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!

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

This Saturday, June 19 Downtown Incorporated of Downtown Santa Ana will present Posse on Broadway: A Santa Ana Block Party featuring six venues and six events. With sponsors by KCRW, LA Record, and OC Weekly, Posse on Broadway will bring live music and DJ’s to the streets of Downtown Santa Ana.

The third annual block party will showcase local and non-local talent on the 2nd Street Promenade along with live music at Proof Bar, Memphis Santora, The Crosby, Gypsy Den, and Lola Gaspar. According to Ashley Eckenweiler, each venue chose bands that would attract many listeners.

The Posse will begin Saturday at 6pm with Los Angeles folk group, The Watson Twins, local singer songwriter Barrett Johnson, and DJ Weird Beard to kick off the block party with performances on the 2nd Street Promenade (located between Broadway and Sycamore). Downtown Inc. chose great acts for everyone to enjoy a night out on the town.

“We chose the Watson Twins and Barrett Johnson because it fits the vibe of an outdoor concert,” said Eckenweiler. We wanted to attract a crowd for all ages and have bands that everyone would enjoy.”

Posse on Broadway will be an entertaining night for all as people from all over Orange County will gather in the Santa Ana Art District.

“We wanted to put something together that was like an open neighborhood event,” said Eckenweiler. “Something where venues open their doors to people on the streets… it’s neat to have an open event that people can enjoy.”

The block party has been more than successful over the past three years do to great music and consistency. According to Eckenweiler the event has always been once a month to keep everything consistent and draw in a bigger crowd.

Posse on Broadway is free to everyone and is held on the third Saturday of each month this summer. Catch the block party on July 17 with special guests Abandoned Pools (Tommy Walter of The Eels) and local group The Colourist as they perform live along with many other great acts. The final block party of the summer will be on August 21 at the same great place in Downtown Santa Ana with live music and entertainment (TBA).

This Santa Ana block party will definitely be returning next year and many years to follow. It is an exciting event and received great feedback.

“I think people are excited and we have gotten good responses through social networking and besides I think everyone loves a free show,” Eckenweiler said, “I think it will be positive.

Directly following the outdoor event, six venues will have live music, DJ’s, along with food and drink specials until last call. Each venue will have different acts for people to check out. The line-ups include:

PROOF BAR:

J. Logic

Evol

DCON

BOOTMACHINE5000

THE CROSBY:

TVD

TSC-1 & DIJON

Thomas PM

(Full Bar & Restaurant)

MEMPHIS at the SANTORA:

noMSG

Sean K

Cosmic Kids

(Full Bar & Restaurant)

GYPSY DEN:

Live performances

Food, Beer & Wine (Until Midnight)

LOLA GASPAR:

(Full Bar & Restaurant)

Getting crafty these days is not something specifically reserved for your granny’s knitting circle. Crafting can be hip, stylish, and a way to make an income! Meet the Handmade Brigade of Orange County. Using their individual talents, the Brigade ladies have combined forces to bring you homemade goodies cool enough even for the chicest hipster you know. Through their events and online store, Nina Brito, Brook Owens, Melissa Loschy, and Jackie Sepulveda show us a crafty world beyond edible glue and macaroni necklaces!

Alisha Domoslai: How did the Handmade Brigade meet and form?

Jackie Sepulveda: The Handmade Brigade of OC met at a craft show that Nina (Tacos N’ Eggrolls) put on that was called the Handmade Brigade at Tallmouse.  She put on a great show but needed help in making it bigger and better and essentially the rest of us are the ones who kept with it.  No joke, putting on shows is a lot of work, and we all just happened to commit to the cause.  It’s craft or die over here.

Melissa Loschy: Us four gals officially met and formed just over a year ago when Nina sent out an email to people who had previously been vendors at the “handmade brigade” shows that were run through Tall Mouse. The four of us were the ones who stuck it out! We bonded over “indie craft month” in June where we held a different event every Saturday. It was an exhausting month, but it really paid off for all of us.

Nina Brito: well, long story short- The OC was missing a HUGe market in the Indie Craft industry. I decided to start a show myself since I had an avenue to do so due to a current job at an independent craft store chain. After the first two- realized it was way more than one person could handle… I called out to over 150 crafty people I knew and only three responded!! Those three were the same girls I am here with today. Jackie of Voz Clothing and Art, Brook of Not Quite Vintage and Melissa of Melissa Loschy Designs.

We started with a way ambitious goal of a whole month worth of indie crafting goodness from craft shows to workshops, it was craziness, but such a good way to get to know each other and how passionate we were about bringing an art scene to the OC!

Each one of us has a special role in this group and it works so well! We are all so different, but in a way that really complements each other.

AD: How is the Handmade Brigade keeping the art of craft alive and well?

JS: Handmade Brigade puts on events to not only remind people of Orange County that crafts are alive and well, but that they are cool!  The vendors that get involved with HBOC are innovative and don’t make grandma crafts, which is an old connotation of “craft fairs.”  Once people do come, I think they are pleasantly surprised and they tell their friends and so on.  It’s that ripple effect that is helping crafts become more mainstream and thus alive even in Orange County.

ML: We are contributing to the “art of craft” by organizing events that crafters and DIYers alike can get involved in! Our goal over the past year is the make the Orange County Craft scene cooler. The majority of people think of “grandma crafts” when you say craft show. We’re trying to show that it isn’t the case anymore. With the help of other show organizers and websites like Etsy, we’re all a part of the growing handmade movement.

NB: We are being true to what we love- creativity- and helping those who love it to, but don’t know how to embrace it as a worthy past time! We are creating shows to showcase new talent out there that may have thought that being creative was simply that- a past time, making artists aware that they might be able to make their passion into a valuable income. Producing resource is awesome! Also introducing the consumers to something new and different as an alternative to mass produced retailers like Forever 21 and other mall shops is awesome! The response to our workshops like the Swap-O-Rama-Rama as well as the indie craft shows that showcase between 20 and 75 independent designers has been overwhelming!

AD: What is unique about each of your own individual work?

JS: The beauty of the Handmade Brigade of OC is that we are all so different.  Since we all have varying points of reference, likes, dislikes, experiences and influences, it makes for an interesting group.  We all make unique things and no one really overlaps.  Nina makes bright pop-ish jewelry, Melissa’s jewelry and accessories are of an opulent nature and Brook has a super well made vintage aesthetic.  I come from a more urban and music steeped place and I think that shows in up in what and how I paint.

ML: I own “Melissa Loschy Designs” which is a line of jewelry and accessories. My pieces are so unique because I’m using very unconventional materials to make wearable art. I’m a hand-stitching fiend. All of my pieces use a combination of photo paper, sheer fabrics, vinyl, and sheet metal. I’m a graphic designer and multi-media artist. I used these skills to develop my technique.

In terms of the actual pieces I design, I tend to get obsessed with one particular theme for a period of time.

For example, right now I’m really into animals like foxes and wolves, so 90% of my spring and summer pieces use animal imagery. Russian imagery and Matryoshka dolls are ALWAYS my obsession so you can always find them in my shop. Who knows what will be next?

NB: To be completely honest, I love the community that results from being a part of the Handmade Brigade, I never really considered myself a talented individual in the way of arts or crafts. Tacos ‘n’ Eggrolls was a way for me to get an in with all the talented people I had been watching for a while. I have an eye for color and texture like any girl who loves fashion, but I think that choosing to work with vintage materials like buttons and beads already does 75% of the work for me in the uniqueness realm. I am obsessed with vintage buttons and beads and jewelry, so why not put them all together in one lovely package?

AD: What role has Etsy played in your business/ getting your work exposed?

JS: Etsy has been instrumental in gaining exposure.  Because of Etsy I have shipped bags to places as far as Turkey, Australia and Latvia.  I don’t think that would happen if I had stuck to a personal website.  With Etsy, there is already an audience that is just waiting to view your items, whereas I would have to really market myself to get that kind of traffic solo.  Plus, painting is a pretty solitary activity.  It’s nice to know you aren’t the only one painting and selling your wares in your spare time.

ML: I’d say the day I got serious about Etsy, it changed my life! I’ve had an Etsy since 2006, but I didn’t really use it until 2008. There’s something truly great to be said when you’re shipping your pieces halfway around the world to places like Singapore, or Australia. These people would have NEVER found my work if it hadn’t been for the amazing searching capabilities on Etsy. I’d say it’s a nice little supplemental income as well!

NB: Well, I found Etsy right when it started. Put up three items and expected a sale! Haha! I think those three items sat there for a year until Etsy started to become popular and I was like “Hey- I still have stuff on there!” So I went back. Im really successful at it when I can find the time to keep up the shop! But overall in the Handmade Brigade, I don’t know how I would have started it without it. All our first vendors were found on Etsy and all of our goodie-bag contributions came from there and hell- I think I met all the HBOC girls on there!! So Etsy… HUGE for HBOC!

AD: I see a lot of vintage inspiration in your work. What era are you most nostalgic for, and why does it appeal to you?

JS: Personally, I think I relate best to the 60’s and 70’s.  I appreciate the civil rights movement, leaders and revolutionaries. They are one of my main sources of inspiration.  Plus, it’s always about the music for me and those eras produced some amazing songs.

NB: There’s no way to peg a specific era for my work! I’m across the board. I let the materials I use dictate what the finished product will look like. I use a lot of images from Russian history circa the early 1900s as well as scans of vintage cameos that most likely originate from the same era, perhaps even the late 1800s. History was usually my favorite subject in school, especially art history in college. It’s no surprise I pull a lot of inspiration from those subjects.

AD: Where are your favorite vintage stores for sourcing materials?

JS: I don’t normally go to vintage stores for my shop- it’s way too expensive.  I usually source my materials at estate sales, flea markets and garage sales.  It’s more work but that much more rewarding to dig for buried treasure!

NB: I get a lot of my materials on Etsy nowadays…it’s great if you have a particular idea in mind. But otherwise, my favorite places to shop are at flea markets, like the Long Beach Flea Market, and I’ve had great success at Rags to Riches in Costa Mesa.

AD: How can fellow crafters get involved in your events?

NB: The best way for fellow crafters to get involved is to sign-up for our email list at www.handmadebrigadeofoc.com or to follow our twitter, @handmadebrigade

AD: What is the Handmade Brigade looking forward to accomplishing in 2010?

JS: I think for 2010, The Handmade Brigade of OC wants to go big or go home!  Well, maybe not go home.  But we definitely want to get bigger and better.  We want to incorporate a whole new handmade experience; be it with new vendors, live music, or food options. I feel like the sky is the limit as far as we are concerned, and we are all willing to put the work into Handmade Brigade to make it a staple in Orange County.

NB: I think I’m most looking forward to having a few extremely successful shows over the entire year. We like to participate in other shows as well, so it’s important that we don’t spread ourselves too thin!

In addition, we hope to have continued recognition, the more that people know about the “HBOC” the bigger the turnout will be for our future events, and that makes our vendors happy!

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/