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.

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

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/

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

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

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

AD: Where do you draw your inspiration from?

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

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

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

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

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

AD: How would you describe your design aesthetic?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LL: Where do you get your daily inspiration from?

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

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

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

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

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

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

LL: Who are your target audience?

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

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

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

LL: How would you describe your art to people?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“The American Dream in Terra Cotta”

February 6th – April 11th, 2010

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

125 N. Broadway Santa Ana, CA 92701.

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

Santa Ana Art-Walk

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

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

LL: Finally, where can we see your work?

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

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

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

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

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

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

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

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

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

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

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

LL: Where do you get your daily inspiration from?

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

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

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

LL: Who are your target audience?

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

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

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

LL: How would you describe your art to people?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LL: What are your favorite tools of the trade?

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

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

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

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

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

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

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

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

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

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

Svelata Foundation Fund/Consciousness Raiser

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

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

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

LL: Finally, where can we see your work?

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

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

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

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

Glenn Arthur: I was born and raised in Orange County, CA. I come from a Hispanic/European mixed household and was brought up in the Christian and Catholic religions. I don’t practice organized religion for myself anymore but the stories traditions and imagery definitely inspire my artwork. Growing up I always had an extremely vivid imagination and would entertain myself for hours doodling, climbing trees and building forts out my blankets and furniture.

School was never easy for me since I have the attention span of a goldfish. My mother figured I needed something active to do so she encouraged me to join theatre. I enjoyed acting and being on stage but it was never really my passion. After high school I didn’t know what to do so I enrolled in the local community college and took a life drawing course. I loved drawing and I learned a lot but I still couldn’t pay attention in the classroom environment. I decided that school was not for me so I quit and started working odd jobs while I would go out and have fun with friends.

All the while I kept drawing and sketching as a hobby until one of my friends suggested that I sell my work. I gave it some thought and entered some work into a group show in a gallery in Hollywood. One of my pieces sold and I knew right then I wanted to make art as a career. I did one more show after that but didn’t really feel like I was ready as an artist to be displaying my work in galleries so I decided to start showing my work online. I joined MySpace.com and started networking with other artists which fueled my drive and inspiration.

Seeing that other artists were making a living from their creativity was huge encouragement for me. The one thing I noticed was that most successful artists had a specific style that made them recognizable so I set out to discover my own. I started working in my sketchbook day and night and eventually the same images kept popping up over and over again (hummingbirds, hearts, skulls, women, tears, etc.) so I began to make them into finished pieces. The feedback on my work as I shared it online was amazing! It felt really good to have people not only enjoying my images but being emotionally moved by them. I felt validated as an artist and had finally found my true passion.

Since then I have been drawing and painting like a mad man. I love to create images that evoke feelings and thought beyond the surface. I also try to give my artwork the sense of a narrative or story being told. Using themes such as love, death, and duality I try to convey a message of strength and hope through being able to cry and not being afraid or ashamed of natural emotional reactions to certain situations in life. Only if my paintings have touched someone deeply and tugged a bit at their emotional heart strings do I ever feel that I have succeeded as an artist.

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

GA: Yes, I do consider myself an artist. I believe that an artist is someone who can take a thought or idea and turn it into something tangible that people can touch, hold or view. I try as an artist to create images that would not normally exist in reality. Bringing my imagination to life is what I believe classifies me as an artist.

LL: How long have you been creating art?

GA: I’ve been doodling and drawing since I could hold a pencil. All through elementary into high school I would draw all over my homework instead of actually doing it. I would draw all the cartoons I would watch and later design tattoos for all my friends. It was always more of a hobby for me until a couple years ago when I decided I wanted to take it to a more professional level and I started painting. Now it’s become an everyday part of my life that I can’t live without. If I am not able to make art in some way shape or form at least once a day I go crazy!

LL: Where do you get your daily inspiration from?

GA: My daily inspiration comes from several different things. Music is huge for me. I have to have something to rock out to or something soothing to keep me in a specific mood depending on the image I am working on. I’m also inspired by nature. Animals, flowers, trees and pretty much anything organic spark ideas in my mind for new works. I get a lot of inspiration from other artists as well. Viewing their ideas and styles helps me to explore and push the boundaries of my own artwork. Odd imagery and bizarre dreams also stir my imagination and of course raw human emotion inspires me the most. I believe that too many people in our society try to hide their emotions. I think it takes a strong person to explore and understand their feelings which is why most of my drawings and paintings involve emotional or traumatic situations.

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

GA: My all time favorite artist ever is Alphonse Mucha. I think Art Nouveau is one of the most beautiful movements in art history. Mucha was one of the leading artists in that era. I love the mixture of flat graphic and three dimensional images in his work. His style and attention to detail are incredible and just the fact that all of his works were done by hand before computers were even thought of inspires me to no end!

LL: What does the hummingbird symbolize in your artwork? They seem to appear in most, if not all your paintings.

GA: I’ve always been fascinated with hummingbirds for as long as I can remember. Their size, speed and agility make them stand out from any other type of bird. I love the fact that they usually only let themselves be seen for a split second and that no matter where you are when a hummingbird appears someone almost always stops and excitedly calls attention to them. They seem so full of life and hope to me which is why I put them in all of my images. I feel that by painting hummingbirds I’m able to sort of capture their fleeting magic and keep it on an image to view whenever I want to.

LL: So why the female nude?

GA: I believe that women are more convincing subjects of art rather than men. My images tend to be very emotional, sensual and romantic with a sort of playful twist and I’ve always felt that best candidates to properly convey the subject matter in my work are women. The fact that they are nude gives a sense of vulnerability and softness to the images while also adding suggestions of sexuality. There is something inspiring and intriguing about the female form and I can’t imagine creating a painting without a woman to help tell the story of the image.

LL: Who are your target audience?

GA: I’ve never really given much thought to a target audience. I create because it’s just what I do. A day without painting or drawing to me is hell. Even if nobody ever saw my work I would still make it. I guess that makes my target audience anyone and everyone.

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

GA: The time I spend on a painting is kind of hard to narrow down. I’m a huge multi-tasker and usually work on 3 to 4 paintings at the same time. It also depends on the size and complexity of the painting. On average I would say that it could take anywhere from 25 to 30 hours on a larger piece and maybe 15 to 20 hours on a smaller one.

LL: How would you describe your art to people?

GA: I would describe my work as emotionally charged images blending graphic styles with fine art techniques. I believe my art would be considered lowbrow as I like to mix styles and images that would not be found in classic works of art.

LL: Your backgrounds are quite beautiful and mysterious; they remind me of old baroque wallpaper. Is there a certain feel you are going for with the background i.e. does it set the tone for the rest of the painting?

GA: Actually the images in my paintings set the tone for the backgrounds. I usually come up with the concept of the painting first and then decide what type of wallpaper to add at the end. I love Baroque and Victorian styles of ornate designs and create my own patterns based on them to give my paintings a certain depth and kind of vintage feel. Sometimes I’ll put little images throughout the wallpaper patterns that tie in with the rest of the painting.

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

GA: Absolutely. I like to work in series with my paintings. Currently I’m working on a series centered on the duality and contradictions within ourselves called “The Ghost and The Banshee”. Once I bring the series to an end I’ll begin on my next series that is already in the works. As the subjects and styles will change I still plan on keeping the staples in my work such as the hummingbirds and heart patches.

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

GA: My days always start off with a big cup of coffee! While I’m waking up with my coffee I go through my emails and networking sites and check up on any gallery events or functions that I’d like to either be a part of or attend. I figure out what projects need to get done or what bills need to get paid and then it’s time to paint. I usually paint for about 2 or 3 hours before I take a break, have lunch and run my errands. After that I usually work on new sketches and designs before I get back to painting. I’ll usually have dinner with friends or family and the paint the rest of the night away unless I have plans to go out.

LL: What are your favorite tools of the trade?

GA: I’m always searching the art store for new tools and products to try. I love experimenting with colors, brushes and surfaces to work on. My absolute favorites are acrylic paints which I use on wooden artist panels. I use smaller watercolor brushes for most of my paintings because I work in very watered down layers of acrylic paints. When I’m drawing I prefer to use prismacolor pencils because of the rich colors and textures.

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

GA: DON’T EVER STOP! Be prolific and create as much as you possibly can. Get your work out in the public eye and network like crazy. Don’t underestimate yourself and try not to compare your work to anyone else’s. Let your art be your voice and shout with it as loud as you can!

LL: Finally, where can we see your work?

GA: I’m currently booking shows for 2010. I have one confirmed show at the Rothick Art Haus gallery in Anaheim, CA for May and I am talking with other galleries in the OC/LA area to establish other shows.  Until then you can always view my work online and check my sites for information on up and coming events and exhibits showcasing my work.

www.glennarthurart.com

www.myspace.com/glennarthurart

www.facebook.com/glennarthurart

www.twitter.com/glennarthurart