Rosencrantz and Guildenstern are dead, but you probably don’t even care.

Playwright Tom Stoppard has given these two minor characters from arguably William Shakespeare’s greatest play, “Hamlet”, a stage of their own to argue about destiny, fate, life, death, to be and not to be.

Director Anthony Galleran brings Stoppard’s 1966 play “Rosencrantz and Guildenstern are Dead” to the Hunger Artists Theater in Fullerton and made the production seem larger than it actually is. The theater, a dinky place, expanded with visual simplicity and heavy themes. Rosencrantz and Guildenstern debuted their actual feelings toward the great tragic hero, Hamlet, who weaved in and out of the scenes and seamlessly displayed his own story to the abysmal few who have to yet to read it.

Yes, Hamlet is a great character. And yes, he is a hard one to play. Ryan Knight, playing Hamlet, did not have much to work with: a few scenes spliced in with out of context emotions and an abnormally long time to hide in a box. To be frank, Knight was a fine Hamlet. And his cohorts represented the other well-known characters just as well, although the audience failed to laugh or snigger at Claudius’ contrived funny moments. But whenever the famous story got stage time, even the snippets seemed too long. Rosencrantz and Guildenstern were the only characters to care about.

It wasn’t just their comedy, which was rapid yet perfectly timed. It wasn’t just their soliloquies on destiny, which carried out nicely and were always welcome. The best part about watching those two was their relationship.

Topher Mauerhan, as Rosencrantz, was dumb, but in the most perfect amount. He did not overdo it, as so many actors tend to do when playing the idiot. He was vulnerable and loveable and laughable all at the same time. Though his character was an absolute dunce, Mauerhan did not let Rosencrantz die as one. His monologue was honest and his dialogues were thoughtful, a fine example of a character who is the source of unexpected truths: “What’s the point of living if you’re not happy?”

But it was Guildenstern, played by Gregory Spradlin, who illuminated his relationship with Rosencrantz. Spradlin could have ignored Maurehan’s silliness and denseness. Instead, he was patient. They are together in this little quest to unveil the source of Hamlet’s curious behavior. When they realize they are on a much larger, cosmological quest and must ask the hard questions, Guildenstern does not lash out at his dimmer friend’s inability to keep up. They share an understanding and Guildenstern’s restraint and visible annoyance is endearing. It seemed the two had been friends for ages.

Spradlin, noticeably present on stage, had a remarkable voice. It’s rare to find an actor these days whose voice is the thing you remember. But there was something about the way he controlled it and still let emotion come through.

Another character worth mentioning is The Player, played by Mark Coyan, a man who was probably born to entertain. He was big and engaging and led his sorry squad well. Only the audience did not seem to appreciate his or any other actor’s energy—this is the same audience that doesn’t find scene change applause part of their own fate. The lack of energy from the seats, though, was made up for on the stage. Again, Galleran knew how to make the most of his space.

“Rosencrantz and Guildenstern are Dead”, which had nearly no plot, was an interesting spin-off and offers an opportunity to ask earnest questions. The Hunger Artists Theater’s rendition did more to emphasize the relationships of those asking. While their word games and Abbott and Costello rapidity were fun, neither Rosencrantz nor Guildenstern would have come to any conclusion without being alongside the other. Guildenstern’s simple look at the blacked out Rosencrantz said more than their monologues ever could have.

You might not care that Rosencrantz and Guildenstern have met their fate; but their journey to it is what will make you think and care about your own.

Rosencrantz and Guildenstern are Dead runs Aug. 27th – Sep. 19th 2010

Fri. & Sat. – 8:00 pm

Sun. – 7:00 pm

General Admission: $18

Students/Seniors (with ID): $15

Images courtesy of the Hunger Artists Theater

The Memphis Group celebrated its 15th Anniversary at its original diner, Memphis Café at The Lab in Costa Mesa on Wednesday, August 25. The diner offered it’s original 1995 prices for lunch and dinner.

The crowds began early in the afternoon for the celebration, great food, and unbeatable prices. Businessmen and women took a little time out of their busy workdays to join Memphis in its outstanding 15 years in running.

Some of the items on the menu included the cafes old time favorite, Down Home Gumbo and Corn Bread for the original price of $4 per bowl, which is currently $7.50 per bowl. Other original priced items included the Hickory Smoke-Roasted Turkey Breast Sandwich, Grilled Portobello Mushroom Sandwich, and the BBQ Chicken Sandwich.

Happy Hour was held at the Memphis Café from 3:00-5:00pm followed by its dinner specials until 10pm. Entertainment kept the going into the late night hours.

The celebration went into the late night with DJ Danny Love spinning “The Grooviest in Rare Soul and Acid Jazz” just as he did every Wednesday evening in 1995.

The Memphis Group has been a prime location for entertainment and great eats for Orange County ever since it opened shop at Memphis Café in the summer of 1995.

Shortly after, in 2002, the Memphis Group expanded and is now the proud owner of two Memphis restaurants (Costa Mesa and Santa Ana), catering and events distribution, Detroit Bar (live-music venue), and The Lizzle Saloon (gay friendly bar).

At each location the group captures a mod ambiance with classic cocktails and gourmet comfort food.

The Memphis Group just recently branched out to the South Bay by bringing its warm hospitality to Manhattan Beach with Memphis at the Beach.

For all those that missed the 15th Anniversary celebration, Memphis Café is celebrating till tomorrow night! So stop by and do not miss out on the original 1995 prices.

Looking for something delicious to do this weekend?

Join OCAC’s own Lamia and Angela as they explore 50 of Orange County’s best food trucks all in one spot!

On Saturday, August 28th from 11:30am until 7:00pm, the Honda Center in Anaheim will be hosting the first ever gourmet food truck event. The OC Foodie Fest, as it’s called, will feature the best mobile food trucks as well as shopping and entertainment to benefit local charities.

If great food isn’t enough for you, the event will also showcase the best in Southern California musical talent.  This is your chance to check out some of OCAC’s favorites, like The Relative Strangers and The New Limb.

Tickets are just $6.00 for children (3 and under free with paid admission) and $12.00 for adults. Special tasting portions at each food truck will range from $1.00 to $5.00.

If you can’t make it to the event, or you just want to follow along with the action, make sure to follow @The_Lamia and @itsahumanzoo on Twitter, and watch for the hash tag #OCACFF.

For more information or to buy tickets, check out OCFoodieFest.com.

As I approached the )( Hurley Headquarters on an overcast Costa Mesa morning, I circled the crowded lot until I could finally find a parking spot! Upon walking about there were buildings quartered upon every square, resembling a college campus, or how I like to refer to it as the Hurley Village.  The )( Headquarter takes great precautions to protect their creativity and idea flow, each building was protected through pass code.

I soon found the reception area and awaited Annie Adjchavanich Curator of )( Space. Adjchavanich’s tour began with the creative process behind Hurley, and the artistic recruitment process behind the brand.

Hurley, an untraditional sponsor of the arts, has multiple outputs for artists to get involved through their art video’s, t-shirt contests, gallery exhibits, and patronage of other entities such as museum exhibits, and recent lecture with Ed Templeton at the Orange County Museum of Art.

The brand seeks to attain a selection of undiscovered artists with immense potential. Many of the works they are often attracted to are those of color and geometrics, with mixed media like elements. The creative process behind Hurley is curated design in its various design selection. As we entered the creative design center, the building itself resembled a rough, rugged warehouse with an air of simplicity and creativity upon every corner. The precise atmosphere to inspire. Each office seemed very sui generis reflecting the innovative personalities of each designer.

Hurley resident artists are typically recruited for their unique and innovative pieces, their latest artist Mike Stilkey was discovered from a Hurley art video, his work was then exhibited in the )( Space gallery and parts of his artwork are now featured on Hurley apparel. Stilkey has a very particular yet creative approach to his artwork. He takes used library books and mounts them, often to great heights, or sometimes just a foot, and paints upon them.

The gallery itself entitled )( Space, an ideal name for the one gallery venue, as it is literally one space to exemplify the artwork. It has just enough to introduce the artistic raw element of the brand, and is quite the unique concept for a major retail label.  )( Space leads directly to where its inspiration is reflected, the Hurley store, exclusively at the headquarters for employees and guests, with many of the labels latest apparel.

Hurley designers incorporate artwork  through the design of various merchandise, and are often using various parts of the artwork to create a design element, unique and novel, recreated from a different perspective. Artistic creation is what  fuels the endless imagination of the designer  at Hurley to have infinite continuity in the execution of their apparel.

Parts of the exhibit was recently  moved  in a grander scale to the company’s 225 Forest store during the Laguna Beach July Art Walk. Hurley recently opened their new show Dalek: “Chaos on the Edge of Reason”, a continuous mural on canvas by James Marshal, known as Dalek, will run until the end of August!

Photos courtesy of Hurley

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

Brandie Mata: I’ve had a pretty normal upbringing; I’m the oldest of three siblings, I went to Cal Poly Pomona where I studied Art with an emphasis in graphic design. I knew that’s what I wanted to do. I’ve always had a thing for drawing. I remember cherishing my Crayola case! The little clear top yellow suit case with a sharpener on the side, that was my treasure. As a teenager I was really into cutting out letters and images from magazines. I’d arrange them to spell out my name or come up with different collages, but all of this didn’t really connect as a career until I was graduating collage. It just made sense to me, I’ve always done this.. It’s the only thing I know.

Once in college I worked with Graphic Art Studio at Cal Poly Pomona, held a summer Getty internship with First Street Gallery Art Center. Which led to a life changing experience! Working with true artists showed me what art making was all about! After a few years of being an art instructor, I was recruited to design with DUB Magazine. After several years of wonderful publication experience I wanted to connect back with artists. That’s when I found myself with liveBooks. Nowadays, I freelance as a designer and create art!

Just know this, I’m an artist and designer who loves what I do. I’m grateful for every moment I’ve had of my wonderful career as a designer and artist. I’ve worked hard to get here and after nine years of design experience I can say I’ve done a swell job so far!

LL: Do you consider yourself an artist or a designer? Do you think there is a difference? If so what do you think classifies you as an artist or a designer?

BM: ART + DESIGN + LOVE = ME It’s a super combo! There’s a difference between the two, but I think I’ve been much more of a successful designer by knowing art;  as well as a better artist for understanding the basic elements of design. They’re both visual mediums.

LL: Could you tell us a bit about your design/ fine art process?

BM: I’ve always held design and art with mutual respect. I believe they go hand in hand. As an artist I’m working through several styles right now, but they usually incorporate hand drawing, photography, color, texture, paper, and love! All the photos I use in my art I’ve taken! I’ll shot whatever inspires me; whether it’s the façade of an older building, lettering in a window, vintage murals, or cityscapes. You’ll always find layers of stuff happening, I never really plan what I’m doing during the art process; I usually feel it out and trust my instincts! Best way to go. I love to experiment with all the mediums and figure out what works best. Lately, I’ve been into starting off with a pencil drawing, adding some watercolor, maybe paper, then another layer of graphic elements such as a layer of photos manipulate on the computer, and outline it with some rich black India ink.

LL: Where do you get your daily inspiration from?

BM: I’m really in love with the use of rich color, texture, hand lettering, origami paper, old signage, vintage posters, postcards and packaging. Whenever I’m out and about, I like to keep an eye out for great inspirational products, locations or photo moments.

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

BM: I have a few wonderful artist! I really enjoy Jasper Johns paintings and mixed media work. Frida Khalo’s self portraits. Monet, Henri de Toulouse-Lautrec amongst others all the way to Koop, Shag, Gary Baseman, Tim Biskup, Yoshitomo Nara and Jeff Soto. Especially love Outsider artist, in particular the ones I worked with at First Street Gallery Art Center. Outsider artist don’t have any inhibitions. They simply create.

LL: Your artwork is so varied when it comes to medium, could you please explain the appeal for using so many different types of mediums. Does it help expand your interests? Build stronger skills?

BM: The different mediums, from the pencil, ink, watercolor, acrylic, textured or patterned paper, photos and photo prints all come from a natural progression over the years. It started with just photos, paper and acrylic then switched to manipulating my photos on the computer. From that its evolved to combination of both which has just resulted from wanting to create something new, but in my style. I think my skills have gotten stronger or more precise over the years. I’m better at knowing how to produce the look I’m going for but it still doesn’t mean I’m the best at drawing. I draw it the way I see it, if it doesn’t come out the way I want it I simply start over. Art making is more forgiving than designing. Art making is expressive and of a part of oneself.

LL: Who are your target audience?

BM: During the art making process I’ve never thought about my target audience. I simply create and share. I’m just hoping people connect with my work, and hopefully inspires them to create their own!

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

BM: You either you have it or you don’t. An art education is there to tighten up and expand your skills, but you’ll never be taught in school what you love. It needs to be your passion and the rest will happen.  The funny thing is as children we were all artist. It was encouraged, but as adults it seems as more of a hobby, nothing of real value. Our culture has lost its appreciation for the arts. We’re cutting it out of schools; there’s no more art or music. In doing so, were cutting out more than a few classes when school districts are forced to budget and keep open. There is so much interaction, personal growth, and pride when someone is creating and focusing on art making! I’d like to see music and art kept in our schools!

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

BM: Depending on the medium, I can create a small painting within an hour or two or work on layered piece for several hours. It depends on what I feel like incorporating as I go along. Lately I’ve been working on series of pieces where I complete them in phases so it can take several days to finish them.

LL: How would you describe your art to people?

BM: My artwork is vibrant, energetic with several rich layers of hand drawn figures, textured paper, bright colors, and computer manipulated photography.

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

BM: My style has evolved over the years and I hope it continues to but still stays true to who I am. As for the subject, there’s tons of stuff I’d love to create series of! You’ll have to wait and see what I come up with!

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

BM: Yes, it sure has! I love our palm trees, cityscapes, old architecture and rich cultural communities! SoCal has so much to offer within a half hour you can be anywhere! There are some many great spots to travel and enjoy!

LL: What tools of the trade do you prefer using?

BM: I’ve really gotten into mixing some hand drawing with a layer of manipulated photography. Which would be my pencil, camera and computer.

LL: If you had to choose a favorite medium to work with what would it be and why?

BM: Photography. It’s instant. You get the shot or take 10 more. The camera is the easiest thing to carry around and I’m able to take so much more away from a moment than sitting and sketching it.

LL: What message do you hope to get across with your paintings?

BM: I hope people see my art as fun, energetic and fresh! Which in turn will inspire them to create art of their own.

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

BM: Love what you’re doing and you’ve already succeeded! Try not to hold back or let your inhibitions stop you. Simply create.

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

BM: Yes, I have a solo art show coming up this Friday at BTNC during the Downtown Fullerton Art Walk. One Night Stand will be my debut show into the art community! It’ll be from 7-10pm Friday, August 6, 2010 at BTNC. There will be DJs, Catering by KNVSOUT and BTNCtenders. BTNC 203 N. Harbor Blvd. Fullerton, CA 714-441-3434. See you there!

LL: Finally, where can we see your work?

BM: I have a website www.brandiemata.com plus I’m participating in LA Craft Experience on August 14th and 28th. With a few other local events in the works. If you email me at hello@brandiemata.com I can add you to my email list and keep you posted!

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

Jenn Schepp: I grew up in Arizona and while I have always been creative, my medium was food. When I went to culinary school I discovered that although I love food I didn’t enjoy cooking. Baking, for instance, is a science and I didn’t and still don’t have the patience to create dishes that take hours to make, and only minutes to devour. After leaving school I moved to Southern California and my creative outlet changed from food to paint. I started painting six years ago after being inspired by an artwork I saw and I wanted to create something similar for my home. What was once a hobby became a passion and a now career.

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

JS: I do consider myself an artist as well as anyone who creates something out of nothing.

LL: Why abstract art?

JS: I’m not sure why I gravitate toward abstract art but I believe part of it has to do with looking outside the box. While I do title most of my work, sometimes I don’t like to, as I prefer not to influence the viewer and would rather simply allow them to enjoy what they see. I enjoy the experience of the mind trying to find words for what it perceives.

LL: Where do you get your daily inspiration from?

JS: Colors that stand out inspire me. These can be from sunsets and sunrises, chipping paint on wood, moss on a rock, rust on metal, or a piece of fabric. I am  currently inspired by reflections of light on water.

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

JS: The following are artists who inspire me with their use of color and the emotions they invoke. Gerhard Richter. Mark Rothko, Mark Wolfe, Todd Williamson, Mark Harrington, Brad Ellis, Carol Brenier, Susan Grossman, Sam Franscis, Anselm Keifer, Jordan Eagles.

LL: Who are your target audience?

JS: Anyone and everyone.

LL: Do you think all art should be pretty? If so, what do you want the viewers to learn/gain from “pretty art” ?

JS: I suppose it’s important to define what “pretty” means. For me, “pretty” art inspires people, brings hope and makes people think. That is not always “pretty” in the conventional sense. I recognize that art is subjective and I am grateful for that. We all have our own unique perception of this and that is a gift. A lot of people don’t “understand” abstract art but that doesn’t mean I won’t continue to create it. I think there’s a balance (and the hard part is that it is different for each person) of art being something you enjoy looking at every day and the deeper meaning and substance behind the creation. Art should be attractive to the beholder in a way that is meaningful to them.

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

JS: It really depends on what vision I have for a piece. Some pieces I have finished in a day at the studio while others can take months. One of my pieces took 3 years. It was a huge relief when it was finished.

LL: How would you describe your art to people?

JS: I have a difficult time describing my art to people. I once told a friend it was a blending of different colors and he told me that’s what the guy in the a paint department at Home Depot does. Since then, I’ve learned to direct people to my website so they can see it for themselves.

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

JS: The artwork I have created has definitely evolved over the years yet my style or signature is still evident. I try not to box myself in and allow myself the freedom to create what feels natural.

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

JS: The biggest influence Orange County has had on my creativity is from nature. Whether from flowers in bloom or the ocean I am constantly in awe of the beauty that surrounds me. When I am driving down the coast I am always taking “mental pictures” of colors and textures that I want to use to create a new piece.

LL: What tools of the trade do you prefer using?

JS: I began painting using only a palette knife, which I believe was the influence of my culinary background, specifically in regards to frosting cakes. The motion of frosting a cake is the same motion I used to apply paint. I still use a palette knife but have added brushes to produce different textures.

LL: What message do you hope to get across with your paintings?

JS: When people view my artwork perhaps they will begin to see in their surroundings  those colors and textures from the painting in a way they didn’t before. As I am inspired by what is beautiful around me, I hope they will stop and appreciate that beauty as well.

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

JS: If your desire is to be a full time artist it is important you make the most of every opportunity presented to you. This industry is about who you know and who they know. Don’t be ashamed to promote your work because no one is as passionate about it as you are. Alas, that is much easier said than done.

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

JS: I am planning on having a show in the next few months to showcase my new series inspired by horizons.

LL: Finally, where can we see your work?

JS: Jschepporiginals.com and my studio in Costa Mesa!

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

Quyen Tieu Dinh: I was born in Vietnam on October 27th 1977 and, thus, was part of the Vietnamese boat people generation. Because of our socio-political and economical background, I never had familial support in regards to my creativity. They only believe in the practical; so art became something that I kept on the back burner. Therefore, I never went to school for art. Instead, I went to USC School of Cinema-Television and majored in Critical Studies in hopes of working in production. However, after graduating, I realized that fine art was where my heart was and it was then that I decided to pursue a life as a painter.

I do many things as an artist. I sculpt. I draw. I design. I paint. And very soon, I want to make art with a real purpose. Art essentially for me is an irreplaceable vehicle for self-expression…showing the external world my internal world.

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

QTD: I consider myself an artist more than anything else. I’m an artist because I can create something out of nothing.

LL: Where do you get your daily inspiration from?

QTD: So many things! Im inspired by other artists and their amazing work. I’m inspired by the vintage and nostalgic images, by color,by tattoo art , by spirituality and the desire for purpose, and strangely, the monotony of life inspires me; because I feel compelled to make life gratifying and interesting again.

LL: Which artists in particular inspire your work?

QTD: Early on, I looked up to Van Gogh, Frida Kahlo, and Tamara de Lempicka. I now find myself mesmerized by postmodern, underground, lowbrow artists such as Mark Ryden, Audrey Kawaski, Ron English, Camille Rose Garcia.. there’s actually way too many to even list.

LL: Your portraits all seem to be placed in front of a red curtain, could you explain the symbolism of this.

QTD: The concept behind the red curtain is I feel each subject has a story to tell like players in a theatre production – so I’ve made the canvas into a sort of stage. We as spectators are the audience. I think, aesthetically too, the curtains help frame the painting visually; so they have dual purpose!

LL: Who are your target audience?

QTD: I don’t know if I have a target audience. I think I just want to share my art with anyone who’s interested. I feel as though I’d be discriminating if I was making art for only some people and not the rest. But mainly, I make art that pleases me and for those who like it as well… well, that’s just gravy on the potatoes, I think I just told you my target audience is myself.

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

QTD: I don’t think art education is important, but I do think it’s is wonderful thing if one can afford it, one should take advantage. I think you can teach art, but I also think that a person with natural talent coupled with education has the creative upper-hand always.

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

QTD: If I can paint eight hours a day, then anywhere between a few days to a couple of weeks. But since I do have a fulltime job aside from painting, I usually takes several weeks to finish a piece.

LL: How would you describe your art to people?

QTD: I always have a difficult time describing my art to people. I usually throw out names of artists with a similar style, and if that fails (which often times it does), I just give them the URL to my website and say, “Here, it’s just easier for you to take a look.”

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

QTD: Sure! I’m always evolving and transforming as an individual so my art will inevitably follow suit. This is just a little of my art history. Painting hasn’t always been my medium, nor my current style of portraiture my current style of portraiture. I started as a hyper-realistic graphite/charcoal portraitist, and at the time, couldn’t see myself doing a different style. It’s great to explore and grow.

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

QTD: I don’t think the OC/Calfornia lifestyle has so much influenced my work; but because of the great lowbrow scene out here, it has definitely inspired me.

LL: What tools of the trade do you prefer using?

QTD: I don’t think I can do what I do efficiently without the internet. Instead of using live models for reference, I rely on the internet for the perfect reference image. When it comes to painting itself, I love acrylic paint because it’s bold, dries quickly, and is extremely user-friendly in everyway. Also, I couldn’t live without my liner paint brush and masking tape.

LL: How important is Mexican art and culture to your paintings?

QTD: In the beginning, it was very important because it was the catalyst for my first official painting. My partner/girlfriend at the time had asked if I could repaint an image of a simple Lady of Guadalupe in Day of the Dead style for her birthday. After which, I realized that this was in fact what I wanted to do; because of this one painting, I became a painter. Mexican folk art heavily influenced my style during that time until I finally established my own. So really, I owe it all to Mexican folk art. It still makes it’s way into my art once in a while nowadays. That’s just my way of paying homage.

LL: What message do you hope to get across with your paintings?

QTD: In my previous collection, I just wanted to share my story, my passions, my emotions, and experience with the world. My new collection, which I should start shortly, will be beyond me and my own experiences. Ultimately, I want my art to have purpose. I will use it as a tool to communicate a specific message. Now in this stage of life as an artist, it’s more than just a passion or career…it’s a calling.

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

QTD: Never lose your integrity as an artist. Always stay true to yourself. Be a rebel.

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

QTD: Currently, I’m showing at Rothick Art Haus in Anaheim, CA in the Gob Magazine Group Show. In August, I will be featured in a group portrait show curated by Phil Marquez of Santa Ana College. This show will be exhibited in Downtown Santa Ana in the Artist District.

LL: Finally, where can we see your work?

QTD: The internet, in the form of my own website and art blog, has always been a great venue to see my work as well as local galleries. I hope to expand this to publications and galleries across the nation and, eventually, the world.

The Beall Center at UC Irvine culminates two interests of it’s founder Don Beall; art and technology.  This brings to question what is technology without art and vise versa? Technology, often identified through the use of advanced machinery, while art (according to the Oxford English Dictionary) is the expression or application of creative skill and imagination . Juxtaposed together Art and Technology take upon unique forms exhibited in UMAMI, the Senior Exposition at UC Irvine’s Beall Center.

The Exposition features UC Irvine’s senior undergraduates: Edwina Edi Dai, Katherine Gu, Ian Hattwick, Melissa Lee, Jeanette Lam, Kelly Mayfield , and Chris Morales.

The exhibition space was difficult to find. I first found myself in the University Art Gallery, where I was then directed to go through another gallery with a red door in which I was to proceed to the very end. I then found myself affront a black wall, with two open corridors on either side. I entered to my left and believe I had found the space I was looking for. There was a group of students seated in the center of the gallery in discussion with their instructor David Familian about the exhibit. I quietly went around trying to understand the artworks by reading the placards next to the works. However, this often led to moments of further disconnect, ambiguity, and confusion for many of the pieces, because they were “Untitled”, left with minimal if no explanation.  The various mediums listed: sugar, water, fountain, food, electricity, speakers, inkjet, acrylic with electronics, where not easy to fathom either.

Artist Chris Morales explained that he wanted people to think and question his work, thus he does not like to give words that would help. As a result this would leave the viewer with their own interpretation. Initially I did not understand Morales’ piece Mammon Emissions, I simply walked past it, however after giving it time, I looked deeper into the sculptural piece. There was a large square mirror placed flat on the floor with what seemed to be flour and baking soda placed upon it, there was a projection which resembled flickering flames on the floured surface, which would engage the viewer, and leave them anticipating the next image that would appear. Familian noted that Morales would show his work to friends both associated and not associated with the arts, testing their reactions prior to its final installment. This, similar to a scientist testing a hypothesis, a philosopher testing a theory, or even a writer testing their article, this was quite a clever move for an artist.

Ian Hattwick’s piece, Talking Bowls, to the left of Morales’ piece, was composed of what seemed metal bowls hanging from the ceiling resembling a group of lamps. The medium was identified as: metal bowls, acrylic with electronics. I merely stood to the corner of the piece trying to configure its connection with electronics  and acrylic,  until one of the students in the discussion, encouraged me to hit one of the pieces with large strand of metal attached to it, by hitting one another from afar vibrated, hence the talking bowls. In addition at various intervals they would light up. The piece was an ideal representation of this merger of art and technology. Art in the selection of materials, set up, colors in the lights, while technology presented itself upon the movement and function of the work.

David Familian, Artistic Director for the Beall Center for Art and Technology

and instructor of the Digital Arts Exhibition course, claimed later in an interview that the class was the first of its kind for undergraduates. Students would propose project ideas prior to the class, and Familian would guide them, making sure they were on point conceptually. The students later used the gallery space as their studio to install their projects. The digital arts, Familian continued are an emerging art form with only ten curators in the field, the Beall being one of only a few spaces that exhibit this medium. Familian compared the emergence of digital media with the acceptance of photography as a media (with artists such as Cindy Sherman, Sherrie Levine and Barbara Kruger) that began to be exhibited in the eighties next to more traditional forms of art in institutions such as the Museum of Modern Art, New York (MOMA).  “The Beall’s goal” Familian expressed “is not only to exhibit this kind of work but also promote it through travelling our exhibitions”. UC Irvine currently offers a minor for undergraduates in digital arts, with a major proposition for the upcoming future, and have several graduate students in residence.

UMAMI was an exhibit of emerging artists of a new era, attempting to bring forward unique art forms made plausible by today’s technological advances. The students should be commended for their efforts.

For more information about UMAMI and the Beall Center for Art + Technology click here!

Photos courtesy of  the Beall Center

When does one hear the infamous names Don Ed Hardy, Paul Frank and Hurley resident artist in one sentence? Laguna Art Museums current exhibit Art Shack which opened this past Saturday June 13th and runs through October, ties together unique culminations of art and architecture to bring the concept of “the shack” to the museum setting.

Hurley one of the main sponsors for the exhibit hosted a VIP party for artists, select invitees and press at their 225 Forrest store on PCH prior to the opening. The artists were easily recognized by the lavender lays they wore. The store gave out VIP gift bags filled with various items such as shoes, board shorts and tee-shirts, to encourage their guests to use the 225 Forests custom design center which enabled shoppers to select designs based on the art exhibited in the Laguna Art Shack exhibition. There was a Hurley bus continually shuttling guests from the store to the museum opening, although many people opted to walk a block along the pretty Laguna coastline.

The opening reception at the museum was packed with a young crowd of 20 something’s in every corner mingled with museum members, artists and press. Each and every shack had an audience crowded around them except for the one on the roof, only visible through a security camera upon exiting the museum.

The museums original exhibit expected to open in the summer was delayed hence, Greg Escalante, guest curator proposed the Laguna Art Shack exhibit, which was then approved. Escalante claimed the exhibit was composed quite quickly and spontaneously for museum exhibits, which often take 2-6 years to plan and execute. Escalante asked many of his close friends and colleagues if they would be interested in such a venture, with many agreeing on the particularly short timeline, the exhibit was put in motion. When asked about the success of the show Escalante quickly claimed “Everything that should have gone wrong went right”!

The art shacks at the Laguna Art Museum tie together the conceptual idea of the artists visions of their world in presentation as an interactive and exploitative experience. Most of the shacks are open to be entered by patrons. The shacks all vary in shapes, sizes and themes. There are some such as Jeff Gillette’s Slum 2010 which exemplify the global and political perspective of the more than one billion people according to the United Nations who live in slums characterized by shacks. Gillette’s piece is composed of several shanty shacks based upon his time in India. However Gillette still managed to incorporate his signature pop culture marks on his shack, through the use of Sponge Bob images printed on paper outlining the shack, which many visitors often found them self’s stepping on as they made there way around the piece. This further emphasized the disorder of slums of developing nations.

Josh Agles piece however, An Aesthetic Instruction in Conspicuous Consumption, 2007 was quite the opposite of Gillette’s shacks. Agles piece had similar architectural design to a Frank Lloyd Wright house, except it had a bright  orange exterior, with orange and lime carpet upon the interior. The shack was very miniature, the doorway about 4 ft tall, and the ceiling even shorter! Angles piece had a pleasant 1970s suburban atmosphere to it.

Don Ed Hardy the name many recognize from the infamous clothes brand Ed Hardy by designer Christian Audigier, was present for the opening receptions. Hardy’s piece entitled Tat Cat Shack (Tattoo Hut), 2010 featured an activated tattoo machine in a small enclosed space which would turn on when patrons would enter the shack. Hardy’s infamous panther designs, inspired by Marie Schubert’s 1934 illustration of the Cuchulain, the strong, brave and magical panther covered the walls. Hardy was dressed in a blue Hawaiian shirt and kaki pants, he could be any other person walking down the street, minus his Ed hardy sneakers and infamous tattoos. Hardy claimed that pop culture has had a great impact upon his work from the beginning to now, however like many artists Hardy disliked categorizing his art and instead let it be what it is.

The exhibit in itself is very unique, as it engages visitors into the artists perception and state of mind. Don Ed Hardy’s shack featured an activated tattoo machine in a small shack filled with his drawings and designs, while Paul Frank had composed an animation like figure of a house out of mixed media. Sandow Birk and Elyse Pignolet’s shacks were available to view through peep holes of a column.  Being that the  majority of the artists were from California, and many from Orange County, gives an OC native the warm, homelike feeling of comfort and welcoming environment when viewing the exhibit. As though all the little places you know, atmospheres often recognized are built in forms of various shacks placed as homes. The exhibit is perfect for summer, and certainly worth a trip to see. The show will be up through October 3rd.

For more information please visit the Laguna Art Museum’s website at www.lagunaartmuseum.org

Images courtesy of the Laguna Art Museum

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

Craig Roccanova: I was raised in Huntington Beach, CA. I have an older sister who is an Architect and my parents both come from creative backgrounds. So growing up, I was always around art in a sense. My grades were never really great because I just wanted to draw and doodle. When I got to High School,  I took as many fine art and design courses as they would let me. After a few mediocre years as an Art Major in the Bay Area for college I moved back home in 2008. I have taken many art courses at Orange Coast College since then in order to broaden my art knowledge. Currently, I collaborate with other artists and some clothing companies and have done several group shows over the years in Orange County. When I am not working my part-time job, Im working my full-time job… painting!

LL: Do you consider your work more Fine Art or Illustration?

CR: I feel it is a bit of both. I am doing a lot more paintings now than I used to, but my work has that illustrative look. I use materials that fine artists use but its not a conventional painting, but then again, why should it have to be?

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

CR: There really is no difference (to me). I will do Fine Art as an illustration and vice versa.

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

CR: I do consider myself an artist. I am extremely passionate about my work. It makes me happy to draw and paint the things I do. It isn’t about the money; making art is why I get up in the morning and why I hardly get any sleep at night. I want to share my visions with the world.

LL: Where do you get your daily inspiration from?

CR: Mostly from music. I listen to lots of music and rely on it to get me through my work. I also want to produce as much work as my hands will allow me to. I’m not going lie, I pretty much draw the same thing over and over again so there isn’t too much to get inspired by.

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

CR: In High School, MC Escher was my favorite artist and I used to try and make works that looked like his. Nowadays, I have friends that inspire me or that I have learned from. Alex Chiu has been a huge influence on my newer work. Spray paint has been very helpful in creating some cool illusions.

LL: Who are your target audience?

CR: My art is for everyone to enjoy. Young, old and everyone in between. I actually have a hard time naming my works because I like to see what other people think it is, or what they want to call it.

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

CR: Heck yes! I drew for years but it was the classes I took in High School that really pushed me into wanting to learn more. Different mediums and techniques. Trials and errors. With my art classes, I learned early on that I could make it as an artist.

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

CR: That varies depending on what medium I use. The first piece I did in this style was small and it took 12 hours. The longest drawing was 70 hours. Most recently I finished a painting for the Johnny Cupcakes LA store and it took 40 hours.

LL: Your artwork looks like its very time consuming. How much patience does it require to create one of your pieces?

CR: It takes a TON of patience. I draw every individual link in the (worm, rope, etc). I always start with an idea of what it’s going to look like but it always changes by the end. I used to get tired of it but now that I have done it for 4 years it is very relaxing to me.

LL: How would you describe your art to people?

CR: I usually say that I draw or paint a “monotony of cross-contour lines.” When they don’t understand that, I usually give them a card or I have my trusty iPod touch to show them what I am talking about.

LL: Is there any symbolism for this pattern you have created?

CR: Nope. There is no symbolism. It was a technique I learned my Sophomore year of High School. One day, I was bored in class and doodled it. My Freshman year of college, I began making larger drawings and this sparked me onto the road I am on today. My work is mostly about how I make the art. I want people to see the start and finish to every piece. You can actually follow it like a maze.

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

CR: Well just in the last few months it has drastically changed styles. My newer works have a lot more color and will also survive longer. I want them to outlast me. The “worm” isn’t going away but now I am adding other imagery to be seen with the worms. It is going to be awesome!

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

CR: Most definitely. I grew up skateboarding and now I am painting on skate decks. I always think back to my favorite deck designs from when I was young and can imagine my designs on decks. I would rather it ended up on someone’s wall though.

LL: What tools of the trade do you prefer using?

CR: For drawings, I use felt-tip pen and ink on paper. For paintings, I use spray paint for the underpainting, paint pen for the “worm”, and acrylic for the rest on canvas or wood. My larger scale paintings are all done with acrylic and a tiny brush.

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

CR: Networking. I wouldn’t be where I am today if I hadn’t gone to random art shows and just talked to people. I met new artists, gallery owners, new friends, and clients just from a chat and a business card. On top of that, focus. Long hours of painting and drawing will begin to pay off as long as you maintain your drive and desire to make art.

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

CR: I will be in some shows later this year but I am still unclear on when or where. But I do have my first headlining show next March at the Rothick Art Haus in Anaheim and I will be collaborating with some great OC artists and showcasing most of my work from this year and the last few years.

LL: Finally, where can we see your work?

CR: You can find my work at my website www.craigroccanova.com

I am also on twitter @craigroccanova and you can look me up on Facebook!

Portrait taken by Kelly Castillo