I have discovered, however, throughout the creation of Svelata, a deep love for collaboration with other artists, so I know that this will certainly factor more into my future and I want to create a more well rounded experience by incorporating multi-media and technology as a way to increase the visceral impact of my installations.

LL: Could you tell us about your foundation and how it got started?

MT: After unveiling my current series of paintings in two extraordinary exhibitions in Italy, I have returned and begun the creation of Svelata Inc., an organization that produces nomadic fine art tours for visionary artists who create work capable of inspiring transformation in people as a way of reconnecting humanity to its creative spark

Svelata is an organization dedicated to the creative expansion of humanity through nomadic exhibitions, documentaries and educational programs designed to reveal the true nature of creativity, and the transformative power of beauty…

As a non-profit organization, The Svelata Foundation is dedicated to infusing a significant portion of its proceeds from admissions and retail sales, generated from our tours, back into the system where young creators will be nurtured.  This will be accomplished through our “From Kids to College” mentoring program, college scholarships, visionary grants, and building and improving art facilities in high schools, effectively raising the self-image and respect for “art class” beyond just being the “easy “A”!  And like I’ve has been doing for years, Svelata will re-educate teachers, with presentations by guest speakers and modern technology, about the immense opportunities in the creative fields so that they can be more effective in helping their students plan for their creative futures.

LL: What made you decide to do this? And how has it helped you as an artist and as a person?

MT: Six years ago I started the Ted Tavonatti Memorial Scholarship fund, in memory of my lifelong artist and teacher father.  Ever since then, my life has become increasingly more concerned with expanding society’s perception of creativity and the role it plays in all our lives.  Like all artists, I had to survive what I call the: art gauntlet” in order to make a life as a creator, and I have realized that I if I can not change how people think about creativity, I will always have to mentor children, and give away scholarships and grants because the problem will never go away.  I love to teach, and nothing inspires my own creativity more then to be surrounded by inspired, creative people.  I believe we all have a mission in life, and that helping people to reconnect to their own spark, through the vehicle of art, is mine.  And being a better person helps me to be a better painter.

LL: What is the “From Kids to College” program?

MT: Having been told over and over again that “they can’t make a living at art”, it is nearly impossible for the artistic dreams and aspirations of our children to survive into adulthood! With the Svelata business model, we have created a forum that effectively eliminates all the reasons NOT to pursue their dreams of being an artist, and sets an example they can look to when they are being told they couldn’t, shouldn’t or wouldn’t be able to become an artist.  Our “From Kids to College” mentoring program is designed to maintain the creative sparks of children throughout their most formative years, and offers them an example to turn to when they are told it can’t be done.

LL: What does a typical day of work look like for you?

MT: Seeing as I am completely engrossed in the production of our first Svelata tour and fund raising, my life is more like that of a movie producer or CEO of a corporation than a single artist.  Currently my days consist of filming, working with video editors, music producers, motion graphics and graphic designers, and many others.  I am enjoying the collaboration with so many other talented artists daily.  I hope to get back into the studio for some solo work soon, but for now, I eat, sleep and breathe Svelata!

LL: What are your favorite tools of the trade?

MT: Canvas, my computer and scaffolding.  I use only oils to paint, unless I am doing an outdoor mural.  I also love to create stained glass mosaic that look like my paintings.

LL: Could you tell us about your most recent project “Svelata”.

MT: Svelata means “unveiled” or “revealed” in Italian.  Svelata’s first layer to be unveiled is a nomadic fine art exhibition in its own custom, portable 17,000 square foot tensile complex. This extraordinary fabric and aluminum nomadic museum will tour the US for fifteen months, stopping in each of five cities for two months, before going international! The 12,000 square foot main exhibition space houses a cutting-edge multi-media experience built around my most recent collection of twenty-two original oil paintings on canvas.  In addition to the art, numerous special events are being planned in effort to include as many creators as possible in the Svelata Experience, including lectures, performances and demonstrations.

Another 5000 square feet of peripheral buildings house a large retail area with the trademarked Svelata product line, a youth exhibition space, the “Creation Station” where the full-length Svelata documentary, independent video submissions and children’s interactive animation zone can be found, admissions and operations.

In the future, Svelata tours will travel the world…becoming a tool for universal evolution through experience, education, and opportunity. We plan to open 20 tours in the first ten years along two routes, one for Masters and one for Emerging Artists every six months.

All Svelata projects, tours and the lives of the artists involved in them will be brought to the world with a series of documentaries.  The cameras will follow the paths, choices, opposition, risks, sacrifices, loves, and losses, of these artists.  We have already begun with the creation of a one-hour documentary that records the entire creation of Svelata.

LL: What is the biggest piece of advice you would give to an artist that’s just starting out?

MT: As my mentor taught me, do what you love, learn to do it really well, and you will be successful in whatever you do.

LL: Any art shows coming up that we should know about?

MT: I currently have a solo exhibition at the Kwan Fong Gallery at Cal Lutheran University and then this event immediately after.

Svelata Foundation Fund/Consciousness Raiser

Sunday, November 22nd from 5-7 pm with a presentation at 6 pm.

Laguna College of Art + Design, 2222 Laguna Canyon Road, Laguna Beach, CA

A one evening opening and exhibition in the LCAD gallery, of several of the SVELATA PAINTINGS before their national traveling installation opens in spring 2010. You will have the opportunity to view the paintings, meet the artist, be informed of and support the mission of the Svelata Foundation, and ask questions related to the project, artist, art, and creativity. And most importantly, you will enjoy an evening of art, beauty and purpose. The public is welcome and admission is free.

LL: Finally, where can we see your work?

MT: The Svelata paintings are not for sale and can only be seen in University and museum exhibitions other than special Svelata Foundation events like the one this Sunday at Laguna College of Art + Design. You can find the artwork from my Svelata series online at www.svelata.org until such time when we have additional events planned.

The mission of Svelata is to encourage and nurture creativity.  In order to do so, people must participate in the creative process.  Our intention with the web site was to create an experiential site that required the viewer’s participation and action to give them a sense of discovery and to have them affect change by allowing them to unveil the artwork by moving the mouse.  You must move the mouse to discover the secrets that lie beyond the veil… this also requires more patience than the normal immediate gratification of other web sites, hopefully slowing you down and putting the viewer in a more peaceful state of mind to see the art and read about our project.

I wanted to create a site that would give a taste of the experience we will be producing with custom choreographed LED lighting, original soundtrack and live video inside our first tour designed around my 22 paintings from this series.  The color white stands for spirit, and purity and is prevalent in my work, as is water.  I also strive to create fluid sensuality in my paintings and I wanted the website to be an extension of this.  Overall, I would describe the site as sensual, uplifting and refined.

Reza Ardalan an undiscovered talent is soon to exhibit his gift for photography at ARK gallery in Fullerton (445 E. Wilshire Ave./Fullerton, CA 92831), with its opening reception this Saturday November 14^th from 6-10pm. Ardalan’s photos hold unique perspectives and complementary colors, so creative in their angles that they resemble mixed media paintings, where the texture can practically be felt in its photographic depiction. Calle Antigua, a quintessential example, is a riveting work of an almost Roman like sensibility through its many layers and enigmatic allegory. It is certainly a work worth seeing in person.

Photography has been a mere hobby for Ardalan throughout the years.  Growing up on the east coast in Secaucus, New Jersey and in the midst of New York, NY, Ardalan was exposed to a diverse world of art, music and fashion. He pursued his interest in couture at the Fashion Institute of Design and Merchandising in Los Angeles in 1993. Immediately after graduation Ardalan returned to New York for several years, until he was to come back to California where he now lives with his wife Michelle and his two-year old son Nico.

When asked what inspired the exhibition, as many an artist would claim, “my love for photography”. The exhibit carries a l’art pour l’art (art for arts sake) aura. Ardalan alleges seeing other photographer’s work can be inspirational, impacting a powerful imagery upon one. The work does not necessarily have to do with the person behind it upon initial view but the impression it makes on your soul that will last indefinitely.

Roxana Vosough: Do you prefer digital or manual? Can you expand on your experiences with both?

Reza Ardalan: The technology of the digital cameras’ processors are incredible, so today I prefer digital, 5 years ago however film was my favorite.

RV: What camera do you use, and what lens for the works exhibited?

RA: I used a Nikon D5000 with 1.8- 50mm, and 55-200mm.

RV: What advice do you have for amateur photographers, seeking to take more artistic shots?

RA: Composition is everything.  The most simple subject can come alive and slap you in the face screaming “Look at Me” I like to get down and dirty when shooting.  Laying on the ground is a fun exercise to see everything from a new and usually more interesting perspective.   Photography for me is like hunting.  You have a focus, a plan, and you execute your hunt all the while factoring, readjusting, and remaining adaptive.  I was in Guatemala this year trying to figure out how I could get a shot of the most beautiful architecture because there just happened to be a pack of 6-8 wild dogs roaming about, and at 6 in the morning you don’t know if you are their breakfast or not.

RV: Where do you get your inspiration?

RA: Inspiration for me comes from all directions all the time.  It could be a movie that introduces me to a new style.  It could be a book that awakens dormant potential.  But 99% of the time, inspiration comes from being present.  Being Aware.  Seeing without judging. There is beauty in almost everything, and I find that the toughest part is getting your mind to quiet down long enough to allow you to see that beauty. A few days ago a just was looking out the window and I saw the midday sun hitting this tree and its few remaining leaves, perfectly. The rest is point and shoot. Good times.