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.

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

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

Brandi Milne: I grew up in Anaheim, CA – the youngest of four kids, and I was very happy.  I loved art growing up, but I never had a good teacher – ever.  I didn’t go to college, I worked horrible jobs until I really got off my (behind) and started showing my work in group shows in Los Angeles.  I showed everywhere I could, worked hard at getting my name out until it just built and built to where I am now.  Currently I show my paintings in galleries, do private commission work, collaborate with companies, and I’m working on my second (and third and fourth!) book as we speak!

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

BM: I do consider myself an artist.  What classifies me as an artist is that I express myself creatively (with paints, inks and pencils).  I’ve always needed to draw – ever since I can remember, so I’ve always thought of myself that way.

LL: Where do you get your daily inspiration from?

BM: Daily inspiration comes from everything around me.  Music, art, books, fabrics, design, nature – really, everything and anything!!!

LL: Your art reminds me a lot of Camille Rose Garcia’s artwork. Was she an inspiration or a reference for your work?

BM: Yes! When I was beginning to use acrylic paint (on wood), I studied Camille’s and Daniel Peacock’s work.  I really admire how free they are with their color, backgrounds and strokes, and their work attracts me because of the “classic cartoon” feel of it. They are both invaluable to me as an artist.

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

BM: Too many artists to name, but a few would be  Ryan Heshka,Travis Lampe, and Femke Heimstra.  I also love Tim Walker and Diane Arbus’ work!

LL: Who are your target audience?

BM: My target audience is everyone.  I don’t discriminate!

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

BM: Depending on size, I would say it takes about a week or two for something smaller, and my biggest piece (that will be part of my “My Heart Shall Not Fear” show) took about 4-5 months.

LL: How would you describe your art to people?

BM: This is a tough one – every time!  I would say it’s more on the side of “surrealistic whimsy.”  There’s story behind each piece I paint (or draw) which I’ve heard my work be described as “illustrative narrative” so I’ll go ahead and steal that.  So surrealistic whimsy illustrative narrative!!

LL: I saw that you published a book So Good For Little Bunnies could you tell us a little bit about that and the experience in putting it together.

BM: It’s quite different working on a book rather than a painting or a series of paintings for a show, in that it’s a longer process.  It took me about a year to both write and illustrate So Good For Little Bunnies, but it’s one of the most rewarding projects I’ve done to date! Published by Baby Tattoo Books, “So Good” is really a children’s book for adults (I like to think) because it’s not only enjoyed by kids. The story is more lyrical than literal, and the imagery is fantabulously full of whimsy!  It’s my first book, and I’m very proud of it!

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

BM: It’s very unique and a little wild!!!

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

BM: I’m sure it has, I’ve lived here all my life.  Disneyland (and the Disney Empire) has always been a big inspiration for me. Also just the laid back atmosphere here – it’s like nowhere else. I’m proud to be an Orange County girl!

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

BM: My work is constantly changing, as I am constantly changing.  It may evolve in subject and story, but it will always have my Brandi Milne style – I just can’t help that!

LL: Do you prefer a certain medium over others?

BM: Illustrating/drawing/painting is what I’m best at.  It’s what I love and NEED.  I go a little batty without it!!!

LL: How important is humor in your artwork?

BM: It’s very important – I like to balance my work with approachability and humor while the story or meaning behind it may be a little more serious or somber.  To me it rounds it out perfectly.

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

BM: I try to be very on top of my work, if I have a few projects going, I try to balance out the day accordingly.  I get up early to start  working when I’m fresh – if I have other duties (working out, laundry or whatnot) I try to put those off as long as possible!!!  I work for about 7-10 hours a day most days, especially if I’m getting ready for a big show.

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

BM: Tools of the trade?  Instinct & passion.

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

BM: The best thing I could say is if it’s what you love – don’t let fear get in your way.  Push yourself further than you have limited yourself.  And work hard.

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

BM: YES!  You should know about my upcoming solo show at the Corey Helford Gallery in Culver City.  June 26th is opening night!!!  I’ve never been more proud of a new body of work than I am of this one – it’s a must MUST see!!  **And, I would LOVE to see more Orange County people come out to support an Orange County artist!!!

LL: Finally, where can we see your work?

BM: You can find me at www.brandimilne.com

Look for my blog(s) http://brandimilne.blogspot.com/

and http://myheartshallnotfearblog.blogspot.com/ Find me on Facebook and follow me on twitter too!!!

Photo of Brandi Milne taken by by Kristin Burns

I had seen Mustachio and his artwork numerous times in galleries all over Orange County. With his iconic mustache and Pop Art inspired shirts, he’s kind of hard to miss. And just a few weeks ago I had the pleasure of being invited to his new studio. It was there that I learned Mustachio is a 100% invested in his artwork, never knows how his art is going to look till its done, and will always give you an honest answer about life as an artist.

Located in Long Beach near the Museum of Latin American Art and Lyons Art Supply Store, Mustachio (also known as Cody Lusby) has created a little space all to himself , and it only took minutes before I was getting the grand tour.

An artist’s studio is a very important place. Ask any artist and they will tell you that the studio has to perfect or the creative process is completely thrown off. With Mustachio’s studio is small and full of character. With books stacked to the ceiling, paintings and stencils peaking out form every crevice, crates filled with spray cans, and a seriously pimped out ipod deck, it was hard not to be inspired just standing there!

He showed me the various books he uses for collaging full of images dating back to the 1900s and ranging from sports, politics, landscape, even animals. He had it all.  He also gave me a sneak peak at his latest piece, which has to do with his recently quitting smoking. The whole left side of his studio is dedicated to this one piece . And is made up of hundreds of Parliament box’s stacked and glued together in such a way that the design on the box creates a wave-like pattern. It’s really quite remarkable  seen up close, I can only imagine once its painted, stenciled, and collaged that it will be even more impressive.

After the tour  Mustachio began to discuss his art background and how he creates one of his pieces. He told me how he studied at the Laguna College of Art and Design, and how he was taught to copy the masters and focus on traditional artwork. But it was Pop Art, Street Art, and artists like Robert Rauschenberg that caught his eye.” I reference Pop Art because it’s pretty much the last major art movement to happen. Not to discredit Street Art; its just not there yet. A lot of people don’t know, or give Street Art the credit it fully deserves.” Looking to artists like Andy Warhol, with his usage of flat color and graphic design Mustachio is able to create stencils that mimic those same ideas.”The stencil work lets me explore my more playful side and establishes a broader color spectrum.” He also relies on collage and painting to give his creations multiple diverse layers. Like Rauschenberg, multiple layers and different mediums are Mustachio’s specialty, “The collage work supplies the base by applying imagery I find intriguing and/or graphic. While the painting work (which develops last) comes from what I see, and supplies the essential subject matter.”

At first glance it may seem like Mustachio’s work is just random images and bright colors,but there’s a narrative to each piece he creates. An underlying story that he says takes viewers a while to figure out. “People don’t always look at the work and see the images, and when they do start to notice  they will usually call me ask if I meant to put that there.” Even though it takes most viewers longer to catch onto Mustachio’s hidden meanings, that doesn’t mean he wants to give them the answers when they ask for it. “Its all subjective to the viewers, I can’t be there the whole time with them telling them what the work is about. Besides people enjoy the work more when they can relate to it themselves.”

When Mustachio is creating one of his pieces he works rather fast and can usually get a painting done in one night. But its taken him years to get fully comfortable with this style of painting. One would think that if you were working that fast thought that you would have everyting planned out in advanced, “I count on my subconscious to explain each piece as they unfold, like putting together a puzzle. The process of making the piece is what intrigues me most. It’s a surprise till the very end.”

Surprises are something that every artist has encountered, and while some embrace the “happy accident” others plan their work down to the last dot. But with Mustachio’s work, it is the hundred hidden (and not so hidden) surprises that make his work so intriguing.

When I asked if he had any advice or insight for artists just starting out; you can imagine my surprise when he said, “If  you want to be great at something you have to devote all your energy to it. Honestly, it’s a hard life and you will probably want to quit. But, if you’re professional and get all your work done on time and keep going to shows, promoting yourself, and making work, it will pay off.” Believe me when I say that its not often you get such a bold honest answer to that question. Especially from someone as soft spoken as Mustachio. But it was completely refreshing to know that he has to work just as hard as any other artist.

He went on to say that  ”Im at the happiest point in my life. Im landing all the shows, I’ve got a new place, Im doing really well. And Its because I was persistent, and are able to dedicate all my time to my work. I spent ten years traveling around, being crazy, and trying tot figure out what I wanted to do. I got it out of my system, now my life is about making art, and Im very happy with that decision.”

To see more photos of our studio visit with Mustachio check our Flickr here! You can see more of Mustachio’s artwork here!

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

Katy Betz: I am an artist devoted to creating space for imagination. My aim is to make pictures that invite people to come out and play, to dream, and imagine. I create artwork for children’s books, gallery exhibitions, murals, and private commissions. I’m currently pursuing my Graduate degree in Illustration at Cal State Fullerton, and I also teach there part-time.

I am a native and current resident of Riverside, CA. In fourth grade my family moved to a small ranch in the citrus groves. I was a little tomboy growing up – building forts, climbing trees, making stuff from the junk I found in my Dad’s shop. My older sister and I participated in rodeos and the Farmer’s Fair, doing barrel racing and showing sheep. I had a horse named Inkspot, she was a black & white paint pony, and we’d go on long trail rides with the neighborhood kids through the orange groves and just be in nature most of the time. Our family would go to the beach a lot too, and from an early age I developed a love for surfing and the ocean.

In high school I was all about sports. Art was something I was good at, but I didn’t take it seriously till later on. Though my passion for art was evident, and my family recognized it, and so I mildly pursued it by entering a few competitions and taking courses at the art museum. Going into community college, I took art classes every semester just to keep my sanity (statistics and college algebra were a major chore). My portfolio started to develop, and thoughts of pursuing art as a career began to kick in.

One day on campus, I saw a poster for a Semester Study Abroad program to Italy.

It sounded awesome, so I worked at Aaron Brother’s for a year and finally saved enough to go. Living in Florence was a pivotal experience in my life. It completely annihilated old paradigms that I held about art (it’s not a “real” job, you’ll be a starving artist, etc). I came home a different person, like my entire being had been awakened to the amazing opportunity of becoming a part of this great artistic heritage. Art has been my most serious endeavor ever since that semester back in 2002.

After completing my AA at Riverside Community College, I transferred to Laguna College of Art & Design and majored in Illustration. Undergrad at Laguna was one of the best times of my life! I made quality lifetime friends, got to surf before class and play beach volleyball afterwards, but most importantly was presented with extraordinary opportunities to blossom as an artist. My art education has also been supplemented by several study abroad trips to Europe, which have influenced my aesthetics and solidified my purpose as an artist.

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

KB: Yes, I consider myself an artist. Being an artist is a lifestyle. It’s a way of looking at the world and communicating your discoveries visually to others. Learning to draw and paint develops observation skills that cause you to become aware of your environment. I’ll never forget the time my college roommates and I went on a roadtrip. We had been in the car for 5 hours, and I was staring out the window when suddenly my roommate said, “look at how blue those mountains are!” I had been staring at those same mountains, but failed to notice the vibrant icy-blue shadows of the snow. It really made me think, after she pointed that out, what else I might be missing. Ever since then I make a conscious effort to look for the beauty in life. I realize now that being an artist isn’t just making and selling pictures, it’s observations interpreted. In fact, art as a lifestyle is the central concept to my business mantra, “creating space for imagination.” In my current work, I’m combining my observations with my imagination to present an insightful and whimsical way of looking at the world. I hope to inspire other people to engage their own imagination on a daily basis, and look for the peculiarities that make life enjoyable, humorous, and perplexing.

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

KB: The only difference is who’s in charge and when I get paid. I self-direct my gallery work, but an art director will guide my illustration work. However, my illustration work has been sold in galleries, and my gallery work has been published as illustrations. The bottom line is is that the work is created by me. If I agree to do an illustration job, I get paid before or during the creation of the artwork. In a gallery situation, I create the work and then hope it sells. It’s nice being able to use the artwork interchangeably.

LL: Where do you get your daily inspiration from?

KB: Faith, nature, childhood, and travel are my main sources of inspiration. My faith in Jesus is what gets me through every day of life in general and inspires much of my work. I am very outdoorsy and love being in nature. I often have a longing to be in a forest or to be in the ocean. It’s not enough to just look at nature, I need to be immersed in it. I go for a walk outside everyday (if possible) to get my dose of fresh air.  I also reminisce on my childhood for inspiration – all things make-believe like playing games, inventing creatures and fairytales, pretending to be a pirate in my tree house. It’s important for me to stay close to how I felt as a child, when my imagination was fully engaged all the time. Lastly, travel has been a font of inspiration for me. I subscribe to the travel magazine Afar, and am always putting money aside for my next trip. Dreaming about going somewhere keeps me motivated. I’ve got my eyes on India, Egypt, or Ireland next.

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

KB: Yes. On a trip to The Netherlands, I fell in love with Dutch painting. I love the skyscapes of Jacob van Ruisdael, the emotion in Rembrandt, and the imagination of Pieter Breugel and Hieronymus Bosch.

Contemporary inspirations include Mark Ryden, Jamie Zollars, Jeff Soto, Greg Manchess, and Vladimir Kush. I’ve had the privilege of meeting these artists, and it’s made a huge impact seeing how they operate, where they get their ideas, and their artistic philosophies. Mark Ryden paints like a modern Dutch master and has successfully created his own world of imagination. Jamie Zollars inspires me with her work ethic and range of creative activity. I would like to model my career after hers – she’s done everything I want to do! Jeff Soto hails from my hometown of Riverside and has become a successful international artist while maintaining a humble spirit. I really admire artists who are able to keep their success in perspective. Greg Manchess’s brushwork and illustration career is stellar.

Vladimir Kush battled years of rejection but finally made a name for himself as

a metaphorical realist. I love his novel concepts and color palette.

LL: Who are your target audience?

KB: Anyone who longs to hope and dream. I want my artwork to invite people to come outside and play. Movies, TV, and video games are awesome but they do all the work for us. I’m a stickler for books and paintings because they offer bits and pieces without telling the whole story. They make you actively participate and imagine.

Also, if you like whimsy, fantasy, adventure, romance, puns, and swirly bizarre things, it’s likely that you are on my radar.

LL: According to your site it says you’ve traveled quite a bit, has visiting all these different countries influenced your artwork?

KB: Yes, tremendously!! A newly developed passion for travel has brought an enormous amount inspiration to my work. Every summer for the past five years I’ve traveled throughout Europe and North Africa. These different places make spectacular new playgrounds for my imagination. Exposure to other cultures has been effective in opening my mind to new styles of art, unique ways of thinking, and distinctive subject matter. Gothic, Roman, and Islamic architecture can be found within my designs, along with references to mythology and religion. For example, my painting Holy Cow depicts several statues of saints lining the entrance to a Gothic cathedral in Holland. I painted the saints as cows, a symbol of cultural pride. Each “holy cow” holds different objects that reference Dutch religion, history, gastronomy, political and social viewpoints. I find that the more firsthand experiences I have, the easier it is for me to create authentic imaginative artwork.

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

KB: Usually, the brainstorming part takes the longest. I have to sketch and dig deep for quality ideas. Rarely do ideas appear fully formed. When I come back from an international trip, it takes me months to reflect and sort through all the new information. It’s overwhelming, but thrilling simultaneously.

Once I sketch out a solid idea, I move into the design process. This takes a few days or a week. I gather research, try out several compositions, do color studies, and prepare the final drawing. The actual painting doesn’t take very long once all the design problems are solved. I’ve done an 8×10 oil painting in 3 days, and part of that was waiting for the paint to dry! One of my largest paintings (3’x6’) took a month and a half. The mural I designed and painted for the Nix Nature Center took a year, and I had a team helping me with that one.

LL: How would you describe your art to people?

KB: I’ve come to describe my art by listening to other people try to describe it. People have told me it’s “whimsical (or as I like to call it, whimsicool), hopeful, lofty. lighthearted, ‘punny’, cynical, idealistic, idiosyncratic, playful, containing the essence of Wisdom, and having no hierarchy in terms of bizarreness vs. content.”

I agree.

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

KB: Orange county seems to embody a sort of preppy grunge being situated next to LA and wealthy beach towns. It’s definitely a Petri dish for emerging artists, yet it has many established artists as well. I see a lot of opportunities in Orange County – it’s a great launching pad.

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

KB: Yes, it’s nearly impossible to escape from it when you grow up here. I am drawn to pop surrealism, lowbrow, and graffiti art, even though I wasn’t directly involved with any of those movements. People often peg my work as being pop surrealistic, although I rarely reference any popular culture.

LL: You teach 2-D Design, Beginning Painting, and Traditional Illustration at California State University, Fullerton. Is that something you have always wanted to do?

KB: No, actually! I never thought of teaching until grad school, primarily because I was terrified of public speaking. My sister used to teach public speaking (of all things!) at another college, and she convinced me to just try it, and so I did – and I love it!!

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

KB: Teaching has helped me grow tremendously. For one thing, I’m no longer afraid to speak in front of a classroom. It has transformed me into an outgoing and energetic person, which makes networking easier. Having to create a syllabus and assignments requires me to think logically through the art process and articulate ideas I’ve come to internalize. It has forced me to know my craft, inside and out. My students inspire me to push my own boundaries and keep exploring. I love watching them discover their own unique way of working. I find my passion for art grows even deeper when I’m able to help others find and develop their passion. It’s wonderfully cyclical.

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

KB: Yes, I believe a formal education is important, but not necessary for success. Learning from successful people who have come before you is an opportunity that should be taken advantage of, whether in the classroom or on the street. I think any information taken in should be filtered through. Not everything is worth keeping, especially if it doesn’t align with who you are. That’s why I believe it’s crucial to know yourself as an artist. Knowledge combined with personal vision is a powerful tool.

I think that technical skills such as drawing and painting can definitely be taught, although some people have a knack for it more than others. Every person possesses an imagination and can think creatively. It’s the one thing that separates us from every other creature. It seems people buy into the belief that they’re not creative, but I believe creative thinking can be exercised and developed.

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

KB: I don’t foresee any drastic stylistic changes happening in the near future. My style is me, and unless something drastic happens to me, I doubt my style will change much. I would like to explore ways to make my drawings and paintings more suitable for graphic work, but that avenue won’t replace my oil-painting style altogether.

As for subject matter, yes, I paint what inspires me. I never thought I’d be painting a stork wearing a hijab until I went to Morocco (see my painting Veiled Omen).

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

KB: Ideally, when I work from my studio, this is how I structure my day: Wake up at 7am, eat breakfast, check email and social networking sites. I’m on the first major task of the day from 8-12 (sketching, painting, research, whatever). Lunch at noon, then back to the studio from 1-3pm, then take a nap from 3- 4 (napping is crucial to my creative productivity!) Around the hours of 4 and 5 I either go to the gym or walk my dog, then have dinner around 6 or 7pm. From 8 to 10 go back to the studio to wrap things up, blog, and prepare for tomorrow. End the day with a shower, yoga routine, and quiet time before shutting the lights out at 11 or 12 hard.

I need my day planner to function, otherwise I wouldn’t be able to do creative work trying to remember my to-do list. I believe in working hard and playing hard.

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

KB: I LOVE oils. I work on wood, canvas or illustration board depending on the project. Other favorite mediums are gouache and charcoal. I use Photoshop and Illustrator for all my design and retouch work. Sometimes I use Photoshop to do color studies, but I prefer the tactile qualities of actual media.

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

KB: Take time to get to know yourself, and beware of asking too many people for their opinions. Doing that will throw you off. Listen closely to your heart instead.

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

KB: My next big solo show is my Graduate Thesis show in Spring 2011. I haven’t signed up for a date yet, so I can’t give specifics unfortunately. Check my website this August, I’ll have a date set by then.

LL: Finally, where can we see your work?

KB: I exhibit in the group shows at Sarah Bain Gallery in Anaheim, and I also exhibit at Division 9 Gallery in Riverside.

I designed a mural for the Nix Nature Center in Laguna Beach. It’s right off of hwy133/Laguna Canyon Road, on permanent display inside their new park building. Go for a hike while you’re there, it’s beautiful!

The best way to see my work and stay connected is to visit my online sites.

Official Website: www.katybetz.com

Facebook: Katy Betz Studio

Twitter: Whimsicool

Etsy: www.etsy.com/shop/KatyBetzStudio

Anaheim based artist Kelly Castillo took some time out of her busy schedule to write to us about her artwork, Rothick art haus,  and the future of art in Anaheim…

I am self-educated as far as art is concerned; I earned a BA degree in Political Science back when I thought life would demand a more serious life style. I never took up politics (until somewhat recently) I found that working as a massage therapist could not only pay my way though college but support an artist lifestyle afterwards with plenty of time to create.  I didn’t seriously start focusing on art until I met my husband-to-be.  He is also an artist and on a date I took him to an artist work/live community, he fell in love with the idea of us running a gallery and I fell in love with him.  Within a year we were married with a work/live gallery space, Rothick art haus, in the historical district, The Colony, in Anaheim.

It wasn’t until we started getting the gallery ready to open that I started to seriously commit myself to my own artistic endeavors.  The gallery exposed me to the surrounding art industry better than if I was just simply an artist.  I am in entranced with the figure and mainly the face so my art is mainly portraitures done in an illustrative rather than  fine art way. I work mostly in acrylic because I’m too lazy to clean my brushes with toxic turpentine.  Im always playing around with my line work, changing up my styles.  I paint in series, but my series of work varies in style and composition, however there is a certain style to my line work that links them all together.

I don’t think I have ever been so busy in my life.  My husband and I are continuing to find ways to make our gallery more exciting.  One thing I introduced at Rothick art haus just this year is Dr. Sketchy’s Anti Art School.  One of my favorite places to be is in a live model drawing class, it is about the only art class I took in college and I took it 6+ times, after several semesters I stopped receiving credit for it, but that didn’t matter I loved the challenge of depicting a live body.   Years after college when I opened Rothick art haus I met a couple artists that traveled up to L.A. to attend a rather demented version of Life Drawing incorporating alternative models of the burlesque/goth/tattooed/pin up variety.  Pair those hot models with booze and rad music and you have yourself a little party and my personal heaven.  I immediately signed up Rothick to be the first stop on the LA Dr. Sketchy’s Road Trip back in November.  We had such a fun night that I immediately applied for a franchise and we have been in business since the beginning of 2010 hosting every 2nd and 4th Sunday of the month with themed models doing poses like Alice N Wonderland playing the sitar, or our burlesque Valentine’s session where the model came out of a giant pink cupcake.

Another aspect to my artist life is promoting Anaheim as a artistically viable city.  Rothick art haus is located in a promenade that has lots of outdoor sculpture, boasts the Muzeo, the Sarah Bain Gallery and the Downtown Anaheim Gallery.  Last November I was appointed City Commissioner by Kurt Pringle the Mayor of Anaheim to the Cultural and Heritage Commission.  The Commission is currently out growing the Downtown Anaheim Gallery and also in search of a performing arts venue for the city, I hopped on to help facilitate a more visible presence of Anaheim as a community rich with art, culture and historical significance.  I am creating a website that will give the community and tourist an idea of what there is to do beyond Disney and the Angels which bring in huge crowds.  We are talking about an art walk down Center Street Promenade which is already host to Thursday Farmers Market, classic car shows, monthly motorcycle meet ups, and the occasional carnival or festival.   I am also on the Gallery Sub-Committee of the Commission, I search out fantastic artists that might not go well with the New Brow/Pop Surrealist style at Rothick but are contemporary fine artists that would compliment the Downtown Anaheim Gallery.  Also I am searching for a temporary space that would allow the Downtown Anaheim Gallery to host more artists.

With all this going on I still feel like me personally and Rothick are only getting started.  Another aspect I am introducing to Rothick is a socially responsible/charitable side.  I approached Daniel Penilla of Social Arts Project, he runs bi-monthly workshops that incorporate all forms of artists (performance, visual, vocal, etc) bringing them together to figure out ways to give back and run fundraising events.  Social Arts Project is still fledgling but its heading in the right direction, right off the bat Daniel secured a grant for project funding, now comes the brainstorming on how to pay-it-forward.  I invite anyone in love with the arts (not necessarily artists themselves) to get involved and give back.

Getting involved is my biggest piece of advice, it takes precedence over education as we saw in Good Will Hunting you don’t have to go to Harvard to be the best at what you do, you just have to have drive and be in the right place at the right time.  That means being at art events getting to know artists, curators, gallery owners, drop your business cards off wherever you go.  Commit yourself to getting yourself in every group show possible.  Social network yourself online, be humble about your work and your prices in the beginning, just be glad to be showing your art.  I am, glad that is, to be showing my art.  I have art in The CAMP’s Homegrown Art Show curated by Tracey Taylor that is currently open, I just got back from G40 Art Summit in Virginia where I did an art installation and live painting.  I’ll be flying out to DC in June to do a solo show at Art Whino. Also, I’m working on a skate deck for our next exhibition at Rothick: Reborn’z Room N Board Show, showcasing Randy Rebornz DeLeon’s art along with over 30 other artists doing skate decks.

I encourage everyone to stop by our gallery and check out our upcoming shows! Reborn’z Room N Board Show, will be BIG, we secured Ambiguous and several other sponsors, will have giveaways, a couple of DJs, multiple live artists, and possibly a catering truck to feed the masses!

As Kelly stated above stop by Rothick art haus and check out not only her artwork but the artwork of other local orange county artists. To find out what art shows are coming up or when the next Dr. Sketchy’s visit www.rothick.com .To see more of Kelly’s artwork please visit www.kellycastilloart.com

Cover photo taken by Rosina Teri Memolo

This is the story of a journey, a true struggle to live, one never letting go under any circumstance of the passion that drives the soul. Like many of us, Kurt Weston had high hopes and aspirations to pursue the career of his dreams; photography. Life, however offered him several other options.

He was encouraged by his parents to strive for a career of a more practical means. Thus he briefly compromised his passion for photography and began a successful, well-paid vocation in fashion merchandising. However his profession in the industry did not bring him any sense of enlightenment, or encouragement to continue. Weston went back to school to pursue photography. He took his knowledge of fashion incorporation with his love of photography and began a successful career in fashion photography. His work took him throughout Europe, working with many of the leaders in the industry.

Life began to move quickly post graduation, it was as though everything was falling into place. Weston, however gradually began to feel very ill, coughing deeply, his doctor recommended he come back in a week. A week passed, he could hardly walk, Weston had pneumonia, and simultaneously was diagnosed with Aids. Doctors claimed he would not make it out of the hospital alive. Weston claims he “miraculously survived”.

He gradually went back to his high power, energy driven career upon recovering, never telling those he worked with about his condition, “I felt like crawling in a corner”, fatigued from his medication, he continued persevere through.  It was only a deep physical struggle but emotional time for Weston.

After his third case of pneumonia, Weston went on disability. The Aids disease began to heavily affect his sight, gradually going completely blind in his left eye and partially blind in his right eye. Weston was told his vision would never come back, his sole focus was to stay alive.

As treatment for Aids began to improve, Weston began to take an active initiative to live his life.  He went to the Braille Institute and learned of the many tools to facilitate daily living for his impaired vision. He applied this knowledge to his life’s passion for photography. Through digital magnification, monocles, and highly prescriptive glasses, Weston began to gain a view of his limited peripheral vision  in his right eye.  He claims his vision permits him to see the world much like it appears in an impressionistic painting, only seeing glimpses of color.

“Seeing, as we all know is a combination of all our physical, mental, psychological and spiritual states. We speak about ‘seeing’ something clearly as seeing something accurately, truthfully and in its entirety” declares Weston.

Weston’s first project upon his return to photography were black and white images depicting his physical struggle through blind vision. The photographs were exhibited at the Kennedy Center in Washington, D.C. This mere exhibit is an exemplification of Weston’s perseverance in life. He could have never taken another photograph, accepted his disability of vision. However his deep passion for the art only intensified with his illness. I believe it is this pursuit of passion that has kept him alive and well. The success of the show gave him further confidence to continue in his art and pursue an MFA at California State University Fullerton, which he completed in 2008.

Recently Weston was diagnosed with a rare cancer, which he claimed has few survivors.  Upon this announcement, Weston took a deep shift in his artwork. He began to focus on nature focusing on its colors and energies as a “rehabilitative power” he claims. Many often overlook natures various wonders, its numerous details for the aesthetic pleasure of the viewer. Weston takes these beautiful details many walk past, and captures them through his lens. His images have a modern day expressionistic quality to them, with textural elements exemplified through the depth of the colors.

Weston used an automatic lens for his photographs in the exhibit. The colors are heightened, and highly saturated. He was fascinated by frequency, and how certain species respond only to certain frequencies that the human ear cannot  even hear. He incorporated this concept of frequency through the use of color in editing his photographs. Through the use of digital magnification, Weston used Photoshop to further enhance the frequency of the colors.

An up-close perspective gives his body of work a whole new perception, every detail is further heightened, making one appreciate the beauties of nature. Certain images were blurred intentionally by Weston to give the viewer a look into his perspective, many claim they hold a deep impressionistic quality to them. Weston agrees, however living each and everyday with his blurred vision is not as pleasurable as he presents it in his exhibit. The viewer is able to shift focus between that of Weston’s and their perspective view, were as Weston cannot.

Weston’s photographs evoke a bright luminescence,  as though one is closing one’s eyes on a spring day looking up to the sun, as a gentle breeze sways the branches of the tree above.  In many instances the various geometric qualities of color hold an exceedingly similar effect of light passing through stained glass. Weston spoke of his works as though symphonic works of art, such as Debussy. The classical calmness of music is as though the view of nature, “it is as though nature composes its own symphonic ballad of calmness”, Weston claimed.

Kurt Weston an individual whose life thus far has presented him with more physical struggles than many endure in their lifetime, regardless he continues to persevere through with an immensely strong soul, focused on his rehabilitative power of passion; photography.

If you are interested in learning more about photography, Kurt Weston you can check out his website at http://www.kurtweston.com/

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.