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

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

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

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

I am a fine artist living in Laguna Niguel, CA. I was born in Binghamton, NY. I knew art was my calling at a very early age in life. Throughout school I focused on that subject and was awarded for it. My formal college studies were in architecture for a year, then I studied fine art for another year in TC-3 in Dryden NY. I studied fine art and fashion history in Hood College, Frederick, MD. I switched to Fashion Design at FIDM in LA, CA. I had to stop just short of a Bachelors degree to return to NY. I was pursuing my art studies independently while trying to raise a family. I wanted to learn impressionism, so I studied the French masters through books and museums. That’s when I discovered several art organizations in the OC and became a member. I naturally liked to paint out in nature, so I tried en plein air. En Plein Air is taken from the French and means “in the open air” or painting outdoors in natural light as opposed to a studio. The French Impressionists such as Claude Monet and many others introduced this style of painting back in the mid 1800’s. It has remained popular to this day to artists and collectors of art. I paint with fellow artist outdoors every week, but also do work in my art studio at home.

2. How long have you been painting?

Since I was three years old I was caught drawing all over the walls and floors. I was wild, I loved seeing colors all over. I am from a family of 10, so we weren’t affluent. My father would come home with clean butcher paper back in 1959, so I could continue my craving, it saved them a lot of scrubbing. By the time I was eight years old, I was painting in watercolors and continued to sketch. I was given an award for a poster I drew for the DMV in California, it was first place. In high school I won several more awards and was given a scholarship to go to the College of Arts and Crafts in Oakland. I didn’t attend, I married instead. I spent the first four decades of my life not quite getting serious about an art career, but I enjoyed my life never the less. Then in the year 2000, I made a vow to get really serious about a career as a fine artist and haven’t stopped painting since. Plus, I am still enjoying life.

3. Where do you get your daily inspiration from?

I wake up each day with an inner sense of what I want to do as far as painting outdoors or inside, I sometimes feel overwhelmed with all the choices to paint around this beautiful region. I meditate everyday to keep centered and go deep within my soul for inspiration. I also rely on our grand nature to show me beauty, it never steers me wrong. I feel lucky to be given this ability to make art.

4. Who are your top three biggest influences?

I would have to say Claude Monet, Van Gogh and Leonardo da Vinci. In my early years, it was da Vinci because of his incredible drawing skills, I used to draw realistically. I have to add Picasso in there too, we studied him so much in high school and went to NY City to see his works. When I really began to paint in oils, I started to read books on Monet and Van Gogh, then go to any museum exhibition of their works. There is nothing like going to see their art in person, a metamorphosis would occur in my every time and I would have to paint when I got home. Lately I have been studying the early California Impressionists, like William Wendt, Guy Rose, Alson Clark, Maurice Braun and many more.

5. Who is your target audience?

I would say the OC and then around the globe. I have most of my works sold here but there are a number in different parts of the world.

6. How would you describe your art to people?

I am an impressionist. I do love plein air and that is a style of impressionism. I like to paint seascapes, landscapes, figural, floral, animals and still lifes in the impressionistic style using oils on canvas. Impressionism can be representative of the subject being painted but it can be abstracted and changed to suit the design of the painting. It allows an artist to have free range of creativity. I do studio works of art that require more detail.

7. What is a typical day of work look like for you?

I spend my mornings sipping my café latte while reading emails or visiting blogs and art websites. I take many images of my locations I paint at, so there is a lot of Photoshop time. I have a family so there is some juggling with two teenagers. I also have a lot of pets, I love animals, they take time. My art hours are squeezed in at anytime I can find the time. I like to paint in 3 hour stretches, either at home or on location. Sometimes the housework or dishes do not get done. I keep very busy and multitask as any mother learns to do. It’s amazing how everything seem to fall together and I get to enjoy creating art. Focus is my mantra.

8. What are your favorite tools of the trade? Mediums, supplies, etc.

I like painting in oils of course, but I still like watercolors and do some once in awhile. I always loved the pencil and sketch like a maniac sometimes, that has always stayed with me since I was a pre-schooler. I have tried many mediums in my 50 years of creativity since I was three. Oil paints are rich, luminous and I can almost sculpt them into shapes on the canvas, I like to paint thickly sometimes. It’s all those wonderful saturated colors I can make from blended red, blue or yellow on a palette and see a new color emerge.

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

From my experience, I would say learn to draw, and most of all, learn the fundamentals of good art like your existence depended on it. Learn the elements of art, line, shapes, values, textures and color. Each and every one of these can be studied independently, but they all depend on each other to make a work of art succeed. We never stop learning as artists.

10. Finally, where can we see your work?

Actually, I am looking for gallery representation at this time in southern, CA. I removed my art from several places it was and would like to be in a fine art gallery or two. I often have art in the San Clemente Art Gallery in downtown San Clemente. I belong to four art associations in the OC and have just entered several juried exhibitions that will take place in the next few months and year. I am with the Southern California Plein Air Painter’s Association, Southern California Artist’s Association, San Clemente Art Association,  and Laguna Plein Air Painter’s Association. On each of their webpages you can click on the member’s page to see my info, each of these groups have shows during the calendar year and you can go to each website to find the current exhibition.  I can be contacted at ew@visions2art.com.   I accept commissions.

I have an outdoor fine art show coming up April 3-5 at the Mission San Juan Capistrano. You can reach me through my website (still under construction) http://www.visions2art.com or my art blog at http://estherjwilliamsart.blogspot.com. I actively add my new works on the blog. I sell my smaller paintings and work sketches on eBay under the name visions2art sometimes. On Twitter you can follow me, @EJWilliams.

Every Monday, we feature a different local artist.  If you or someone you know should be featured, please let us know.