Art Space Talk: Jennifer Dalton

We all know that there is a great deal of controversy in the artworld in regards to business practices and how artists are marketed. However, it is rare for an artist to have a concentrated focus on this issue and to directly reflect it within the context of his or her work. Installation artist Jennifer Dalton has done just that. One could say that she has brought this attention to the next level by devoting entire bodies of work to this theme. Since graduating from Pratt in 1997, she has created bodies of work that take a critical look at various angles of the business of art. The auction market, influence of the press, and art collectors have all been a target of Jennifer's work-- installations that appear to be a form of documentation of her experiences while engaged with the art world's trends and expectations.

Would You Rather be a Loser or a Pig?- 2006

Brian Sherwin: Jennifer, you received a BFA in Fine Art from U.C.L.A. and an MFA from Pratt Institute. Who were your mentors at that time? Have you remained in contact with those former instructors?

Jennifer Dalton: I did have some great professors at both places. At UCLA I was strongly influenced by the photographer Connie Samaras, who introduced me to feminist theory and taught me to conceive of art from a conceptual basis. At Pratt my strongest influence was Robert Zakarian, a sculptor who was brilliant at helping students learn how to analyze artworks, including our own, and he taught us how to see what makes great art great and where to aim to attempt to make great work.

How Do Artists Live?, 20-image slide show- 2006

BS: Can you tell our readers about your recent solo exhibit, 'What is the Art World Thinking?' at Smack Mellon Gallery. Tell me... what is the art world thinking?

JD: "What is the Art World Thinking?" is a project I'm doing at Smack Mellon Gallery in Dumbo, Brooklyn. It's an ongoing series of anonymous short surveys I'm creating to query the art world (or at least a segment of it) on various subjects that interest me. Sometimes the surveys relate specifically to the current exhibition at the gallery, or other times they just reflect ideas that I'm interested in at the moment. So far I've asked people about the necessity of all-women art shows, what it takes to be a mid-career artist, and what artgoers' philanthropic habits are. The next survey is going to have two simple statements and viewers are asked choose the one with which they agree more strongly: "I am inspired by art" or "I am depressed by the art world." We'll see what they say!

The Collector-ibles- 2006

BS: Jennifer, you are no stranger to asking questions about the artworld with your art. Would you like to discuss some of the concerns you have with the artworld at this time? Perhaps you could discuss you piece, 'The Collector-ibles'?

JD: Well, "The Collector-ibles" consists of five large cabinets containing little figurines representing the top 200 art collectors according to ARTnews magazine. I really enjoyed the feeling of turning the tables on these very important people whose tastes influence so strongly the kind of work that is created and shown, turning them into trinkets and containing them in a cabinet. It made me feel momentarily omnipotent, which is an unusual feeling for a young(ish) artist.

The Collector-ibles- 2006(detail)

BS: When I attended the Scope, Pulse, and Armory Show press previews a few months ago I heard many people say that the traditional gallery system is being over-shadowed by the "huge art fairs". Do you think that Scope, Pulse, and other major art fairs are dangerous for the stability of the 'artworld' and art market? Or do you think these concerns stem from gallery owners who fear that they will have to compete with other galleries on a yearly basis just to stay in the market, so to speak? Do you think the stability of brick and mortar galleries are at risk due to these fairs? Do you think this shift will harm artists or does it place more power in the hands of artists?

JD: Hm, well at first I was fearful about the rising importance of art fairs because I felt that they rewarded only artwork that was the most sensational, that had the fastest read, and that could compete instantaneously to stand out from the very crowded walls as people strolled by. And perhaps it is stating the obvious to say that that work might not always be the most ultimately rewarding or worthwhile. But I am now thinking that we are witnessing an evolution in the creating, viewing and marketing of visual art, and that interesting things might come out of it. It makes me think of the record companies and newspapers, who are being forced to evolve quickly to respond to new technologies, but ultimately there could be exciting new opportunities if we rise to the challenge and respond creatively. Of course I do hope and believe that galleries will continue to exist as physical addresses, because it is very hard for artists to be satisfied with working so hard for a 3 or 4-day "exhibition," and most of us believe that our work warrants more sustained attention, and benefits from a quieter environment, than art fairs can provide.

What Does an Artist Look Like? (Every image of an artist displayed in the New Yorker magazine 1999-2001)

BS: You have been reviewed in several major art publications- ARTnews, Art in America, Artforum... just to name a few. Did you expect that your work would have the impact that it has had in art-related media? Or does it still come as a shock?

JD: I never expected to get much attention at all from my work, but I think that since some of my work directly addresses the art world as a subject it's very easy to write about and I have benefited from that.

Getting to Know the Neighbors

BS: Jennifer, you obtained a Pollock-Krasner Foundation Grant in 2002. Do you have any advice for artists who desire to obtain grants or other funding?

JD: Keep trying. Get in the habit of applying and apply for everything. I only get about one thing for every ten that I apply for, and I have had many other people tell me the same is true for them.

BS: I read that you were involved with the Yaddo Artists' colony. Can you tell our readers about that experience?

JD: I have visited a few colonies and always had wonderful experiences there. It is heavenly to have all the time in the world (for a few weeks, anyway) to focus exclusively on your work, except for the time you spend socializing with all the other fascinating smart people around you. Yaddo in particular was great because it is on such an incredibly beautiful old estate.

BS: Finally, is there anything else you would like to say about your art or the artworld?

JD: That's all I can think of. Thank you very much for inviting me to participate!

You can learn more about Jennifer Dalton and her work by visiting her website: www.jenniferdalton.com. You can read more of my interview by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Thornton Willis

Thornton Willis observes abstract painting as an abstraction of personality and nature. In that sense, his paintings are a reflection of himself and his experiences. Thornton is known for being a powerful painter, but his most recent work reveals the strength of his painterly technique and knowledge that derives from decades of exploring his artistic practice. His work is bold, but at the same time it conveys a sense of delicacy. His triangular forms seem to map-out his experience as well as our collective experience-- the essence of the human condition.

Full Spinner, oil on canvas, 24" x 18", 2007

Brian Sherwin: Thornton, I've read that Mel Price was your mentor during college. After your studies Mr. Price, a close friend of painters Franz Kline and Willem de Kooning, encouraged you to pursue your career in New York City. Can you recall any unique experiences of those early years? Also, can you explain how Mel made an impact on your study of art?

Thornton Willis: It is true that I studied painting with the Abstract Expressionist painter Melville Price at the University of Alabama in Tuscaloosa, in the early l960’s. Price was an inspirational example of what it meant to be a painter of integrity. From Mel I learned that the idea was to "live the work." To "be in" the painting and to see the work as an extension of one’s self, and it has always been with this attitude that I approach my painting.

Mr. Price had been in New York City during the 10th Street years and had been a member of the "Club." He was friends with the "First Generation of Abstract Expressionists" he knew their work and they knew his. When New York artist Theodoros Stamos came to the university to give a lecture I asked him if he thought I would have a greater advantage if I were to go to New York to study painting. Stamos replied " not necessarily, so long as you’re working with Mel Price." When I graduated Mel encouraged me to go to New York City.

Counter Cluster, oil on canvas, 24" x 18", 2007

BS: Thornton, in the early 1980s, you were often grouped with such painters as Elizabeth Murray, Bill Jensen, Alan Uglow and Sean Scully. Art critics have stated that in recent years you have†tried your best to†keep a lower profile in the art world. If this is so, may I ask why?

TW: Well, Brian, I didn’t intentionally keep a lower profile through the l990’s; it was a result of circumstances. For example, most if not all of the galleries with whom I had some affiliation in the 70’s and 80’s were closed by the early 90’s. These included Bykert, Paley & Lowe, Oscarsson Hood, Twining, and Sidney Janis Galleries. The art market was going into a real depression along with the economy. That was when the galleries closed down in Soho and began their eventual move to Chelsea. Some of the other artists you mentioned went to Europe, which was somewhat sheltered from the recession here. Many artists were hurt during that downturn and painting took a hard hit.

We had just had a little baby girl and I decided to stay home and raise her and paint until times got better for painters again. (I keep waiting for that day.) But I did show in numerous group shows during that time here and in Europe. I have never stopped painting.

Preacher, oil on canvas, 24" x 18", 2006

BS: Thornton, what are you working on at this time?

TW: The paintings I am working on now are based on a system that I began developing in the early 90’s. In l993 I had a one person show at Andre Zarre Gallery in Soho and the paintings from that show, the ideas and the system have continued to evolve. I am also putting a show together of some earlier work, including the early "Slat" and "Wedge" paintings. The exhibition opens October 13th at the Sideshow Gallery in Williamsburg, Brooklyn. (I like the artists and galleries in Brooklyn) The show will include major work from the 60’s, 70’s, and 80’s as well as some paintings from the 90’s and a few current paintings and works on paper.

Lowdown, oil on canvas, 80" x 69", 2006

BS: Thornton you have received several honors and awards-- including, the John Simon Guggenheim Memorial Foundation (painting fellowship), The Pollock-Krasner Foundation (painting fellowship), and the Adolph and Esther Gottlieb Fellowship. How do you feel when you have learned that you have been chosen for honors, awards, and grants? Do you feel nervous? Excited?

TW: Brian- it is a very wonderful experience to be given a grant; it has to make you feel encouraged and energized as an artist. You always know that lots of other fine artists went up for the same grant and it is very flattering when I have been fortunate enough on a number of occasions to receive much needed financial support for my work. The feeling or the emotion I have is mainly one of gratitude.

I also try whenever I can to nominate artists for the grants I have received and written many a letter of recommendation. Right after 9/11, The Pollock-Krasner Foundation called me about artists living near the World Trade Center and how to contact them for much needed emergency money. Actually I wish there were more grants for more artists.

Redeemer, oil on canvas, 79" x 62", 2006

BS: Thornton, you have exhibited at several prestigious galleries and spaces-- The Museum of Modern Art (NY), AndrÈ Emmerich Gallery, Elizabeth Harris Gallery... and several others. Can you recall your first exhibition? Where was it? How did you feel going into it? Also, do you have any suggestions for younger artists who are seeking gallery representation?

TW: The first solo show I had after graduate school and moving to New York was in 1963 in Washington D.C. at the Henri Gallery. The Henri Gallery was actually the first gallery in Washington to show contemporary art. A friend of mine, Ed McGowan was showing with her and he introduced me to Henri. She liked my work and gave me the show. I remember it well, but I remember even more the first show I had in New York, maybe because the paintings that I did in that first year in New York were so pivotal for me?

The first gallery I showed with in NYC was the Paley and Lowe Gallery in Soho. They sponsored my first one-man show in New York in l969 where we showed a number of large "Slat" paintings at the sculptor Alan Saret’s alternative space at 119 Spring Street. Paley and Lowe was new gallery and they opened with a group show simultaneously while my show was up at Alan Saret’s space. Mr. William Paley, then President and CEO of CBS, acquired the one painting I had in the group show. I was amazed when I heard about it, and for many years, until his death in the mid-90’s the painting hung in the CBS building (it is now installed at the Museum of Broadcasting on 53rd Street which he founded before he died.)

But finding gallery representation for an artist at any age can be very difficult in New York. It is mainly a matter of being prepared to take advantage of opportunity when and if it arises. And making some of those opportunities happen for you. That is why it is good to show in groups with friends or with artist with whom you have an affinity. It is also good to show in galleries where the dealers are really interested in the art. Showing at Sideshow is a pleasure because Richard was an artist before he became involved in running a gallery. Elizabeth Harris is the kind of person who really sees art and loves it.

Fighter, oil on canvas, 80" x 63", 2005

BS: Thornton, You have taught and done guest lectures at several prestigious educational institutions-- Princeton University, Art Institute of Chicago, Carnegie-Melon University, Pratt Art institute... just to name a few. Can you tell us about your educational philosophy? What is your instructional method like? Also, how did you balance the role of being both an art educator and practicing artist?

TW: Brian, the schools you mention are schools whose art departments invited me as a visiting artist or guest lecturer with the exception of Princeton University. My contact with the art students at Princeton came as a result of my friend, Sean Scully who was teaching there at the time. He brought a group of his students to my studio and we talked informally for more than one session.

Teaching painting and drawing is something I have done but I have not had what one would call a pedagogical career. When I have taught it has been at the college level over a semester or more. My ideas about teaching art are based on the individual student: I try to understand what each is thinking about what they are trying to do and why. Since this kind of individualized teaching is very difficult to do, and almost impossible to balance with my own work, I stopped teaching some years ago.

Also, there was quite a long time when many of the schools around the country had eliminated Painting from their programs. This was in some ways a result of accepting the notion of Post Modernism. (Every decade someone tells me a new theory of why "Painting is dead") But I think that this has been slowly changing as I meet young painters. The idea that the basic tenets of Abstract Expressionism, coupled with Cubism, are ongoing and the backbone of mainstream painting is coming once again to the forefront is a good thing.

Downtown Slam, oil on canvas, 40" x 30", 2002

BS: Thornton, Jed Perl said the following about your art, "Abstract painting is an abstraction of character and personality as much as it is an abstraction of nature." Do you agree with this statement? If so, do you care to add to it? How can a viewer learn to understand and appreciate abstract art?

TW: Yes, Brian, I do agree with Jed Perls' statement. In order for a painting to have meaning it must be an honest reflection of the artist’s personality, otherwise it is illustration. I think that the best way that we can understand abstract art is to look at as much art as we can. Look at Pollock, deKooning, Kline, Rothko or Rembrandt and look some more. Try to figure out what they are doing.

BS: Thornton, you have said the following about your art, "In my paintings the forms are locked in this flux. It is part of the dynamic of the work and meant to be so. In this work, figure and ground, positive and negative are all equal." You have also stated, "The best painting is always "open-ended." It asks questions, and partners with the viewer to bring the experience to closure, or it might excite another painter to respond--this is what I aim for in my work." Can you go into further detail about your artistic process and goals as a painter?

TW: Process and systems are part of what my art is about. That is, I invent, find, and borrow ways of making painterly statements, which reflect my person to the extent that I am able to reach into that core of my being. It’s a kind of self-analysis that requires a balance between the rational and the intuited.

My painting has been primarily influenced by the two major movements of the 20th century, Cubism and Abstract Expressionism. But I have been, and still am like a sponge with a sense of discretion. I absorb what I choose for whatever personal reasons. What I hope to accomplish is a dynamic and powerful painting that takes a very special place in the world of objects in that it reflects life and personality through its esthetic properties. That’s my goal. It has nothing to do with the reverence or irreverence of past or present social or cultural convention, (which seems to be the primary aim of some current art in the popular marketplace) other than the fact that we are able to practice and make our art represents a kind of political freedom.

Konstrukt, oil on canvas, 24" x 18", 2003

BS: Thornton, do you have any further advice for young painters? Or for painters who desire to explore abstraction?

TW: I once had a Jazz musician friend who often said, "There ain’t no vice like advice." I suppose there may be some truth in that saying. Even so, I think the advice to anyone who wishes to pursue abstract painting is to look at the great art of the 20th century and to learn and know as much about the history of what we call abstraction in painting as possible. Then of course hard work is usually required to learn how to make the work that he or she wants to make.

To sum up, focus on what you are interested in. Then go see as much of that kind of painting you can find. Museums and galleries can be a place to learn and obviously you should read and inform yourself. Continue to educate yourself and paint as much as you can. I think that is what artists have always done.

Cayote Dreams, acrylic on canvas, 90" x 72", 2002

BS: Finally, is there anything else you would like to say about your art or the art world?

TW: There isn’t much I can say about my painting except that it always changes and it does after all speak for itself.

As for the art world, it is as real as Hollywood and at least as fashion conscious. I think that we are aiming for something less ephemeral, less slick, and less easily packaged. I believe that it is important for the artist, painter, poet, dancer, etc. to keep in mind that it is the art that drives the art world and not the other way around. Artists and other people of intelligence have the power to bring deeper content to our culture.

You can learn more about Thornton Willis by visiting his website: www.thorntonwillis.com. You can read more of my interviews by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Timothy Hawkesworth

The art of Timothy Hawkesworth is known for conveying a sense of urgency and disruption. One could say that his work is a visual translation of the chaotic flow of creative energy that stems from the soul of this artist. These battered surfaces reveal the passion that Timothy has for his work and for life. I feel that his images convey a sense of raw purity that has been caught in a twisted maze of chaotic uncertainty and peril-- a perfect reflection of our times. Timothy's paintings are the survivors of this creative exploration-- they shed insight into the very essence of humanity.

Out #18, Oil on Canvas, 30" x 30 ", 2007

Brian Sherwin: Timothy, you have exhibited for over three decades in New York, Los Angeles and Dublin. Can you share some of your insight into how the artworld has changed during that time? Has it changed for the better?

Timothy Hawkesworth: Oh yes well first I would like to put this in context. The artworld is a very small thing when you think about painting and the consciousness that painting addresses. To paraphrase Emily Dickenson, a painting is a rectangle of burning consciousness – nothing else! So as we explore consciousness, filling out what it means to be human, following the paint – that journey – that great ride – has a strange and awkward relationship with the artworld. It is like the relationship between spirit and religion. My God it is almost hilarious if it wasn’t so tragic! So I think as artists we need to understand the misfit at the heart of this relationship between our work and the artworld.

I remember the story of Jackson Pollock and Williem De Kooning running into each other on 57th Street after they had got some fame and just falling over laughing at the thought of it. Don’t get me wrong I like the fact there are places that show paintings and people who buy them and people to write about them – I even like all the trendy coffee shops that spring up around the galleries. I like showing my work. I just don’t want to let my relationship with it get out of hand or to be too worried about it all.

Yes the artworld changes, it has to, that is marketing. It will keep going round and round being surprised and excited by the view of its own tail. It forgets where it has been so that it can be refreshed by what it comes upon. Painting is slower. Brancusi talked about the patience of the peasant waiting for the harvest. Medieval time. Painting and consciousness unfold more slowly. They need more quiet, more time, more sensitivity than the artworld tends to give. James Joyce said "Silence, exile and cunning!"

Going Out #2, Oil on Canvas, 36" x 36", 2004

BS: Considering the current art market-- do you have any advice for artists who are just starting out?

TH: Oh dear I don’t think young artists if they were anything like I was, would listen to the likes of me. Still here goes. Don’t "consider the current art market" whatever you do! You have to be crazy to paint. Crazy enough to believe that in the end they will come. I am crazy enough and I do believe that if you do the work and take the time to come up with strong personal painting, they will come. People hunger for this.

So figure out why you are painting. What is the job? Really what is it and why does it matter? You will need a broader context than the one usually offered by art schools, art magazines, great blogging, curators and critics. Then just do it. Stand in your vision and experience – paint from there. Figure out ways to let yourself do it. You need time. Get part-time work – whatever you can pull together. Know that the longer you do it the better you will get. When you have work to show, really work at getting it out. It is your job to get the actual pieces in front of people with the resources to show it. After that it is up to them to decide if they want your work. This is not easy. I found that being aware and considerate of the predicament of the curator or gallery owner was the most effective path.

Really though I have no idea.

When the Heart Opens, Oil on Canvas, 60" x 72", 2003

BS: Tell us about your early years... when did you decide to pick up the brush-- and why?

TH: I painted as a kid. I grew up in Ireland in the mountains of Wicklow. I did landscapes and sold them to tourists out of one of the farm buildings. I wanted to paint like John Constable (I think I still do). Anyway I always painted. Back then you could get grants to go to university. So I got paid to study history while I painted away. It was a strange time. Ireland was on the brink of civil war. There were two histories and always two different responses to events as they unfolded. It was hard to know what to believe and how to get past all the lies. Painting seemed like a place where I could do that – where I could build a way of working that I could trust.

Painting for me has always been an extremely physical body centered language. The paint goes onto our nervous system. We follow Rembrandt’s finger through the paint. It is communication by touch. It is always a physical presence and that is its gift. To look at painting and to paint we need to stand in our bodies responses. Painting insists that we stand there. It is how it works.

The poets talk about making a temple of the inner ear for sound to echo down into the psyche, painters have to make a temple of the belly and stand with how marks, paint and imagery go onto our bodies. This is a radical stance in a culture that keeps trying to separate us from our body’s experience. The social and political dialogue is designed to separate us from the experience of living in our bodies. It creates a gap in which people get lost. Painting is one way to close that gap. So when I first came to painting it seemed like a way to get straight – get to some bedrock.

Heart #1, Oil on canvas, 60" x 72", 2003

BS: Timothy, your art has been reviewed in The New York Times, ARTnews, Art New England and several other publications. How do you feel when you are asked to be featured? Do you get nervous?

TH: No, I am pleased. I believe strongly in the value of painting and its relevance. I am driven to talk about how it works and why it matters. I don’t feel that artists and critics are doing a very good job at explaining this. There are exceptions like Philip Guston, who was a great talker, and the great critic John Berger. On the whole, however, poets do a much better job. I read what they write about the relevance of poetry and this helps me find the words to talk about painting.

BS: Timothy, has your art been influenced by any major world events? Also, where do you draw inspiration from? Can you discuss your influences?

TH: Yes I think whatever effects me effects my painting. I have done series of works that came out of my response to events. During the first gulf war I did a series called "Para La Quinta Del Sordo" which means "From the House of the Deaf Man" this is a reference to Goya’s house. This was because I got so angry. It seemed everyone was lying to me and yet they were going to war on my behalf. I hated the military news briefings – the jokes and high aerial photographs of targets being bombed that showed no understanding or compassion for what was going on on the ground. They were very angry drawings and I was grateful for Goya’s great angry response to his own time.

Now I think my work is impacted by the planetary crisis that is unfolding. I don’t know fully how it will show itself but I am aware of my growing unease and my grief at the awful and profound violations of nature that are continuing to threaten our existence. I believe our survival now depends upon our return to a humbler and attentive relationship with nature. Now I work to do just that – to be a better watcher of the incredible complexity and power of nature and to paint from those experiences.

As to where I draw inspiration, it always seems to go back to the landscape in Ireland where I grew up. I have wanted to paint, not so much the landscape itself, but the experience of being in it. How it opens me, dissolves me. It has always been the question how do you get to that? At first I would paint my body into the painting – paint myself in there. Then it was a matter of getting past my body’s presence into the energy that is the experience. It’s into the body then through the body then out of the body. It’s about pure energy. The motifs that have shown up over the years were stepping-stones to this dissolution. Basically the ambition to paint experience as a subject has been with me a long time and it is the Irish landscape of my childhood, and its weather, that opens me up.

Out #4, oil on canvas, 36"x36", 2006

BS: Timothy, can you tell our readers about your 'Going Out' and 'Out' series. What are the differences between these two bodies of work? How are they connected?

TH: These two series happened when I stepped up to the challenge of my long search to paint the way landscape opened me up. For years I had worked at it, pushed at it. I would take as long as two or three years to complete a painting. I was working on 15 foot triptychs trying to get at the impact of landscape. I was banging my head against it. Then I decided to just paint it directly – to go straight for it.

I chose a smaller canvas size, 36" X 36", and I did a painting a day for two weeks without a break. I just put them out. Just to see. I found that I got further and I got more coherent the freer I was. This amazed and delighted me. I discovered that when a painting goes well, it is easy; it has a life of its own. Its quality and its conviction come from its naturalness. It appears effortless because it is. The work, the struggle, is getting to that place of effortlessness with enough knowledge and experience so that it will cohere into the language of painting.

The other challenge is not messing with that effortlessness: letting it be; not letting the conscious mind mess with the wonderful lightness of those moments. These paintings were the "Going Out "Series. The paintings that followed were the "Out" Series. These came as I stood more confidently in the painting of the experience of nature.

Going Down in Time III, mixed media on paper, 32"x 22", 2000

BS: Timothy, I really enjoy your Horse Drawings series... these images are loose, yet they have a sense of static about them-- as if the horse figures are encumbered or stuck. Can you tell us about this series of images? What is the story behind this body of work?

TH: I was very surprised when I started doing these drawings. They came from my memory of a horse I had when I was a kid. She was part thoroughbred. She was perfect except for the back legs which scraped the ground going down hill. It was a kind of loss of faith. She feared that her legs would give out. She refused to trust the rhythmic movements passed down in her genes. Fear and stubbornness ruled. It was a fear fed by a rampant imagination. A swooping bird, a rustle of leaves, a passing shadow, everything reduced her to a trembling nervous excitement. "Shy" was the word we used: she would "shy" from anything that moved.

I grew up with her and I grew up like her. After she died I started to imagine her journey through horse history. She told me stories – how she crossed the Alps with Hannibal: how she was part of the battle of Wounded Knee. This was the starting point. She provoked the memories and the connections to make these drawings. However, once started her presence was submerged in the process: a backdrop to the making and unmaking of the images. Her sensitivity was a conduit with nature.

I had the physical memory of the movement of her body – of her attunement – of the speed of her mind as it manifested itself in the twitches of her body. She taught me to see. I think when you don’t have religion you need an imagery horse or a boat. You need transportation to the other side. Maybe that is only true for the Irish!

Feel Good Saddle Sores, mixed media on paper, 40" x 30", 1998

BS: Timothy, you have stated the followings: "At the heart of painting there is a kind of affirmation; it returns us to hope. When form appears in the paint, when the color starts to sing, it’s already on the side of hope.". I assume that you see artistic expression as a form of hope, both for the creator and the viewer, correct? Can you discuss this further?

TH: Yes I’m really talking about all creativity when I say that. We live in a creative ecology. We are by nature creative – all of us. James Joyce has his alter ego Stephen Dedalus say "the only limit to creativity is [self] consciousness." We have no idea how far we can go. When I work and when I teach I see how creativity is encouraged. What helps it. It comes from feeling good, from openness and fluidity. It comes from an ‘up’ energy. To be creative we have to stand in possibility. Creativity by definition means going out beyond what we know and already realize. For this to happen we must believe that there is more to us than we realize: that there is more out there to be experienced and that there is more inside us. Hope is different from optimism. Optimism suggests things will work out. Hope implies that there is more to it – more over the horizon. In this way the creative act is always an act of hope and possibility.

Leah’s Lift, oil on canvas, 70" X 62", 2007

BS: Timothy, can you go into further detail about your artistic process and philosophy? How would you explain your art to someone who is not aware of what you do?

TH: I believe the job of the artist is to fill out what it means to be human – not to illustrate or just conceptually explore what we don’t know about ourselves – but to actually create the possibility of expansive experience. This is what we experience in nature – in our experience of nature’s creativity and rejuvenation. The roots of aesthetics are in our response to nature, which is why artists have always studied the natural world. Painting along with the other arts offer the opportunity of this expansive experience.

For me to stand in front of a painting that expands me, that refreshes me, that feeds me as nature does, is really a return to sanity and possibility. It is a place where our learning and our nature co-exist. When they are separated we are dysfunctional. If we are to survive as a species we need to return to a humbler more holistic, perhaps reverential relationship with nature. Painting, poetry, drama, dance and the other arts are built on the holistic nature of experience – the very way they work is dependent on this fluidity between body and mind, nature and thought. They also stand us in our creative possibilities. We need them now more than ever.

So for me the process is one of surrender and immersion. I have to work my way into the painting, past the voices and the cleverness, to the place of silence where the imagination can find room to travel and where the paint moves ahead of thought. All my intelligence has to turn physical, to gesture and pass through my hand into the flow of the paint. Everything has to be re-found in the process. All the issues of painting – coherency, composition, balance, pressure, color etc have to be solved, but the solutions have to be found in the process. This is why it takes years to get fully free in painting – fully versed.

The freedom of the late Titian's and Rembrandt's were because they had learned to close the gap between their painting and their experience of living. To communicate experientially you have to get down into the tissue of experience. Experience is impulse saturated. We have to get down to the speed of impulse. For me that is where I make the good aesthetic decisions – faster than the conscious mind. It is what Robert Frost meant when he talked about "impulse and right action and some lucky events" as being the path to finding a poem.

Imagination too is characterized by movement. Painting is well suited as a recorder of movement. It is an incredibly subtle recorder. To have something to record, however, we have to let ourselves have experiences in the process of painting. To do this we have to get present and get past the chatter of our own minds. This is the great gift of painting. It shuts us up. It calls us present. It makes us stand in our own experience and our personal truth.

Out #10, Oil on Canvas, 30" x 30 ", 2007

BS: Timothy, what projects are you working on at this time? Care to give us some insight into your current work?

TH: I never know what is coming. Recently the paintings got darker and the pictorial space more expansive. I get opened up by new (usually wilder) ways to apply the paint. I call these cheap tricks but if they open me up and bring me along, then they are pure gold. I am always looking at the history of image making and I have a great library now which keeps feeding me. Recently I have been looking more at Chinese and Japanese painters like Hon’Ami Keotsu. Amazing work!

BS: Do you have any upcoming exhibitions? Where can our readers view your art in person?

TH: Yes my next show is at the Taylor Galleries in Dublin in April. Littlejohn Contemporary in New York also has work on hand and so does Peyton Wright in Santa Fe...

Out #18, oil on canvas, 36"x36", 2007

BS: Finally, is there anything else you would like to say about your art or the artworld?

TH: Well I suppose it is true to say what I do is out of step with much of what has recently been going on in painting, or at least what has been focused on by the artworld. Magritte’s painting "C’est ne pas une pipe" is analogous to walking onto a stage during a performance of Macbeth and saying okay it’s not a murder, it’s just a play! This mischief has become institutionalized. Contemporary painting is often reduced to the philosophy of the visual. This bores me. It’s like studying nutrition when you are hungry.

At the heart of painting is reverie, you sit in front of one and it quiets you. For me this is the opportunity in painting, this is the experiential base. Enough painting about painting - let’s deal with something bigger. The scientists are speculating that there must be at least ten dimensions in order for relativity and quantum physics to work together. The scientists are sitting out there with the mystics! Where are the painters?

This opportunity at the heart of painting to create expansive experience, to center us in our experience of living, is a radical stance in the commercial culture in which we live. Painting insists that we stand in our body’s response, in the holistic nature of experience. Our cultural discourse, whether political or commercial, is designed to separate us from the validity of our experience. It creates a gap between how it feels to be alive in our bodies and the discourse used to bind our community. This gap is then used to manipulate us and to sell us things or ideas.

We are told our bodies are not beautiful we need products and even surgery to be beautiful. We have romantic names for war that seek to separate us from the awful experience of warfare. It is all about manipulation. So when we stand up and speak from the truth of our personal experience – when we honor "the integrity of the senses and the truth of the imagination" (as Keats advocated), we reclaim the possibility of real dialogue. In this we reclaim all the great tools of humanism that have been usurped by the practitioners of manipulation. We put them back to work in the service of creativity and possibility.

For this to happen artists have to return to the risky business of going out beyond what is already known. They have to get used to exploration - to raid the inarticulate. They have to go below the floor of consciousness to expand our understandings and experience of life. This is what painters have always done since the Shamans of our ancestors reported back from their dream travel with cave paintings. However to do this artists have to relearn how to stand in their body’s truth, to honor its responses and to paint from that holistic place where the mind turns fluid and the imagination is given room to travel.

You can learn more about Timothy Hawkesworth and his art by visiting his website: www.timothyhawkesworth.com. You can read more of my interviews by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Remi Thornton

Remi Thornton creates a mysterious atmosphere around the subjects he captures with his camera-- leaving a story that only the viewer can provide. These images are open to interpretation. In my opinion, Remi's work reveals how common objects, scenes, and people can become more than what they appear to be at first glance. They show how light and shadow can be utilized in order to give new meaning to the things we view each day without a second thought.

Brian Sherwin: In 2006 you were involved with an exhibit titled Quiet Chaos- a two-person show with Cathy Bruegger at the Silver Eye Center for Photography. How did that show go for you? Do you have any upcoming exhibits at this time?

Remi Thornton: It was a good experience. I was able to basically curate a show of my own work with another artist that I had never even seen work by. Which seems challenging, but we were able to share photographs in emails and put together a nice show. I couldn’t have asked for a better partner in this respect because we pretty much agreed on everything. I wasn’t able to go hang the show, or attend the opening, so that was an unfortunate disconnect, but the nature of out-of-town exhibitions.

My solo exhibition at Gallery Katz was a breakthrough for me. It was the first time I really put my work out there for people to see...I sold prints and got excellent exposure. I have some work in a group show at the Danforth Museum and will be in an auction at the PRC in Boston next month. I don’t have any planned solo exhibitions right now and would kill for some representation outside of Boston. Know anyone?

BS: You have stated that what you are capturing is not complex and not completely conceptual. You have went on to say that your work is pure, simple, and eerily beautiful. Can you go into further detail about your work and the vision behind it? What are you attempting to accomplish? Have you came close to your goal?

RT: I think I’m just a purist. I want people to know that if they don’t want to read into the photographs on a conceptual level, that they don’t have to. I really like art that is both aesthetic and meaningful but if it’s just one or the other, that’s ok too. It doesn’t have to be both. However, I do like knowing that my work may cause an emotional response or feeling. If the photographs doesn’t seem to carry meaning for the viewer, but are appreciated on an aesthetic level, that’s just as good. The "eerily beautiful" thing really just stems from comments I received after my solo show at Gallery Katz. People said the photographs made them uncomfortable, but at the same time, they really liked looking at them. To me, that’s a bonus response. I enjoy taking late night walks, and capturing that awkward silence of a location is what I’m after.

BS: I've read that you only photograph at night...and that you focus on urban spaces that are bustling with life during the day and are absolutely vacant at night. What are the social implications of this manner of photographic work?

RT: Well, firstly, I do not only photograph at night, that was a slight embellishment. I work with a stock photograph agency (a very recent development), and they will take my "other" work in addition to the night photographs. But, I am really only interested in taking the night photography to the "fine art" level. I feel good about them and like sharing this particular work. The rest of the stuff I take to keep myself busy and to feel less guilty about spending so much money on a camera that isn’t used more often. But, at the end of the day, I’m just not interested in shaping those photographs into a body of work to show.

As for the social implications of shooting in these locations...The first thing that comes to my mind is that I’m usually pretty terrified while taking the pictures. Being mugged, hassled by locals or annoyed by police and security. I find it amazing that these places that are so alive during the day can become such strange or seemingly dangerous places once the sun sets. Now, obviously, I’m also just very paranoid, but nonetheless, that’s what the experience is about for me. And, I think that the uncomfortable nature of my own being while taking the picture comes across in the photographs. At least, I think that is the case with the more successful images.

This might sound stupid (if I’m not already), but one of my gauges when I take a photograph is how nervous I am while at the location. If I’m not, then usually I don’t like the end result. So, the more uncomfortable you find the imagery, just know that I found that spot to be 100 times more freaky. On that note, you should see how many pictures I messed up because I was rushing to leave. Early on, I would take one picture and move on. I’ve learned that after MANY blurry or soft shots, that it’s worth the time to take a few extra shots to be safe. I’m such a nervous dork though and usually don’t practice what I preach leaving me very frustrating after returning from a shoot.

BS: Can you tell our readers about the Runaway Reindeer project? The page containing info about the project received over 15,000 visits during a two week span and was the number one most emailed story on the Boston Globe website.

RT: My friend Hargo (www.not-rocket-science.com ) is a really talented conceptual artist (and also a great photographer). Coincidentally, he also created The Somerville Gates, which was a parody on Christo’s gates in Central Park. That project was written up in the New York Times and I think he was even on CNN or something like that. It was so popular online that it crashed his site (and I think his Internet provider). He has several successful projects under his belt, but the Somerville Gates is his most popular to date. The reindeer site was all his idea, and his hard work. He took care of the conceptual elements (because he also knows that ain’t for me) and asked me to do the photography, and I was more than willing.

Anyway, it’s a modern and somewhat creepy take on a book called The Runaway Bunny by Margaret Wise Brown. Honestly, I never read the book as a child, so I’m not that familiar with it. But it was the foundation of the project’s story, so I’m told by Hargo. From what I’ve learned about it online, it is pretty strange to begin with.

Anyway, we were excited about the success of the site and story and hope to do more this coming winter. Oh, your readers should know that we were removed from the number one top ten emailed stories on the Boston Globe website after about 10 minutes...There was a stomach bug in Tewksberry, MA, that was apparently more interesting than the runaway reindeer site (www.runawayreindeer.net).

BS: The practice of digital manipulation in regards to photography has been increasing in recent years. Photographers are using computers as a tool to alter their works. I've read that you try to stay away from altering your images. Why is that?

RT: Given the nature of the digital photography process, literally speaking, almost everyone manipulates their photographs. Even your point-and-shoot cameras help you manipulate an image There is software in the camera that allows you to add contrast, saturation, and other goodies. For the more advanced, the computer is a powerful tool that has replaced darkrooms altogether. Don’t forget that even with film, going back many years, photographers have manipulated their work in the darkroom. Dodging, burning, enlarging...So, in that sense, I think most photographers finesse their work before going to print, which isn’t much different than before the digital era.

I mention that I don’t alter the images (beyond any necessary adjustments to correct exposure or color) because people always ask me if what they’re seeing is "real" or "fake." I don’t think the process matters one way or the other, but I think it’s important in my work that the viewer knows that what they’re looking at really exists and I did not add or take away from the scene in order to achieve my desired effect.

BS: Do you think that some photographers are relying to much on digital manipulation? Would you say that an unaltered photo can reveal more about the human condition than one that has been digitally manipulated?

RT: Ugh. What a loaded question... I think I’m guilty of relying on digital manipulation in the sense that if I mess up an exposure, I know I will be able to correct it on my computer (to an extent). I imagine that being able to rely on manipulation in that sense applies to many photographers out there. But I think you’re hinting upon a different type of manipulation. And, it is a fine line between digital photography and digital art. I think that if you start changing reality, you cross that line into the realm of digital art. That can be an intentional transition or inadvertent, but there is a distinction.

Listen, I mentioned I’m a purist, so I feel like if I can take a strong photograph, there is no need to go messing with it. If the photograph isn’t working, I’m not talented enough as a digital artist, to make it work conceptually or otherwise. But, if another photographer has something else in mind with their work other than taking a straight photograph, by all means...I think what you’re trying to do is to get me to say that photographers that digitally manipulate their photographs are cool or lame. Well, like with many other mediums, it all depends on the situation and the intentions of the artist, so I won’t say one way or the other. Nice try!

BS: What equipment do you use? Do you have any suggestions for photographers who are just starting out?

RT: I just bought a Canon 5D but was using a 20D for a long time. After printing larger and larger, I finally decided it was time to get a camera that might be better equipped to make

larger prints. I use a totally digital process...I shoot using Camera RAW which is an amazing piece of technology and I recommend any amateur photographer to start using it if they don’t already. Also, know your computer as well as you know your camera. It’s literally a digital darkroom and perhaps the most important part of the process. It’s like framing a piece of artwork...A bad frame can destroy the look of the work. Likewise, bad computer processing can totally ruin a good photograph.

BS: Finally, what are your planning at this time?

RT: While the weather is still nice, it’s the time for me to be shooting. It gets cold out there at night during the Winter and is totally unpleasant to out there. I’m dedicated, but only so dedicated. Dedicated, but not insane.

You can learn more about Remi Thornton and his work by visiting his website: www.remithornton.com. You can view more of my interviews by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Pedro Matos

Pedro Matos is an emerging artist from Portugal. Pedro started painting at the age of 16. This 18 year old painter displays a lot of raw talent in his work. His paintings, which are influenced by the Old Masters and street art, explore the plight of the downtrodden. These works contain a social message that demand consideration from the viewer. Keep an eye on this artist-- I expect great things from him.

AmmoBoro - Bullets Kill, 80 x 60 cm, mixed media on canvas, 2007

Brian Sherwin: Pedro, you were born in Santarem, Portugal. I've been told by artists from Portugal that it is very hard to find representation there-- it seems that it is hard to find a venue or outlet for contemporary art. Many of these artists strive make their mark internationally due to this. Do you agree with their opinions? Would you say that it is difficult to be a successful artist in Portugal?

Pedro Matos: I would totally agree with them. We don't have all the show openings neither the same amount of galleries as in the US or other European big cities. And the art scene is quite different too. From what I have tasted so far, in my country, your school diploma tends to be much more important than the work you create.

BS: Pedro, I've read that you have been drawing since you were a child and that you started painting two years ago (at age 16). You are currently in high school-- and are, for the most part, self-taught. Where do you plan to study art once you graduate high school? Or do you plan to continue teaching yourself?

PM: Although I believe that I will always be teaching myself for as long as I keep painting, I intend to go to the fine art school (university) in Lisbon, then continuing my studies abroad. I'm researching on London, Barcelona, Italy and maybe American schools too.

Untitled, 120 x 80 cm, mixed media on canvas, 2007

BS: You display a lot of raw talent for your age. Do you come from an artistic family?

PM: Thanks. Not at all, my parents are both science teachers, which keeps the drama even more intense.

BS: Pedro, at age 18 you've already had two solo exhibitions of your art and you have been involved in three groups exhibitions. Due to this you have had national and online press coverage. It seems that you are very ambitious for your age. Care to share some of your goals with our readers?

PM: What really matters to me is the moment I create. Once I have experienced that, I just want to make sure that I don't have to put an end on it. Succeeding in the art business is pretty hard, so I have been struggling a lot to go further and further. I just want to get my work seen, and I also try to make sure I can make a living as a painter.

(Un)noticed among the crowd, 50 x 40 cm, acrylic and oil on canvas, 2007

BS: Pedro, in your art you focus on 'humanity'. You create backgrounds that represent occidental modern society. These backgrounds stem from different elements-- including influences from graffiti, lowbrow art, and pop culture. Can you go into further detail about where you draw inspiration from? Who-- or what-- has influenced you?

PM: Aesthetically I've been mostly inspired by artists such as Caravaggio, Modigliani, Da Vinci, Shawn Barber, Dave Kinsey, Tiffany Bozic, Kat Von D. I've also been influenced by all the graffiti and street art I find out there. I'm still influenced from everything I experience in my day-to-day life. Traveling to a lot of different countries and getting to know a lot of different cultures took a big part on the role too.

BS: Your work often captures a sense of despair... of cultural and ethnic unrest-- tell us what these paintings are about. Do they serve as warning? A form of social message?

PM: As you can see, most of my characters are fading, melting, disappearing. Its not by a coincidence that I bring them into backgrounds that represent our society. I'm not as direct or genius as Banksy, but you can still say there are a lot of social messages in my work.

Chad Muska- private collection

BS: Pedro, one could say that you capture the grit of modern society within your work. With that said, would you say that there is still a ray of hope within the context of your paintings? Do you desire to convey a message that screams, "we can overcome this!"?

PM: You can never repair the damage done in the past. Same goes on where global warming is concerned. But you can always make a change and overcome a lot of problems. (before my characters are completely gone..).

Untitled,70 x 50 cm, Acrylic on canvas, 2007

BS: Pedro, tell us about your artistic process. How do you start a painting? Do you do preliminary studies? Or do you work from your imagination as you paint, so to speak?

PM: It works both ways. I have to do some preliminary studies for my portraits, and human figures. Especially when I change the facial expressions and so on. Everything else is from my imagination as I paint. Some of my works have other paintings in the background that I wasn't happy with. I start drawing my characters on the canvas and then I work from there. I like to paint with some music going on too, and I paint mostly at night.

Untitled, 80 x 30 x 5cm, acrylic on canvas, 2007

BS: Finally, is there anything else you want to say about your art or your goals as an artist?

PM: I want to keep learning and improving my painting skills so I can put all my ideas into action. I would like to approach humanity and the human figure from other perspectives in the future. I have also been painting happy and fulfilled characters that I find in under-privileged places. I represent them fading or disappearing in our modern and pop culture, because I find that same happiness and values disappearing too. I hope I get the opportunity to show my work worldwide, and just keep painting.

You can learn more about Pedro Matos and his art by visiting his myspace profile: www.myspace.com/droneh. You can read my other interviews with emerging and established artists by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Valerie Hird

I was introduced to the art of Valerie Hird by Laura Pabst of the Nohra Haime Gallery. Valerie is known for creating work that has a unique focus on cultural myths and their interaction with historical memory. Her research lead her to travel the world for eighteen years. She has visited and traveled with semi-nomadic communities in Morocco, Turkey and Central Asia. Through the years she has also tackled the legacy of myth and metaphor within her own society-- the culture America consciously or unconsciously exports to the rest of the world.

Valerie believes that the fictionalization of history provides a rich and evocative tool for societies that rely on oral narrative. That wealth of metaphor, fact and cultural myth was her creative home while abroad for eighteen years. Valerie now focuses on her own oral traditions-- based on radio stations, television news, and other forms of media that bombard us with opinions and information on a daily basis. Valerie finds that these sources utilize a similar strategy compared to the oral histories she embraced while traveling-- they are equally rich as a source for visual imagery.

Gentlemen, When The Bell Rings, Shake Hands and Come Out Fighting by Valerie Hird

Brian Sherwin: Valerie, you studied at Beloit College and the Rhode Island School of Design. Who were your mentors at the time? Also, can you recall any of your early influences?

Valerie Hird: Beloit College was where I learned that my interest in archeology and in anthropology would never become a career. It was clear to me in my first year that visual art was my primary, all-consuming obsession; other disciplines could only influence and inform. I transferred to RISD where the teachings of Dean Richardson and the critiques of Richard Merkin brought me to focus less on technique and more on content. They told me to break my fingers and learn how to see. They exposed me to my early influences; Vulliard and Bonnard, Robert Henri and David Levine. I was also fortunate to work as a conservator for the RISD museum under Diane Johnson and the wonderful curators Christopher Monkhouse and Eleanor Fairweather. Together they opened my world to the rich expanses of visual language in the decorative and design arts. This rich terrain stood in contrast to three colorful years as an apprentice to a Sicilian family of picture framers and commercial restorers (I was working my way through RISD). Between those two worlds, my education beyond rural Vermont ; my original home, was assured.

Lysistrata Revisited by Valerie Hird

BS: Since that time you have held several art-related positions, including: Conservator at the Museum of Rhode Island School of Design, Director of the Passepartout Gallery, Trustee for the Vermont Arts Council, and you have instructed at several educational institutions. How were you able to find balance between these positions and creating personal art? I know from experience that it can be difficult to take on responsibilities while remaining active with your art at the same time.

VH: So many disciplines feed my artist practice. In addition to archeology and anthropology I also love to read and write. At one time I wanted to apprentice to a Romany family to learn flamenco dancing. About the time I start to feel comfortable in my life is about the time I think I’m not doing enough. So ‘balance’ as a lifestyle concept has always made me nervous. I’ve learned to use travel as a means of gaining insights into lives and identities other than my own in order to build a mental warehouse of remembered experience from which to draw imagery. I’ve traveled with Uzbek herdsmen through 1000 year old juniper forests, made a diet of fermented yogurt and grazed sheep on glaciers. I’ve had the privilege of working with archeologists in the Great Western Desert of Egypt. Under the watchful eye of an ancient librarian, I’ve gazed at 12th century Arabic texts in southern Morocco and had the distinct pleasure of swapping stories with a Sufi mystic while hiking in Turkey.

If I spent too much time in the studio I feel trapped. If I’m away too long I begin to feel fractured and irritable. Generally, I find outside jobs to be an impetus toward constructing a productive studio schedule. I try to put in about 30 hours a week during the academic year. My teaching syllabi usually relate to projects confronting me in the studio. So my students are sometimes integrated into my artistic practice. Having said all that, my time can often feel out of my control. My solution is to travel without a cell phone or internet. Away from daily stress I can look at life through another lens and reset my internal clock.

In God(s) We Trust by Valerie Hird

BS: Valerie, you have been represented by Nohra Haime Gallery since the early 90s. Nohra has represented you at several major venues: Art Chicago and Art Miami-- just to name a few. It seems you have built very good rapport with Nohra. What does it take to establish a strong bond between artist and gallery owner... as you have done with Nohra?

VH: It is very important to understand the opportunities a dealer can provide, it is also very important to understand a gallery’s limitations and where you yourself must carve out opportunities. The more clearly those roles can be defined, the easier it will be for artist and dealer to work together cooperatively for mutual benefit. I was aided by having owned and run a gallery before working with Nohra so our relationship has the advantage of my ‘dual perspective’. Nohra is also an unusual gallery owner. Instead of focusing all her energies on sales, her strategies are aimed toward advancing an artist’s career. Having a dealer truly believe in your aesthetic makes those lean financial times spent floundering in obscurity much more bearable.

BS: Valerie, I understand that you have been extending your work on cultural myths and their interaction with historical memory. Much of your inspiration is drawn from years of visiting and traveling with semi-nomadic communities in Morocco, Turkey and Central Asia. Can you go into further detail about how these communities have influenced you and how your art will continue to explore these issues?

VH: My time observing and traveling with semi-nomadic tribes was central to my interest in oral narrative as a tool for recording cultural history. Myth and metaphor are mixed with fact and fiction within their historical memory. A particular location would provoke the memory of a past event -- thus geography became a series of oral/visual narratives that would change depending on the memory and tribe of the orator.

So much of my time is spent collecting stories. Narrative is a constant in my work. I also layer paintings with historical imagery to give context and depth. My 2003 Cycles of Faith, Cycles of Fiction was all about appropriating formats from 12th century Spanish and Persian illuminated texts to form a strata for contemporary cultural events.

But as globalization escalated the stress on tribal lifestyles, it seemed increasingly irrelevant to remain focused solely on the icons of a cultural past. And with the rise of fundamentalist Islam it became increasingly difficult to find people willing to host a white American female with limited language skills. So I altered my imagery to focus on people instead of their landscape. I began researching individuals from both the East and West who have been stressed by recent religious and political turmoil. For the past five years I’ve been absorbed by these manifestations as they play out in daily lives. Insights into other cultures become comprehensible when the stresses involved are filtered through the lens of specific individuals; their lives and their interaction with their communities.

Lest We Forget by Valerie Hird

BS: Valerie, recent news events have provoked a shift in the direction of your art. I’ve read that you are concerned with the legacy of myth and metaphor within the context of your own society, within contemporary Western culture itself. You feel that this is the culture we consciously or unconsciously export to the rest of the world. Can you go into further detail about this... what concerns do you have? I understand that your studies have lead you to focus on war and how war plays a part in these cultural changes...

VH: While researching the rise of American fundamentalism I was struck by the similarities in vocabulary between faiths under siege and their embrace of violence in a just cause. Pope Urban’s peculiar Christian take on the ‘Might Makes Right’ concept by exempting holy warriors from the first commandment continues to be a rallying banner for a number of religious/nationalist conquests. It seems a recurring paradox that men/women are willing to ‘march into hell’ for a ‘just cause’. As Americans we are passionate about ‘justice’, and deeply concerned about morality and ethics, but wildly divergent on what constitutes a ‘righteous cause’. Americans believe in the heroic myth. It is present in every facet of our popular culture.

I have a son who is twenty three. When the present war with Iraq broke out he was the exact age my ex-husband was when he was drafted into the Vietnam War. My son’s perception of war in 2003 was based entirely on the action movies and videos games that we export with such success to Europe and Latin America . I became intrigued with the differences in our perceptions of victory and heroic myth. Thomas Hirschhorn’s exhibition ‘Utopia’ using the camouflage pattern on military fatigues as the ubiquitous world-wide fashion statement testifies to the cultural ambivalence toward violence and the attraction of the commercial heroic myth.

Great Minds at Play by Valerie Hird

BS: Speaking of war... in January 2006, your principal gallery – the Nohra Haime Gallery in Manhattan-- presented an exhibition of your work which juxtaposed some of the historic and contemporary ambiguities surrounding war. Can you tell us more about the work that was included in this exhibit? I understand that it involved aspects of graphic novels and video games...

VH: It did. The 2006 exhibition Myths Now and Then was an examination of the substructure of our culture of violence. Each painting had a strong narrative structure layered with imagery appropriated from medieval paintings of epic or heroic battle scenes. Like the originals, they seduce the viewer with a brilliant pageant of color into an appreciation of the heroic ideal. But in Shake Hands Gentlemen the reference to the relative civility of structured combat seems inappropriate when applied to the contemporary combatants.

Killing Time was based on a conversation I had with a local veteran. Recently returned from combat in Iraq , he saw no irony in playing the Doom and Halo video games as the preferred means of decompressing between duty hours.

My work on paper juxtaposed compositional forms from illuminated medieval texts with contemporary images taken from media coverage of war. In Transition Team, the apostles, the biblical embodiment of the heroic ideal, are replaced by their equivalents from American and British action films; seated in gilded splendor, they are surrounded by sectarian violence.

BS: Valerie, can you discuss you artistic process... how do you start a painting? Also, how did you feel making the jump from traditional works of art to the use of animation? Will you continue to explore animation or perhaps digital art? Film?

VH: Any visual vocabulary I use is dictated by the concept image. Painting has a long track record that is specifically germane when having a visual conversation about historical memory. My process begins with research, empirical to start and then supported by text. The gestation period of any body of work is about 5 - 7 years. My use of animation, as developed by William Kentridge, was a logical extension of my drawing process. Digital animation using a succession of drawn images scanned into a computer, prolongs process and allows me to interrogate every element in the project. I am using animation as part of my Maiden Voyages Project.

Of course, when all is said and done, the artistic process remains a bit of a mystery to me. I try not to analyze it too closely because clarity doesn’t confer success. I wish the experience of painting was cumulative, but even after 30 years of professional practice, good painting demands fresh invention from me every single time. Sigh.

Killing Time by Valerie Hird

BS: Valerie, what projects are you working on at this time? When do you plan to reveal some of your current work? Do you have any upcoming exhibitions planned?

VH: My work will be included in the Bridge Art Fair in London in October. The Nohra Haime Gallery will be showing Hero Worship my new body of paintings and animation in a one person show at Red Dot during Art Basel, Miami in December of this year. The work represents my most recent examination of the manifestations of the heroic myth within our culture. It’s both serious and sardonic.

The Maiden Voyages project mentioned in the last question is the result of correspondence with women from the Middle East and myself. Each month I collected my own and four e-mailed diaries written about a single day, the same day once a month for a year. The goal of the project is to bring a measure of depth to our knowledge of women from the Middle East . American perceptions are largely based on media sound bites articulated within the narrow vocabulary of war. The results of those diaries will be translated into a series of large-scale drawings structured as timelines which can be exhibited traditionally in a gallery setting as well as on-line in animated sequences. I will be going to Amman Jordan to work on the drawings and animation for Maiden Voyages in the spring of next year. I anticipate exhibitions of the project to begin late in 2008. But images from both projects and information on their exhibition will be available on my website starting next month.

BS: Valerie, do you have any advice for artists who are just starting out?

VH: Work as much as you can. Elevate your craft as much as you can. Expand your visual vocabulary as much as possible. Don’t base your research solely on computer generated information. Active engagement with the real world is the best source for concepts and imagery. Having and being able to articulate a great idea, is the best way to get exposure. Competency in business, packing/freighting, computer software and writing wouldn’t hurt either!

BS: Finally, is there anything else you would like to say about your art or the artworld?

VH: I’ve never been able to figure out who exactly constitutes ‘the art world’. You probably have a better handle on it than I. Me, I’ve said enough about myself.

You can learn more about Valerie Hird and her art by visiting her website, www.valeriehird.com, or by visiting the Nohra Haime Gallery (41 East 57th Street.
New York, NY 10022). Also, feel free to read my other interviews by visiting the following page: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin

Art Space Talk: Bask

Originally hailing from Czechoslovakia, Ales "Bask" Hostomsky is a street artist who utilizes various mediums to bring forth socially and politically-aware messages. Bask, whose family fled Czechoslovakia as political exiles in 1984, draws from the iconic, subversive imagery of advertising and propaganda. Bask has been noted as being one of the top contemporary post-graffiti writers-- having been categorized with the same cultural importance as D-Face, Buff Monster, Swoon, Faile, Above, Shepard Fairey, and Banksy.

O.D.

Brian Sherwin: Bask, you are originally from Czechoslovakia. Upon moving to the States with your family you observed the similarities between the communistic iconic propaganda from your youth and the consumer advertising you found in America during your teen years. Can you go into further detail about this relation and how it made an impact on your artistic direction?

Bask: When we moved here in 1984, I was only eight years old so I didn't make the connection until I was much older. But coming from a political system which was very specific on how it delivered its messages and propaganda to its people, it wasn't hard to compare that to the way add agencies and corporations target it's consumer audience. Coming to this conclusion I started to play with icons and the power they held over people not to mention myself.

It's a Fine Line Between a Social Drinker and A Drunk

BS: May I ask why you decided to go by the moniker Bask? Your real name is Ales Hostomsky, correct?

Bask: The alias Bask came at the end of a line of tags I was doing in my teens. I wrote Argus, Ayl, among others and eventually I started to put up Bask when I was seventeen. There isn't a deep story behind the name. I think I just liked how the letters came together. Eventually everybody just called me Bask rather then Ales (pronounced Alesh) and I just rolled with it. Strangely enough, I relate to the name Bask more then Ales these days. Does that make me a schizophrenic, hahaha!

BS: Bask, have you observed any other connections between communism and the American lifestyle?

Bask: Not really. It's actually quit opposite in regards to lifestyle. In an American or western lifestyle you have an abundance of everything where as in an communist system there is a shortage. In America, you're encouraged to make more money, get more credit cards and spend it all. Back in my home country, you bought mostly just what you or your family needed, really needed, not like "need" an XBOX or something.

Installation: Killer Bees

BS: Bask, tell us about your influences. Have you been influenced by other artists? Art movements?

Bask: My influences range quite a bit. It's not just art or other artists for that matter. It changes and moves daily. I could get inspired by a song one day and a fight with my girlfriend the next. I never know when or what it will be, I just know it always comes and goes. But if I was to name a few artists I like, it would be Tes One, Barry Mcgee, Phil Frost, Derek Hess, Sarah Gail Hutcherson, The Seventh Letter Crew among countless others.

Harvey's Cafe

BS: Bask, your work is known for having an "anti-iconic" twist. Sometimes your work offers a satirical worldview... other times there is a strong focus on conveying dark emotion. These pieces often reveal a sense of social and industrial decay-- can you go into further detail about the message you are creating with your art and the social implications that you capture?

Bask: Well, to answer that, I'll have to explain my process a little. I create most of my work on found object like panels and boards I salvage from alleys and dumpsters. Things that people find worthless and frankly a burden to deal with. Most of the things I pick up are larger then what a garbage company likes to deal with. I take one of these panel and layer it with pop imagery, child like scribbles or whatever else it calls for depending on the theme of the work. Finally I clear coat and display it in a museum or gallery. This is how the paintings are born. I have a huge respect for this process and try to accentuate the fact that the painting originated from something that was no longer wanted. Top that off with a social issue or emotion I'm trying to convey visually and the rest just happens naturally. I found if I paint on a new canvas with new brushes my work feels empty and soulless. but if it was born out of something I find in an alley then it enters the process with already having a rich history.

Installation for 2007 Bumbershoot, Seattle, WA.

BS: Bask, your work is richly textured-- you utilize a technique of multi-layered applications. Can you go into further detail about your artistic process. How do you start a piece and when do you know that it is done?

Bask: Well I think my last answer covered most of this question. But how do I know when a painting is finished? I'm not really sure, I guess when I stop working on it. I once heard something to the effect of "a painting I'd never finished, just abandoned" I kind of agree with that. I look at some of my older work and every time I see something I could add or take away from it.

BS: The theme of destruction is obvious in your art-- both in how they are created and the message they contain. However, do you leave room for hope? Or do you see the current socio-political climate as one that will only result in peril... doom?

Bask: I'm definitely an optimist. Actually a lot of my work pokes fun at the elements around us, good or bad. Unfortunately, most good art comes from struggle and a sense helplessness-- as if your only voice to be heard is through your art. The current state of affairs lends itself to the arts pretty well.

BS: Bask, your imagery has appeared in countless publications in both advertising and editorial capacities. Do you ever fear that your work will become the very issue that you rally against? Are you concerned that your work may lose meaning due to advertisement? Are you concerned that your work may end up being seen as just another commercial message? Would you embrace that form of irony?

Bask: I do everything in my power to prevent my work to be viewed in that manner. I turn down a lot of work because I choose not to do commercial work unless I get final approval on how my work is used. It's hard sometimes to turn down good paying gigs, but I look at the big picture, and a few bucks can't buy my integrity. But, with that said, in today's art arena, you have to make yourself known so promotion and advertising comes with the turf. The difference is on what you're addressing and as an artist, what you lend your art to advertise. Is it a new pair of kicks for Nike or a series of new paintings you're displaying at your next show.

Kids Bomb the Suburbs Today

Installation detail: Kids Bomb the Suburbs Today

BS: Bask, your art has been shown at the Florida International Museum as well as the Jacksonville Museum of Modern Art-- which also has your work in it’s permanent collection. You have shown in Baltimore, Detroit, Miami and Tampa. Where can our readers view your work at this time? Do you have any upcoming exhibitions?

Bask: At this time my work can be viewed at the Public Trust in Dallas Texas, Vitale Gallery in Saint Petersburg Florida, Foundation One Gallery in Atlanta, CPOP Gallery in Detroit, and other galleries in the near future. For anyone wanting to find out more about my current shows or what I have coming up, go to www.myspace.com/BaskInYourThoughtcrimes.

BS: Finally, is there anything else you would like to say about your art or the art world?

Bask: No, I think I'm good. Thanks for the great questions!

I hope that you have enjoyed my interview with Bask. Feel free to view my other interviews by clicking on the following link: www.myartspace.com/interviews

Take care, Stay true,

Brian Sherwin