Sally Turlington
August 2008
Q. When and how did you decide to become an artist?
A. I didn't know I was an artist until after I became an adult, but now looking back, I can see that while I didn't paint or draw, I was always doing mixed media-type assemblages and collage since I was five or six years old. Of course, I didn't know to call it that. I was just "making stuff" - like a cardboard scale model of our living room - complete with fabric drapes, covered couch, and cushions, etc. About 30 years ago, a local artist friend got a group of women together to do an art show - women only. It was called "The Pot Show." The theme was pots that women use (any pots from cooking pots to toilets.) I had only done tole painting and ceramics at that time. But for this show, I did a large assemblage with a black cauldron (plastic, with paper-mache painted black - and tarot cards I painted on the sides), a tree limb coming out of it with a hand made model of the Tree of Life, and an old medicine wheel made of clay hanging from it. Inside were three shelves with mini candles, a clay snake, and other small items. Around the outside perimeter of the cauldron were communion cups filled with herbs and a nine inch fabric juju doll adorned with beads and charms. It was called the "Healing Pot," and it was selected for a traveling show. The Houston Women's Caucus for the Arts asked me to display it in their next show at the old Fire Station Gallery on Montrose. After that exhilarating first experience, I was able to call myself an artist, and I took off making assemblages and collecting art supplies and junk!
Q. What inspires you to make art, and how do you handle it when things get "tough" in the studio?
A. Almost everything inspires me to make art - my spiritual life, reading anything, the internet, visiting galleries, looking at art zines and magazines ... Oh, I love magazines: Communication Arts, Raw Vision, Beautiful Decay, Juxtapose, Art News, Metalsmith, Vogue, Zink - and of course, many of the newer ones like most of Stampington's, Cloth Paper Scissors, Quilting Arts, Jewelry Artist, and on and on.
When I'm working on a piece and hit the first, "oh, no!", I walk away, convinced I've ruined it. Since this happens EVERY time, I've learned to push through the first one. I always hit a high and think I have a masterpiece just before the second, "OH NO!" At that point, I take some time off from it. When I get back to it, I can usually see it for what it is rather than what I had planned in my head. Then I seem to know what it needs. Lots of times I like it better in the end than anything I could have planned. When that happens, I always wonder where it came from, and then I remember where all my inspiration ultimately comes from - and that I'm nothing but a vessel through which the messages flow. I think all artists know what I mean by this. We all experience this flow in one way or another.
Q. Your work is especially clever and thought provoking. Where do you get your ideas?
A. What a nice thing to say about my art. Thank you for that.
Sometimes I start out with a message I want to deliver, but usually not. I usually start with an image I want to use or a new technique or color scheme I want to try. It's after I get started and at the point when it looks like everyone else's work, or it's trite or cliche in meaning - that's when I think, "Hey, this needs a unique twist of something, but what?" For days I might look at it and wonder - or maybe I'll look around in the studio and find something totally unrelated that actually fits just right for that twist of content and twist of meaning.
Then, too, I do a lot of praying about my inspiration or lack of it. That's a long way of saying I don't really know where the ideas come from (except from the Master), and I really have no idea how they snap together in my head for the final piece. It's like when you forget someone's name, and later it just pops into your head - leaving you wondering, "Where did that come from?"
Q. Tell us about your studio - especially that wonderful antique cupboard you purchased.
A. My studio is my playhouse. It was a one-car garage attached to the house by a porch until two years before I retired. I had a tiny bedroom as a studio until then - and a workspace on the dining table prior to that (we've all been there, right?) Since nothing was in the garage but junk - especially not either of our cars - my wonderful hubby thought up enclosing it for a studio so I would have more room (and probably to get me and my junk out of the house!) We added 10 feet to the back of it with skylights in the ceiling. It started out all white in color - everything white - walls, floors, built-in cabinets, sink top, refrigerator, ceiling fan - everything. Then I moved my studio table and bookshelf in there with a new couch that opens into a bed (gosh, I'd want to have overnight art friends visits, wouldn't I?) It looked like a fantastic little apartment, complete with a small refrigerator and a half bath!
But then I started working! Well, I needed some Iris carts, right? And then more Iris carts! And soon the walls were lined with Iris carts. And now there are carts, shelves, and containers lining all the walls except the one with the sink, the one with the couch, and the one with the floor to ceiling storage cabinets. It's crammed with everything I might possibly ever need in my lifetime - even 8 or 10 drawers of what any sane person would call trash (it's for my collage work, you know!) It even has a used Golden Acrylic store stand I bought for a dollar from the local Hobby Lobby when they quit carrying Golden acrylics. I'm a storage junkie, and my studio reflects it.
About a year and a half ago I moved in that fantastic antique hardware store display and storage unit. It's 7 1/2 feet tall and 8 1/2 feet wide, with three layers of 2-foot deep drawers on the bottom and 1-foot deep glass fronted drawers of various widths on the top -- a total of 78 drawers! I fell in love with it 30 years ago when I saw it in another artist's home. She later became a church choir friend, and when she moved out-of-state to be near her children, she mentioned one day that she had to sell it. I jumped like I'd been shot and said, "I WANT IT!" (No idea what I'd have to pay for it - Yikes.) I got it for about a third what it would have cost me in an antique store. I was just in the right place at the right time. You can see a photo of it here: http://sallyt.typepad.com/imagine_this/2006/11/77_drawers_of_h.html#comments
Q. Let's say that suddenly your current studio is no longer available to you, and you can design another one from scratch. What is it like? How does it differ from the workspace you now use?
A. It is on the same property as my home. It's a lot bigger - but not to make room for more "stuff" - rather to have lots more SPACE! It has a conversation area ... to visit or do lap work in comfort, with a couch or recliner or both, a T.V./DVD/iPod, etc., recording, editing, and playback capabilities and space for displaying other artists' work. My new studio has big open spaces and high ceilings - rather like a loft - with different areas for work in varying media - like painting, sewing, clay, jewelry, etc. Large - HUGE - storage places and display spaces appropriate for each genre of work. There is nothing crammed in next to something else because of lack of space. There is a central area for conducting workshops or playing with other artists. There is a large separate, but attached, office for computers, printers, copiers, etc., and beautiful antique filing cabinets. It would have a separate, but attached, guest apartment with enough sleeping, kitchen, dining, and workspace for 6 or 8 artists. The whole thing looks out on the ocean (or a lake would do, I guess) with woods on the other sides. Of course it comes with a maid to clean up behind us. Wowza! I'm salivating just thinking of the great times we could have there! 'Course, we could have fun times right here in my current studio, too. So, come on over!
Q. Do you find yourself more attracted by work that is not like your own, or work that has similarities to yours? Explain.
A. I like a lot of different kinds of art. I'm impressed by lots of color but also by subtle monotones. I love pieces with meaning and also abstracts. I adore complex pieces but am attracted to simplicity, too. I like all media and multi media with mixed media being a favorite. I am more attracted to art for display than I am wearable art - except for jewelry, of course. When I think about these tastes in art in comparison to my work - I'd say my work is all over the place, too. You know what I've discovered about the art that I LOVE? It has the COLORS I love, usually. I think color palettes, more than anything else, can drive our judgment of art. Think about it next time you find art you like.
Q. If you had an uninhibited alter-ego who could make any type of art at all, what kind of art would she be doing? Describe it.
A. Hmmm. Good question. I think she would be doing mixed media FINE ART ... something that is too technical and complex for me so far ... something that museums would become interested in purchasing. If the execution of it required tedious, slow work - it would be work that she absolutely loves to do. I, myself, am an instant gratification kind of artist, I think. However, the time I made the juju doll and sewed on all those beads and charms and whatnot, I was amazed to find that I loved the calm, soothing pace of the handwork. So, who knows to what I might graduate? This alter-ego's art would always be transforming to higher levels of technique, more advanced uses of media - and to art more important in meaning for the viewer or participant. Ever changing art and artist - ever closer to Truth. (Whew, that question hurt my brain!)
Q. How would your life change if you could no longer make art? What is it about being an artist that you love?
A. If I couldn't make art, I couldn't breathe! I would suffocate from stress, anxiety, boredom, and depression. What I love about being an artist is the joy of surrounding myself with art and stuff to make art and getting lost in the enjoyment of doing it, looking at it, thinking about it, seeing it, showing it, reading about it, hearing about it, talking about it, dreaming of it. Art 'R' Me! I would be a sad case if it were not for my art life.
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Artist of the Month
Lelainia Lloyd
June 2008
Q. Everyone is always asking, so we may as well put the question to rest - the name, "Lelainia," is so unusual. Where did it come from and what does it mean?
A. Well the short answer is "hippy parents." The longer version of the story is that it's a song by Donovan Leech, who is known best for songs like "Mellow Yellow" and "Hurdy Gurdy Man." Its origins are Welsh, and rumour has it that the song was about a prostitute he was in love with. The lyrics are both sad and hauntingly beautiful - you should listen to it sometime. Oh, and while we're at it, let's clear up the pronunciation, which for some strange reason, always tends to go horribly wrong. It's prononunced "le LANE ya." People seem to want to confuse it with Leilani, Lorraine, Elaine, Lilly, Lannie, and Lenny. (*rolls eyes*) Despite all that, I love my name - it's distinctive and unique. People tend to remember me because of it.
Q. How did you come up with the name, "Tattered Edge" for your business?
A. I love coming up with names. It's one of those strange things that amuses me. When I was trying to decide on a name for my website, I thought about descriptors that implied old, worn and dear, and "Tattered Edge" popped into my head. Some of the things I adore - books, quilts, and papers, become worn in the course of being well-loved and eventually develop tattered edges. I also liked the fact that you can type "tattered edge" with one hand, making it quick and easy to search.
Q. You were one of the first artists in Canada to begin exploring mixed media art. When and how did you first discover this art form? What draws you to it?
A. Seven years ago, I had a series of accidents that badly injured both my kness as well as my Achilles tendon. It left me with a long recovery time where I had to stay off my feet. Of course, being a "do-er," I quickly became bored and knew I had to find something to keep me amused. I started surfing the 'net, looking for something creative to spark my interest and came across altered books. I got involved with a couple online groups, doing round robins, and it just sort of took off from there.
Eventually, Jan Bode Smiley came across some of the work I had posted online and contacted me about doing art for a mixed media, fabric based book she was writing. At the time, my beloved Gramps was dying, and I knew it would be good to have something positive to focus on. After he passed away, the work really became a lifeline for me. The hours I spent making art for the book allowed me quiet time and space to grieve.
I have always been creative in one form or another - and for me, the act of creating is as essential to my life as breathing. I love mixed media because there really are no rules - no right or wrong way to work with mediums and materials. I enjoy the freedom of that and the constant opportunity to grow and discover.
Q. How do you share your artistic knowledge with your fellow Canadians?
A. I've been teaching mixed media and altered art workshops both privately and publicly for several years now. It's been exciting because not only am I working with everyday folks, but I have also had several opportunities to teach workshops to elementary and high school teachers. I remember when I was a kid being so excited to finally get to be in Mr. Hanna's class in grade 6. He was the art teacher who did all kinds of cool projects, and I couldn't wait to have those experiences. To this day, I love Mr. Hanna for it! It pains me how chronically underfunded and undervalued the arts programs are in schools. It's not enough to feed kids' minds with the nuts and bolts of the 3 R's - we must also help them discover how to feed their spirits. I think promoting the arts is how we do that. Sharing my passion for mixed media and altered art with teachers thrills me because I know they are going to take that knowledge back to the classroom, to inspire their kids.
I have had the good fortune to teach in classrooms in my school district as a guest artist on several occasions and I can tell you, while it's noisy, chaotic and messy, it's also a ton of fun. The kids are such enthusiastic and fearless learners - they take what I show them and run with it! It's deeply satisfying to experience that.
Teaching has presented me with some wonderful opportunities. I was lucky enough to teach a private class at a working dairy farm and got to milk cows, feed the calves and drive a huge tractor. I was also invited to do a segment about Artist Trading Cards on a local morning show at the end of January. I can honestly say that I love my job - it's always interesting, and it's never the same thing twice!
Q. Much of your art compliments your Canadian roots. Dark, earthy colors. Antique buttons. Sewing techniques. Vintage imagery. How would you describe your artistic style?
A. This is hard for me to answer. I am always trying to put my finger on what my style is, or if I even have a style. My friend, Penn, says I definitely do, but I struggle to see it myself. Buttons are the hallmark of my work, and I do like to celebrate my Canadian heritage through my art whenever possible. I think I lean heavily towards folk art when I quilt, but I can't really say how I would classify my mixed media art. I tend to work primarily in the folk art colour pallet, which is a carry-over from quilting, I suppose. Most folks tell me they can identify a piece is mine by the overall balance and the use of colour, which they say makes it distinctively mine.
Q. You finally have a nice, big studio all to yourself. Describe your new creative space.
A. Well, I painted the walls vintage aqua. I wanted a space where I would walk in and just feel relaxed and happy, and that colour really does it for me. I found the exact shade I wanted on a piece of scrapbooking paper, and so I took the sheet to the paint store - and they matched it digitally for me. I am sure when I was painting the room people who didn't know it was going to be my studio were probably wondering what on earth I was thinking! The accent colours are white, black, and vintage cranberry red.
One of my favourite things in my studio is the magnet boards and strips I have on the walls. I use clip magnets to display art. I like that I can move things around or change them out from time to time without putting holes in the walls or in the actual art like you would if you used nails or push pins. The strips are great for displaying postcards and small canvasses. I really love walking into my studio and seeing all the things my friends created for me. It makes me feel like they are right here, hanging out with me.
In the last few months, I have been working really hard to have everything neatly organized. This has meant finding ways of sorting and storing things in a way that is both functional and pretty. I just finished a big redo on the closet in my studio. (You can see pictures of it on my blog.) My brilliant friend, Lance, designed, built, and installed shelves for me. The reasoning behind all this organizing is that I want to spend my time making art, not wasting time looking for my materials. I think I am about 90% organized now, and I plan to finish up in the next month so I can relax and enjoy my studio time over the summer. My studio is truly my sanctuary. I spend alot of time in here, so that's really important.
Q. Buddah is a personal muse for you. Inspire us by expanding on what the Buddha represents for you and how it relates to your artwork.
A. Well, truth be told, I don't consider myself a religious person, but a spiritual one. My ideas about how to function in the world are very personal and simple. Basically, what it boils down to is to strive to be the best person I can be every day - to be kind and compassionate to others and do everything in my power to make a positive contribution to the world, in the way that is mine alone to do.
I am a great admirer of the Dalai Lama and an avid fan of mountaineering. As a result, I became interested in Tibetan culture and Buddhism. I see the Buddha as serene and wise and as a symbol of tapping into that which is great and powerful within us. I have several Buddhas in my studio, and I find them comforting. While I can't say that I am a Buddhist, I do feel an affinity to many of the ideas and philosophies of Buddhist teachings. For me, art is a very meditative practice. I can put on music, sit down and start working, and somehow I lose all sense of time. I think when I work like this, I am truly tapping into something greater than myself. It's at those times that the art makes itself - it has nothing whatsoever to do with me.
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Artist of the Month
Tiffini Elektra X
May 2008
Q. You are highly celebrated as a gifted digital artist. How long have you been creating digital art, and how did you become interested in it? What is it about creating art in a digital format that excites you?
A. Well, I started using Photoshop a few years ago when I started taking part in Illustration Friday (a group where you are given a topic to Illustrate). I love the challenge of it - such a fun way to spark your imagination. After awhile I started to do more and more digital pieces, as it was a quick way to illustrate a piece since you only have a week to do so. It has been a gradual process, and now I am just in love with the endless possibilities of digital art. I love the flexibility of it (color adjustments, undo's, resizing, etc). Although, I find the more I know, the longer it takes me to finish a piece! I am spellbound with the complexity and possibilities of digital art, and I continue to push myself to learn more with each piece.
I do love to dabble in many traditional art mediums, though - oils, acrylics, assemblage, collage ... it's all good. For now though, digital art is just really speaking to me. I tend to think that digital media is becoming part of traditional media as time goes on.
Q. You sometimes employ Alice In Wonderland images in your artwork. What attracted you to the book and its characters?
A. It is the first book I ever read, and I just always end up going back to it. The story has such a complete and memorable cast of characters. Besides, constantly changing predicaments, nonsense, satire, and talking animals - what's not to love?
The fleshing out of the characters by numerous artists has certainly brought the story to life. I might suggest that if the story had not ever been illustrated by anyone besides Carroll himself, I would guess the book would be a classic, but might not be such an integral part of our lexicon. I am attracted to all kinds of fairytales. They drive my imagination insane.
Q. Often there is a dark side to your art - gothic is a central theme to much of your work. Tell us how you identify with "the dark side."
A. Maybe dark does not mean what it used to? It is funny, I guess the dark side to me just seems normal. The characters that a lot of people may find to be dark seem to be the most thoughtful, emotional, complex and well rounded to me. I always think of my characters as the protagonists in their stories. Nothing is happening to them - the story is always happening around them. I imagine people's baseline for dark is so different. I love to experiment, and I can certainly see creating more ghoulish, visceral pieces in the future.
Q. There are so many layers in your digital art! Could you describe your digital process? Approximately how long does it take you to complete one piece?
A. Starting a new piece for me is like an overwhelming need to move in particular direction. It can start with a book, a piece of music, or just some ambling concept in my head. The images just will not go away until I do something with them. Usually, while in the process of making a piece it takes me to totally unexpected places. There is definitely usually a story in my pieces - but I am mostly a visual person, and I like to show more than tell.
Once I have a concept I usually sketch out or piece together a sort of mock up of my idea. I keep these pinned to my bulletin board, and as I progress through each of the pieces I keep replacing the ones on the wall with the newest versions. I have numerous pieces in progress. That way, if I am at a standstill with one I can just move on to another and mull it over until I am ready to restart on it.
Most of my digital pieces end up around 3 - 4 gigabytes. I don't like to flatten any layers in case I want to go back, so I keep things around this size, but manageable. I will flatten some layers - saving a version in case I change my mind.
When it comes to art, I do try not to set any deadlines, trying not to rush myself to complete a piece. I guess that is one reason I don't take commissions - I like to be able to rake my time. I just enjoy practicing art - and heck, I have my whole life to mess around with, so what's the rush? Specifically, though - it does take me anywhere from 3 days to 3 weeks to complete a piece, depending on how focused I am.
Q. Much of your work is available through tartx.com. We would love to hear all about it.
A. I have been selling my art for a few years on eBay. I have over 1650 positives and no neutrals and no negatives. I am a complete geek about my feedback. I try very hard to have the best customer service I can offer. I also sell my work on Etsy. I love eBay and Etsy. Both are still great places to keep a store as they truly do attract new customers. However, about a year ago I decided I really wanted to just have my own webstore. I needed a place where my wholesale customers would be able to shop and everything about the whole experience could just be more efficient. I love having my own store, as it allows me to really customize things, and it helps me keep track of my inventory.
It has certainly been an adjustment this past year. Finding the time to replenish stock, keep up with orders, and work on new ideas can be a challenge. I have come up with a gazillion ways to speed up the whole process of preparing an order. However, there are often times when I will do nothing but pack orders and print shipping labels - and at the end of the day there are still packages to pack. TartX is 24/7 and always in my mind, but it is also important for me to continue to learn how to carve out art time.
Q. There seems to be no end to your talent, Tiffini. What might we expect to see from you in the future?
A. Oh, gosh - dang, well, thank you! I don't know - there is so much to learn, it is really flippin' exciting! I imagine I will be inspired to do some assemblage and some paintings this year. I have a new line of hand cast jewelry coming out in the next month. I am also trying to teach myself a program called Maya. I am thinking it will take a few years to the rest of my life to master, and that is exciting. It is a very powerful 3D modeling software, and I love the idea of being able to build my own reality. Create my own charracters from pixels. I think sometimes there is pressure in the art world to always be creating new works to show. I find I drag my heels and tend to make a lot of art that just has never - or has just not yet showed up online for show and tell. With having an online business and doing more and more art on the computer, I am finding the need to spend a lot of time offline, getting away from art, or it eats my brain. Plus, not to sound too weird, but I absolutely adore my life - it just rocks!
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SYLVIA LUNA
March/April 2008
Q. I love how you refer to yourself as "Silver Moon," and how your last name, "Luna," has inspired that moniker. Would you say that your work is sometimes a reflection of your name? How?
A. My name "Silver Moon" was given to me by a woman whom I didn't know. I was paying for a few items at a store, we began to talk, and I introduced myself. She repeated my name several times - "Sylvia Luna, Sylvia Luna," and then said... "Silver Moon!" I took this as a sign from the heavens to take that as my art name.
Many years ago I had a dream about everybody going about their usual daytime business: work, school, grocery shopping, etc ... When all of a sudden I saw the sun drop, the bright sunny day turned into darkness - until the full moon rose. The moon began to fill with blood, and there was complete pandemonium. I remember feeling terrified and wanting nothing more than to be with my family. Today this dream has manifested into all my art. I have a really difficult time creating during the day - my creative energy enters as the sun goes down and the moon rises. As a result of this dream which I had about 25 years ago, I always add a touch of blood red to each piece I create.
Q. Where did you grow up, and what did you dream of becoming as a child?
A. I grew up in Mesa, Arizona, and have lived there my entire life until 10 years ago, when I crossed over the city limits and am now one mile into Gilbert. I'm quite a traveler, wouldn't you say? I am very close to my family and wouldn't think of being away from them. As a child I dreamt of becoming an architect or a clothing designer. I used to spend days designing my own round home with a round indoor pool and all the room surrounding that focal point. When I wasn't working that, I'd be making clothes for my paper dolls. I wish I had those original pieces I spent so many hours on.
Q. Do you remember some of your early work? Would you tell us about that, and explain how your work has evolved over the years?
A. Yes. I look back and see that for the most part I've never had a minimalist approach to my work. Ten years ago I also incorporated the feeling of mystique into my pieces. When looking at my art, a question of what I am trying to convey usually has a different interpretation for each observer. Those were my early roots. Today I continue in the same path line but with more emphasis on layers and on freedom to express my art without self imposed reservations. The strongest limitation I used to put on myself was that people weren't going to understand my unconventional "moonster" look. Now I celebrate it and accept my style for who I really am.
Q. Do you have a favorite medium or technique?
A. I would say my favorite technique is a mental state - and let me explain that. When I work on a piece or teach a workshop I want everyone to know that in my nemesis style of "Grunge Art" there are no mistakes. Whatever happens is meant to be. Go with it, do not oppose it. Enjoy the ride! My favorite mediums have always been paint and glue.
Q. You have been on a sort of hiatus, and the art world has missed you! Are there any pieces you are currently working on that you could tell us about?
A. Thank you for saying that. I recently finished a piece entitled "Breaking Free," which is soon to be published in a book called Mixed Media Self-Portraits by Interweave Press, due out September 2008. I consider this my debut piece back into my much missed art passion. I have been unable to create for several years due to a home renovation, ending up in divorce after being married for 27 years.
Q. The loss of your only child, Steve, must have been unbearable. I know you believe you are often 'guided' by his spirit when confronted by life's obstacles. Do you feel influenced by Steve in your art as well?
A. Yes, I do. When Steve was alive he expressed himself very openly with his love of music, (he was a guitar player) and had an edgy oxymoron approach to writing. His passing was so sudden and shocking - he died of a Sudden Arrhythmia Death in his sleep at age 20. I began writing to friends and family keeping his memory alive by closing each letter with my now known art signature, "PS I Love Steve." I must have music when I am creating - I feel Steve's spirit close by. His favorite 'comeback' to me used to be, "don't be cwazy!" in his affectionate tone. As I create my art today, I sense his humor from the other side conveying that same phrase to me. All of my art has a personal secret code to connect my finished piece with Steve.
Q. Every artist has a creative process - explain yours.
A. I usually begin by first creating an ambiance in my studio. Depending on my mood will determine which type of music I will listen to. Then I light some aromatic candles. It is then that I am ready to create. I will most often begin with a found object or chosen piece in mind to alter. Next I choose one image to work with and colors to incorporate. Most of the time I focus on one piece at a time, but can have several "beginnings" on my space at one time. I rarely finish a piece in one day - I usually walk away and come back to it - usually the next day. I never know what will transpire - I allow the momentum to create my art.
Q. More than anyone I know, you live your life so imaginatively. Your home is full of artful things. You seem to live, dress, and even 'breathe' the life of an artist. Art seems to be a necessity for you. How does art guide or touch your everyday existence?
A. This makes me smile because I'm glad you noticed! I am completely off the walls and out of the lines. I describe my personality, my home, and my outward appearnce as "Mardi Gras, Carnival, and Dia De Los Muertos (or Day of the Dead)" all rolled into one. Quite a combination, huh? Some people run, others are curiously drawn to me. In my home I once tried to simplify by having white walls and one picture on each wall ... that was SO NOT ME! Eventually my surroundings have transformed into an artful living collage of all I love - from cemetery photos, admired friends' artwork, Gothic iron gates, masks, Mexican calaveras (skeletons) religious icons, antique furniture, and bright colors throughout. As for myself, my art has spilled over into my arms, which have been tattooed with my own placement of the design. I have half sleeves from my elbows down to my wrists - I call them my "Barbie Glamour Gloves." I enjoy 'arting up' my eyes with various colors and glitter. I have been asked if I use my art medium on my eyes - NO! Don't DO that!!! ;) And last but not least, I dress in what I like - for the most part, dark colors with unlimited accessories. I can honestly say I am my art and enjoy every breathing moment of who I am with no regrets in my life.
XO Sylvia Luna/Silver Moon
P.S. I Love Steve!
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PILAR ISABEL POLLOCK
February 2008
Q. Your personal blog is named "Pip Notes." Many people ask where the name, "Pip" comes from - would you explain?
A. My full name is Pilar Isabel Pollock, so my initials are "PIP." As there isn't a nickname for "Pilar," "PIP" eventually became my moniker.
Q. We understand you have a literary background. How has this influenced your art?
A. My literary background definitely has influenced my art in that I have had the good fortune to be exposed to parallel schools of thought in the humanities. I believe I would not have had the exposure to these schools of expression if I had not studied certain literary genres. On the downside, my work in criticism has at times, stifled me. I am so used to deconstructing and analyzing text and art form, I find that I am abnormally aware of the placement of images, colors, and shapes, etc., when I create. It is as if I have a specific interpretation I would like to convey to the viewer, so I am hypersensitive of the construction of the overall composition. This has been a great challenge to work through and an important lesson in letting go. To backtrack for a second, when I first entered the realm of mixed media and collage I was still in my degree program. I would draw from certain poems and text, creating a visual interpretation or narrative of these works. I began to include the images of these poems and writers into my compositions. In my early work, Arthur Rimbaud, Lord Byron, James Joyce, and so many of my favorite authors are in my collages. I have noticed over the past few years other writers have become a staple in my current mixed media work - like Edgar Allen Poe, Emily Dickinson, and Jane Austen. I find this very interesting, as the very images of these individuals not only represent their cannon of work and life experience, but have become meta-narratives - their visage representing particular energies to the artist who uses them - but also to the viewer, who assigns his/her personal symbols to their appearance in the work.
Q. How would you describe your work? Your style?
A. I don't exactly have a name for what I do. I have a tendency to be all over the map when it comes to working with media. I create my own fusion based upon what works for me at that time. If I had to go with a label, I would say "grunge," because I draw from a variety of techniques and schools, yet in a very raw way. I like to flirt with the idea of the integration of an idea using a refined artistic method against the lower layers of the un-kempt, the specific, and that which has been forgotten or covered.
Q. Do you have a favorite technique and/or subject?
A. My favorite technique by far is layering. I love the look of the under-layers peeking out in a counterpoint, yet pulling into an elaborate finish.
Q. Please share your creative process, and what most inspires you.
A. If I am working on a specific project I will brainstorm in my journal, creating lists and pockets of ideas for materials, imagery, colors, etc. If the project is on a particular subject I will saturate myself in research so I will have a larger scope to pull from. If I am just creating for fun I try to abandon my mental processes and create from intuition. I work the best when I put down my brushes and just use my hands to paint, carve, paste, etc. What inspires me changes on almost a daily basis. It can be an emotion I feel, a poem I read, or something I am processing. I never know where or when my muse will show her face and beckon me to follow.
Q. If you could go anywhere in the world to study art, where would it be and why?
A. Once again, this changes all the time. I believe I have been blessed with a search for knowledge which has allowed my studies to transcend this time and space. Currently, I would go to India, Tibet, and Nepal to enjoy their art traditions, past and present. I suppose I am a bit of an intellectual nomad in this regard.
Q. What advice would you give an emerging artist?
A. Just go for it. I know in my own experience I would invalidate my art because it did not measure up to the established aesthetic of realism. I can remember being in school and being "knocked" because my proportions were off or colors not exact. I believe many of us have had similar experiences. If you can remember there are NO RULES in art and expression, that is a giant step to just letting go. I highly encourage experimentation and just playing with one's chosen medium. It is so easy to get caught up in trying to mimic a particular style that we often lose the inner artist in the clutter. Remember, you are unique, and nobody will be able to create like you do.
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MARY BETH SHAW
January 2008
Q. You gave up a job in the corporate world to become an artist. That's quite a transition! Please share that story with us.
A. Well, yes - looking back it does sound a wee bit crazy, doesn't it? But after 18 successful years in the insurance industry, I felt certain that life had something else to offer. So, in 2000 - when I turned 40 - my birthday gift was to quit my job and "explore my creativity." Having been artsy all my life, I didn't know exactly what I wanted to do, but I knew I was tired of the corporate thing and just mainly needed a break. Truly, I thought I would write a book of fiction, but found myself unable to string a sentence together. Somewhat spontaneously, I took a collage class and was instantly obsessed. One thing led to another, and here I am!
Q. Your Common Denominator collage series has been highly successful. More recently you are concentrating on abstract art. Was this a natural transition for you, and can you explain what it is about abstract art that excites you so much right now?
A. I have always had a keen interest in abstract art. At museums, I nearly fall on my knees in admiration/worship of contemporary abstract works of art. I have actually been painting abstracts for a number of years but didn't feel ready to exhibit them until my latest series, Community. I love the challenge of expressing myself in an abstract manner. The processes of painting - the physicality of the paint, mixing of color, intrigue of line, space and composition - have a magical appeal to me.
Q. You participate in a fairly large number of art shows. Many artists are interested in pursuing a such a lifestyle. What are the highs and lows of art shows?
A. I often joke that the 'Art Fair Life' is not for everyone. It is really hard work, from finding shows to enter, completion of the paperwork, display issues, inventory required, the sheer physical requirements of setting up a tent, the weather issues -geez, what can I say? I thrive on it, but I've had friends accompany me to a show and quickly conclude that I am nuts. The lows have to be the weather issue - and the uncertainty. You can never depend on anything: whether you'll be accepted to the show, if people will come out, if they will buy, if the weather will hold, etc., etc., etc. But the high/upside is the people. I love the opportunity to put my art in front of the public and to hear immediate feedback. To meet someone who has never once purchased original art, yet they choose one of my paintings. What a RUSH that is! Last year I participated in 17 shows total - 3 gallery shows with a large body of work; 3 juried competitions; and 11 juried Fine Art Fairs. It sounds like a lot, but this is my life - and I will have to say I am obsessed 24/7. When I am not making my art, I am thinking about making my art - or marketing my art - or displaying my art - or even dreaming about my art. It is exhilarating and exhausting, yet filled with passion. I just feel so blessed to be on this path.
Q. Your work is successfully shown in galleries. Could you offer some advice to artists about approaching art galleries for representation?
A. My exposure to galleries has come through the Art Fairs. Gallery owners see my work and invite me to exhibit, either on a solo basis or as part of a group show. They are one time exhibitions, and although I do have ongoing relationships with some galleries, it's not like a situation where they control distribution of my work. I do not have full time gallery representation and haven't really sought it as of yet. Hopefully, some day in the future I will be able to earn my living that way. For artists who wish to approach a gallery, I would first explore local galleries to determine which would be the best match for your work. It only makes sense to establish yourself locally before setting out in another city. Then find out if the gallery is accepting new artists and their criteria for entry. Along with this, I will add that it's important to network and to put yourself out there. Attend openings, be part of the "scene" and join local arts organizations. Exhibit in coffee shops or other public venues to build your resume before you approach a gallery.
Q. You were recently interviewed and filmed by PBS for a series call "In Context". Tell us about that experience. When will the series air on TV?
A. It was absolutely amazing. Dutch Rall, an Emmy-winning producer visited me in my studio. We talked about my art and my path, passion, what motivates me. Then he filmed me painting - I cranked up my music and tried to forget he was there and just lose myself in the painting. It's a wonderful show, and I was thrilled to be included. I haven't received an air date as of yet, but will link it up on my blog, so stay tuned. You can watch some of the other In Context artists at this link.
Q. Which artist or artists have influenced you the most?
A. There are so many. I especially look to historical references. Diebenkorn for composition and especially his Ocean Park series. Jasper Johns and Rauschenberg for overt (nearly touchable) texture. de Kooning for line and shape. Rothko for color. Picasso for trying it all. I also love JMW Turner's atmospheric and passion charged paintings. I love the collage artist Jess for detail. Kurt Schwitters for innovation and being ahead of his time. Helen Frankenthaler's staining techniques. Nick Bantok's humour. OK - I will stop now. Ha!
Q. Of all the art you have created over the years, do you have any favorites? Tell us why.
A. I do have favorites, and I have kept a few from each body of work. In my Common Denominator series, "Real Deal" has become my signature piece. The little girl pictured is me, and that piece is so personal I could never part with it - although I've had a number of offers. I am fond of several abstracts that hang in my home. Usually a piece is special because of the memories I have while making it. Most often, it's a piece where I had that out of body, "In the zone" experience. Every painter knows what I am talking about - where you are painting like you are possessed - and then look up, and it's done - but you have no idea how you got there. It's as though you were channeling from a higher source: those pieces are gifts from above - as is all of my art, really.
Q: In addition to creating and exhibiting your art, you are also an instructor. How are you able to balance the many facets of being an artist so successfully?
A: How do I juggle everything? No matter how crazy or busy I am I find that if I take time out to be with friends, take a walk and smell the roses, take time out in the day for a cup of tea or a game of fetch with my dog, I am far more productive. Doing these things keeps me focused and calm and I can get a zillion things done in a day when I'm in that state. I'm also a big list maker and I have a book by my computer that I write down everything that needs to be done. I then check off the items when they are completed. It helps me meet deadlines and not forget important things that might slip my mind. What can I say, I'm a Virgo!
Q: What inspires you? What is it about the artistic process that you most enjoy?
A: Artistic people, nature, music, books, movies, museums, things of beauty, gardening, taking photographs, creating art...all are my muse to be inspired. I think I enjoy the zone that I get in when I'm making art. It's a totally peaceful space, a kind of meditation for me. That 'zone' is the most rewarding about the artistic process for me.
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ANGELA CARTWRIGHT December 2007
Q: Many remember you as an acclaimed childhood actress. What motivated you to relinquish your acting career and become an artist?
A: I had been acting since the age of three, so I decided to take a break after 23 years to create a home, open a business and pursue my love of photography. I also wanted to start a family and having my funky gift store let me call my own hours. It fed my creativity, kept me active and busy, and I could still be around to raise my kids full time. I'm happiest when I am busy. After my children became adults, I closed the store to pursue my love of photography and art full time. It was a difficult decision at first, but I realized I had to let that go so I could move forward on my journey. Once I totally committed myself to creating art, it just took off. I am totally embracing all the opportunities that have come my way so far.
Q: How would you describe your artistic style? How do you incorporate your photos in your artwork?
A: I call my style "unruly" ... it means to me that anything goes and I feel the muse at the moment. It does not mean sloppy or haphazard, but free, unrestrained and willing to take chances with my art. My main staple is using my black and white photographs which I then hand-paint...then I immerse, embed or mosaic them into textured backgrounds using different mediums such as gesso, molding pastes and various other gels.
Q: Congratulations on your new stamp line with Stampington & Company. How did you develop the concept of incorporating your art work into stamps?
A: Thank you. I really wanted to create a stamp line, but I never imagined it would be of my sketches. A year and a half ago I took a sketch class with my friend, CW Slade. She's an amazing artist and always an inspiration. It was a class that had live models and I decided to observe the light and shadow, to let my charcoal go where it wanted. I always thought my drawing skills were not good enough; hence they produced a restricted look. Since I have had no formal training in drawing my sketches didn't look like CW's...but once I stopped thinking so much they took on a life of their own. Out of that class I found myself drawing these quirky unruly girls all the time...I submitted an article to Stampington called, "Angels of the Arts" which they published in the premiere 2007 issue of "Somerset Holidays & Celebration." The folks at Stampington asked me if I had any more sketches...and "The Unruly Girls Club" Clearly impressed Stamp Line was born.
Q: Your new book, "Mixed Emulsions", is hot off the press this month. Tell us about it.
A: As I was completing the final draft of "In This House" with Sarah Fishburn, Rockport approached me to see if I would write a book about my altered art techniques. The folks at Rockport had seen my "Beyond The Pale" exhibit and asked if I could use some of the art from that exhibit. I had received many requests before this to create a book with my hand-painted photography so I decided to go for it. I worked my tail off day and night on "Mixed Emulsions." I hoped to create a book to inspire artists to experiment and explore with their own art and take it one step farther. I filled the book with techniques and ideas artists can play with to see if it resonates with their sense of expression.
Q: What motivated you and Sarah to self-publish Pasticcio? What have you learned from the process?
A: Both Sarah and I had talked about creating Pasticcio while we were working on "In This House." Pasticcio means "a work or style produced by borrowing fragments, ingredients, or motif from various sources; a potpourri." That is exactly what we had envisioned. We both wanted to create beautiful full pages of art by well known and some up and coming artists, technical techniques, art history, informative and entertaining articles. Self-publishing was the answer. When we received the first issue of Pasticcio 1, we were thrilled with the way it came out. The zine was so different we decided to give it a new name...QUARTZ (qUALITY art ZINE). Pasticcio Issue 2 is available any moment now - It's the holiday issue and is bigger and better than ever.
Sarah and I work really well together even though she lives in Colorado and I live in California. It's a true meshing of two totally distinctive styles that seem to blossom in our collaboration of this glossy 8.5 X 8.5 page quartz. What have we learned? That when you want something and you have a clear vision of it, you can make it happen.
Q: What programs do you use for your digital artwork, and which of them would you recommend to others?
A: If you are going to do any digital work you need a reliable computer. With as many images as I have on my computer I would not be without my backup drive, and I copy images to it often. I use Photoshop CS2 when I create digital artwork, and I use a publishing program to layout Pasticcio.
I love playing with my own images and using digital techniques, however, the artwork I exhibit is not created in a Photoshop program. The photographs I use on my art pieces are shot with a film camera and are printed on fiber paper and collaged by hand. I hand paint my photographs using photographic oil paints, acrylics, oil sticks, and sometimes markers. People have asked me if my photo artworks are digital photographs combined and painted in a program, but they're not. I do love playing around in Photoshop though, and exploring all the different filters and things that are available in this digital age we live in.
Q: What upcoming projects, books, or events can we look forward to seeing from you in the future?
A: I often feel totally possessed by the Gods of the Arts who visit me when I sleep and plant the seeds of creation in my id. I opened a shop called Angela's Olios on Etsy at www.angelacartwright.etsy.com to sell some of my artful olios. There are a few other things up and coming and will let Artsmiths know as soon as I can...so stay tuned!
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