Art Space Talk: Travis Louie

The art of Travis Louie has had a great impact on the pop-surrealism scene. Travis is known for creating detailed drawings that are often mistaken for old photographs that have been manipulated. Travis has concentrated on his career after leaving behind over 10 years of freelance illustration work- since that time he has displayed his art at some of the most respected galleries on the scene today. His work has been exhibited at the Roq La Rue Gallery, Copro Nason Gallery, the Shooting Gallery... and has also been featured at Art Basel. Travis's draftsmanship reveals the determination and passion that he has for his art.

Brian Sherwin: Travis, as a child you were thrilled to watch "atomic age" sci-fi and horror movies. That connection is obvious in the art you do today. Do you create art as a way to stay connected to your youth? Is it a way to keep 'forever young', so to speak?

Travis Louie: That's an interesting conclusion to come to.

You're partly right, . . . I had a great time watching those movies as a child and the imagery has certainly stayed with me, . . .but essentially it's quite universal for artists to be influenced by their environment, . . . their life experiences, . . traumatic or otherwise, . . .that sort of thing.

I'm not so sure I stay connected to my youth through my paintings or that they keep me "forever young", but I do like to try and capture that feeling of wonder I got from those films. If anything, the act of painting keeps me grounded and maybe has a kind of Rip Van Winkle effect. Time seems to stop, when I'm working on my pieces.

Back to those atomic age sci-fi films, . . . these days, a few of those films have taken on another dimension for me. I am more aware of the cultural and political environment that existed, when they were made. Movies like "Invasion of the Body Snatchers", Sam Fuller's "Pickup on South Street", and "Godzilla" come to mind. They contain metaphors for fear of a communist invasion and the threat of nuclear destruction.

BS: What other influences do you reveal in your art?

TL: German Expressionist filmmakers like Fritz Lang and F W Murnau, . . . who influenced other filmmakers that I admired, like Orson Welles, Val Lewton, Jacques Tournuer, and basically all the great Film Noir directors as well as the 19th century photography that I collect, . . . have had an enormous impact on the look of my work.

People have said that I paint monsters, but I'd like to think the characters in my paintings have some humanity and kindness in them.

BS: Travis, I understand that you started out as a professional illustrator- you have over 10 years of experience in that field. How did you make the jump from illustration to creating personal artwork for galleries?

TL: I had exhibitions in galleries while I was working for studios and freelancing for a living, . . . but I just wasn't happy with the results, . . .I finally decided I should really make a go at it and concentrated my efforts on improving my work, . . .once I felt comfortable with what I was producing, . . . I started showing my work to more galleries in 2003. I think my artworks just needed a chance to evolve. Not so much in the technical aspects of the work, but rather on the aesthetics . . . I always have to remember, "It's not just how well you paint, it's also what you paint"

BS: Where did you study? Who were your mentors?

TL: I went to Pratt Institute in Brooklyn, NY I can't say I had any mentors there. They didn't teach people how to paint, . . . they taught them how to think, . . . "artistically". As far as I'm concerned, . . .the jury is still out on whether or not, that was a good way to teach.

As much as I appreciated the lessons in "problem-solving", my skills didn't really get a chance to improve until I'd been out of school for a year, which was probably the "norm" for most of my graduating class. I'll even go as far as saying most of the students from the illustration department weren't prepared, when they left school, . . . when I say this, I mean that a lot of them didn't seem to know what finished work looked like. This became problematic when they graduated, entered the illustration market, and were then put into the same talent pool as the very best in the business, . . . competing for the same jobs.

I even had this feeling during my junior year that our work as a whole wasn't strong enough. Being a year or so away from entering the real art market, I began to think it was unfair to coddle the students into thinking they were better than they were and that they might be prepared to tackle the "real" art world when they graduated. Of the 75 or so students that shared the same illustration dept with me, I couldn't name more than 5, who might still be doing artwork for a living today.

BS: You have had several great exhibitions at top venues for pop-surrealism- Roq La Rue Gallery, Copro Nason Gallery, Fuse Gallery... just to name a few. Can you share some of the experiences you've had exhibiting at these galleries? Do you think you could single out the best exhibit you've had so far? If so, why did it leave such an impression on you?

TL: All the galleries I've been fortunate enough to exhibit in have been good to me, . . .that's my diplomatic answer to that question,. . . next question.

BS: Travis, I've read that you create several thumbnail drawings of your paintings before you start to work on them... you also write short stories about the paintings before they are created. Do you have a story for every character you've painted? Also, why does that process work for you?

TL: My work is created in several stages, . . . the first being the idea and or inspiration which can come at any time at any place. When I'm purposefully trying to come up with something, I make many little thumbnail drawings and write little character descriptions or complete little short stories to accompany the concept of a piece before i even get to the painting, . . . sometimes my process in the writing stage is very "stream of consciousness" kind of creative writing. After I've fleshed out enough information, I make a tight drawing to work from, I prep my board, transfer the drawing, and begin painting.

BS: Some critics have mistaken your paintings for retouched photographs. Could you explain your technique/process so that people will understand why they sometimes appear to be retouched photographs? What is your motive behind working in that manner? Do you study or collect old photographs?

TL: Unfortunately, since it is the "look" of those old photos that I'm trying so hard to emulate, my work is often mistaken on the web to be retouched photos, . . . I work in thin layers of acrylic applied in glazes with very small brushes over a really tight graphite drawing. I learned from looking at Victorian watercolor techniques sans body-color. I looked at a lot of Maxfield Parrish illustrations as a working model.

BS: I've been told that John Merrick, better known as 'The Elephant Man', is one of your heroes. Can you go into detail about why he is one of your influences? It seems that you do not pity the life that he had.... instead you admire his strength, is that true?

TL: Where did you hear that? Well, . . .about John Merrick, . . .my interest in him as a human oddity who was born with unusual circumstances that could not be treated by 19th century medical practices, stems from the photographs and illustrations of him I saw where he was finally being accepted as a human being and treated with some dignity toward the end of his life. The principle image I recall, was of a well-dressed Victorian man with an unsettling physical condition enjoying a night out at the theatre in full public view.

BS: Travis, tell us about your studio space. Where do you work? Do you listen to certain types of music while working? Are you a recluse... or do you openly invite others to your studio? What is it like to be in the studio of Travis Louie?

TL: My studio space is the entire basement of my house, . . .I have a few different work stations with large boards, a place to assemble my frames, a drawing table, and shelves of reference material. It can be very cluttered when I am working (which is often) and I do not have many visitors. I am not a recluse per say, . . . but I don't see the point of having visitors down there. I listen to all kinds of music when I am working, . . .but lately, I've been playing DVD's of old motion pictures, . . . I like the quick dialogue from those old Noir pictures. I also like the old movie soundtracks by composers like Elmer Bernstein, Jerome Moross, and Wolfgang Korngold.
BS: Do you have any suggestions or advice for artists that are just starting out?

TL: Learn to draw first and foremost, . . .there are so many new artists out there with minimal draftsmanship, . . . it's embarrassing really.

First impressions are very important in this business, . . . be aware of what finished work looks like.

Treat every body of work you create as if you were trying to make a big impression, . . . Don't slack. It's a lot easier for people to tell if you are "phoning it in" than you think.

Timing is everything, . . .being persistent creates more opportunities for being in the right place at the right time.
Don't miss deadlines.

Being persistent isn't enough, . . . if you submit to a gallery on a regular basis , . . . make sure the work improves each time and that the work is consistent with the kind of artwork exhibited at the gallery you are trying to submit to, . . . otherwise it is just annoying.

Don't believe everything you hear, . . . hype is not quality, . . . hype is marketing.

Be self-critical and trust your gut, . . .if something looks like it sucks, . . . it probably does.

Did I mention learning to draw?

BS: Do you have any upcoming exhibitions?

TL: My next show is at the Shooting Gallery in San Francisco opening Oct 13th. I'll be in attendance.

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

TL: I've been very fortunate to be able to make a living with my art and I thank everyone that has supported me along the way.

You can learn more about Travis and his art by visiting his website: www.travislouie.artroof.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Travis is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space News: Controversy at Waikato Museum (New Zealand)

Waikato Museum (Hamilton, New Zealand) is expecting public outcry over the display of a controversial work of art. The piece, 'Better Work Stories' by Emil McAvoy, is inspired by the recent police sex trials in New Zealand. 'Better Work Stories' features three aluminum batons with phallic-shaped ends. Museum curator Leafa Wilson says, "while nudity is often criticized, the subject matter is likely to cause the most controversy".

Emil McAvoy has made the finals of the Trust Waikato National Contemporary Art Awards with his controversial piece. McAvoy has stated that he is aware that people may be offended by the work but says, "the ugliness of the work is only the ugliness of what it's about" and that he wants people to be empowered by the artwork so that they will have the strength to speak out against future acts of police brutality and corruption.

It has been hard to find information about 'Better Work Stories' due to the fact that several images of the piece have been removed from various New Zealand websites- I was able to find a cropped version of 'Better Work Stories' (Image at top). I can't say if I will defend this piece or not since I have been unable to view it. However, I will say that it is admirable that McAvoy has given the proceeds from selling small-scale copies of the piece to charity.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Sarah Maple

People often think that Sarah Maple is trying to be offensive with her Islamic based art. This is a huge misconception as she is Muslim herself and would not want to offend her own faith. With her work she reveals the confusion that many young Muslims face within the context of contemporary western society. This study offers the viewer 'food for thought' and is influenced by the quest to discover and question 'Identity'.

In her work she questions if it is possible to be a 'good' Muslim in the West; especially if you are mixed race and from two contrasting cultural backgrounds like she is. Islam is indeed a way of life. But what do modern British Muslims do surrounded by both influences? Which lifestyle do they choose? Or can the two be fused?

Brian Sherwin: Sarah, can you tell our readers about your early experiences with art? When did you first realize that you wanted to pursue art? Also, where did you study art? Who are your mentors... your influences?

Sarah Maple: Well the first time I ever became interested in art was when I was about four or five years old. I pulled out the drawer from underneath my bed and found hundreds and hundreds of drawings my Mother had done of portraits. I thought 'fuck me, these are amazing' (I'm sure i didn't swear at that age, but you get what I mean!). I used to sneakily look in there all the time, I found them utterly amazing. And I think this was where my fascination with the portrait came from.

I started drawing portraits all the time. To this day I am still in love with portraits. I studied art at Kingston. Although I learnt a hell of a lot at art school I found it a difficult experience and very pleased to have left. My influence is mainly contemporary culture, like rock n roll, fashion, the news, all that jazz. I love people who are off the rails or are slightly wrong like Kate Moss. I love those people who don't care and just do what they like and take a risk. A great example of this was Rufus Wainwright at Glastonbury this year. I also love people who are genuine and speak from the heart, even if it's really depressing, that's why I love the Smiths and they are always in my work.

Identity is a huge theme to me, it's fascinating - not only in terms of who we actually are - but also in terms of how we portray ourselves - even if it's a false image - which is even more interesting.

Do you remember how when Geri Halliwell left the Spice girls she was so adamant to portray she wasn't the perceived image of 'Ginger Spice'. Like she did that documentary, started wearing suits and all that. I always found that amazing how she'd gone to great lengths to be seen in one way to make the spice girls a success, then was desperate to show her true self which unfortunately for her was much less interesting than Ginger.

Debbie Harry is my ultimate icon. I went to the hairdresser last week and said 'give me a late seventies Debbie Harry'. 'Ok!' she said. Now I look a bit silly. I will never accept a half Asian girl cannot pull off a Blondie look.

BS: In the past you were primarily a painter. However in 2007 you started to take photographs. You have stated that your ideas have flourished since picking up the camera and that photography is how you see your art progressing in the future. That must have been a big decision. Why has photography had such an impact on you? Do you plan to combine painting with photography at some point?

SM: Before starting photography this year I was doing all these painted self portraits in late 2006 (e.g 'Bananarama' ' self portrait with my mother's headscarf and the breast of Kate Moss'). Someone said to me that if I wasn't going to use the paint as a medium to express my concepts, then there was no point in painting, I may as well have just taken photographs.

This really got to me because I knew they were right. I always thought I was a painter and that was it. I reluctantly hired a camera to spend a couple of weeks doing photography. All of a sudden just having this new medium seemed to open up the flood gates and all these ideas came out. Since then it's been non-stop!

BS: Sarah, you have experienced a bit of controversy over your Islamic based art. Many do not seem to understand that you are a Muslim... and that you are attempting to reveal the distorted view that many Muslims have of their faith and culture within the context of western society. Would you like to clear the air with this interview? Go into detail about what exactly you are striving to do and why it is important for you to do it.

SM: My work with Islamic themes comes from my own experience of being mixed race. because of cultural and religious clashes I think it's very hard to mix east and west. I think many Muslims get it so confused, for example I know people who will celebrate Eid by getting pissed, it's such a contradiction! I suppose I get fed up with the judgment' I feel is put on me by other Muslims who may see me as substandard because I don't pray or cover myself. This is reflected in my work.

The best example of this is my piece 'White Girl' (which is a derogatory term I discovered is used amongst Muslims for a non-Muslim or a 'bad' Muslim) I made this after feeling angry when speaking to an old Muslim friend about my art.

BS: Your work is very focused on examining the human condition. Have you studied psychology... or do you base your work simply on your personal observations of society? If the study of psychology does play a role in your work... which psychologist have influenced you? What theories?

SM: The human condition is fascinating to me. This is what I mean by how I love people who speak from the heart. Human behavior and human passions - good and bad - are incredible. I am very interested in psychology but have never studied it.

BS: There also seems to be a feminist quality to some of your work in that they show the power that a Muslim woman can have over her own body. For example, in your self-portrait painting, Bananarama, you are dressed in traditional Muslim clothing. In your hand you hold a banana- which you are gently placing inside your mouth. This piece is obviously sexually suggestive... is this a charge for Muslim women to have the same sexual freedoms that women in western society have? Or is it simply meant to reveal desires that are sometimes hidden... or locked away by faith?

SM: The latter. More like desires or sins that are hidden. For example, when I was younger and I'd see a Muslim person wearing a headscarf I always used to think 'Wow they must be so good and religious'. But then I realized this isn't the case.

Just because you look the part doesn't mean you act the part. It doesn't make them a better Muslim than me. This is what my piece 'salat' is about. It's about the perception of Muslims and what makes a 'good' Muslim - those layers or truths that are hidden underneath.

BS: Your piece, Signs, also seems to have a feminist quality to it. The piece depicts three different versions of you: Traditional, Sexual, and Professional. These three images come together to demand questions about gender equality in the workforce and in society as a whole. You've mentioned that your work is mostly focused on the Muslim female experience. However, would you say that images like this set a universal message as to how women are seen within the context of society... and the challenges they face equally no matter what their background is? The fact that women are often held back due to their sex...

SM: Yes. When I thought up this work it was because I was thinking about how some men gain respect for just being men. Like an automatic advantage. It's like that in the Asian culture- the man is often treated like a king! But then I felt a little of this attitude was going on in art school- subconsciously.

I thought to myself 'if I want to be an artist, it would be much better if I was a man' - like this instant respect. And in this work I am acknowledging this. I know I am guilty of it too - most of my favorite people are men. It would be great to have a penis!

BS: One interesting aspect of your work is the fact that it deals with very serious issues in a humorous manner. Your conceptual ideas reveal a light-hearted and tongue-in-cheek approach that is very playful. Why do you think so many people miss the humor in your work?

SM: I think it's because they think I am taking the piss in a spiteful way, which I'm not. I just think humour is the ultimate way to make a point and that's why my work is very light hearted. But saying this I think it has to be an intelligent joke- not just prattling around for the sake of it. I like a clever joke that makes you think and that is what I aim to do.

One person wrote to me in a rage about my work and they didn't even realise I was Muslim. I have no respect for people like that because what's the point in taking the time to write to someone to insult them, but not take the time to first find out why I'm doing what I'm doing. Surely if it had offended them so much they would have clicked on my art statement to see what I had to say for myself.

That is the only case of complaint though, so far people have been so supportive of me which I really appreciate.

BS: Sarah, you are going to be exhibiting with the Saatchi Gallery, correct? I understand that you are one of 20 shortlisted students who have been invited to show work in an exhibition in London during the week of the Frieze Art Fair. Out of the 20, four winners will be selected to make a work of art in response to the theme: THE WORLD IN 25 YEARS. The show is sponsored by The Saatchi Gallery and Channel 4... it is called 4 New Sensations. Can you tell our readers how you found out that you had been selected as one of the 20? Also, if you end up being a finalist... what do you plan to do for the 'THE WORLD IN 25 YEARS' piece? Have you been mapping out what you will do... or are you just letting things ride for now, so to speak?

SM: Well I am very excited to tell you that I am one of the final four. I haven't been able to tell any local press etc yet because of various arrangements Saatchi have. But it's extremely exciting indeed.

My work is going to be a poster campaign - four posters in total. But I can't reveal anything until the work is done or it'll ruin the fun!

BS: Have you sought gallery representation yet?

SM: Not exactly. I'm talking to people but nothing has materialised just yet. It's very early on in my career and I want to agree on the right arrangement for me at this point.

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

SM: It's all very 'mwah mwah lovely darling' isn't it! It's a shame I can't take advantage of all the free wine at private views!

I hope that you have enjoyed my interview with Sarah Maple. You can view more of Sarah's art by visiting her website: www.sarahmaple.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lala Meredith-Vula

Lala Meredith-Vula was born in Sarajevo and moved to England in 1970. She attended Trent University, Nottingham(1984-/85) and Goldsmiths College (1985-88), then the University of Pristina, Kosovo, for postgraduate studies. In 1988 she was one of the exhibitors in the seminal Young British Artists (YBA) show 'Freeze', organized by Damien Hirst. Since then she has exhibited internationally and has been a strong advocate for art education.

Lala has lectured at various colleges in the UK, US and Kosovo. She established the first Department of Photography at the Academy of Art, University of Tirana, Albania. Sponsored by Kodak, Pentax the George Soros Foundation and the British Council. Her students subsequently produced the photographs illustrating the 1995 Soros Foundation Annual Report.


Brian Sherwin: Lala, you often focus on doing a series of photographs. You did a series in Kosovo showing Albanian farmers' haystacks, a series of photographs of women in Turkish baths, and a series showing women standing and moving beneath the surface of water. How do you decide on a theme for a series?

Lala Meredith-Vula: When I visit a place, I use sketchbooks to record ideas as well as taking digital test shots. From this collection of material, I find the subject which has inspired me the most from which I could create a series.

BS: For people who are not familiar with your work- can you go into detail about what you are trying to convey with your photographs? What are the social implications in your work? Is their a form of 'social commentary' that goes beyond the image itself?

LMV: When a subject has inspired me I hope to record it in a way which will inspire other people to see its visual beauty. It reflects my feelings and emotions and I hope to convey these to others in my work. There is no specific “social” agenda but as a half-Kosovar British artist and using these strands of my life, a social dimension can be observed.

BS: Lala, you are associated with the Young British Artists (YBAs). What was it like exhibiting with other YBAs- such as Damien Hirst? Can you share any experiences you had with this group of creative individuals?

LMV: I shared a studio with a group of students which included Damien Hirst in my final year at Goldsmiths’. It was interesting being involved with this group and taking part in “Freeze”. It was an experience to be with this group and part of history. One abiding memory was when all us artists had to paint the building – space ourselves before we could put up the exhibits.

BS: In 1995 you set up the first photography department at the University of Tirana (Albania) and in 2000 a photography department at Pristina University. What was that experience like?

LMV: It was a privilege and an exhilarating experience to make a difference to people’s lives. I brought the materials and the equipment, trained the students and saw the results.

BS: When did you first discover that art would be an important part of your adult life?

LMV: The Art Foundation course at age 18 was the beginning of my desire to become an artist.

BS: Can you share some of your philosophy about art and artistic creation?

LMV: Any artistic creation is the result of the combination of so many factors: the artist’s predisposition to be passionate about a subject and desire to communicate this, in whatever form is paramount; a great deal of hard work and preparation; to remain true to yourself, as you perceive this truth.

BS: What was your most important exhibition? Care to share that experience?

LMV: My last exhibition in Kosova, this year in May was the biggest space I had been offered; the best media coverage and I feel, the best work I have produced so far.

BS: Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

LMV: A glass of fine red wine.

BS: Discuss one of your pieces. What were you thinking when you created it?

LMV: I love the haystack photograph with Pristina bus station below it. It has both humorous connotations and aesthetic appeal. When I first photographed it, I thought it conveyed contradictions and contrasts we all experience now.

BS: Why did you choose the medium(s) that you use?

LMV: I use photography because it is a quick way of recording moments around me.

BS: Where can we see more of your art?

LMV: Arts Council Collection, Website, and new exhibitions in London and Leicester, details to be posted on website.

BS: Are you represented by a gallery? Do you have any upcoming exhibits?

LMV: I am represented by Alberto Peola Gallery in Turin, Italy.

BS: Any tips for emerging artists?

LMV: Work hard; be true to yourself.

BS: Has your work ever been censored? If so, how did you deal with it?

LMV: In America and Australia people have found that the nude series is often censored from my website. I feel helpless and just laugh about it.

BS: What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

LMV: No, I have been lucky.. I have a very supportive family and friends.

BS: What can you tell our readers about the art scene in your area?

LMV: I teach at De Montfort University, Leicester and notice that video art has become more dominant in the last few years.

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

LMV: I would like a wider audience to be brought into the art world to be uplifted, appreciate and enjoy the visual beauty it has to offer.

I hope that you have enjoyed my interview with Lala Meredith-Vula. You can learn more about Lala and her art by visiting her website: www.lalameredithvula.com

Take care, Stay true,

Brian Sherwin

Art Space Talk: Laurie Lipton

Laurie Lipton was born in New York. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). She has lived in Holland, Belgium, Germany and France and has made her home in London since 1986.

Inspired by the hyper-realistic paintings of the 15th-Century Flemish masters, Laurie's drawings are known for their intense detail. In a sense, pencils are her paint and paper is her canvas. Her work is smooth and appears to be almost photographic at first glance. However, a closer look reveals the intricate detail of her work. From thousands upon thousands of distinct, precise, cross-hatched pencil-strokes, Laurie builds up rich, monochrome tones. It is rare to find an artist who can draw as she does- I consider her to be a contemporary master.

Laurie's art has been exhibited internationally and has been widely published and documented- including Juxtapoz magazine and the book 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists'- by Jon Beinart.

Brian Sherwin: Laurie, can you go into detail about your youth? Can you recall any experiences that helped to guide you to where you are today with your art?

Laurie Lipton: My father used to take my brother and I to museums on Sundays so my mother could have the day to herself. I was enthralled, especially by the religious paintings. I wondered how the artists managed to create such beautifully detailed worlds. I thought it was the most magical thing I'd ever seen, and used to stand in front of a painting for hours, trying to burn it into my eyeballs so that I'd never forget it.

I begged for art supplies and used to sit in my bedroom for hours painting and drawing. My mother was quite worried about me and wanted me to go out and play with other children.

BS: Laurie, you were the first person to graduate from the Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). Can you tell our readers about the art program there? Who were your mentors?

LL: A professor called Herb Olds inspired me when I was a freshman at CMU to see objects as forms caressed by light. He taught my eyes to see differently. He also showed me how to use the composition of a whole page and how important each mark was. Otherwise..... I was bored. Everyone was splashing paint everywhere. So what?

BS: While in college you desired to paint like the 17th century Flemish Master, but no one could teach you. You took it upon yourself to study Durer, Memling and Van Eyck- cutting classes in order to copy their works at the university library. Can you go into detail about how you learned to draw in a manner that captured as much detail, if not more, than you could have done had your learned to paint in this manner?

LL: I was one of 3 students who were allowed to spend their Junior Year Abroad just traveling around Europe. It was an experiment CMU tried with us. At the end of the year, we were supposed to present a portfolio to the faculty and get a year's credit. They had to end the program with us, however, as the entire Junior year class wanted to leave and travel around Europe.... so we were the only ones who got to have the experience. It changed my life. When I saw Memling, Durer, Van Eyck, Michelangelo, Da Vinci in the flesh I felt as though I had seen a part of God. I know that sounds very dramatic, but that's how moved I was.

At first it depressed the shit out of me: how could I possibly hope to create anything near to those works of genius? and if I can't, why bother? Then I reasoned that I am not Da Vinci, Memling, Van Eyck, etc. I am Laurie Lipton....... and if I can somehow touch/leave behind my essence, my Laurie Liptoness, then I'll have done something unique with my talent.

I went back to the States to finish my year at University and worked so hard that I almost had a nervous breakdown. I didn't care. It was as if I was on fire. I went to classes in order to get my grades, but stayed up all night drawing. I was a wreck and looked like a zombie, but by the end of the term I had my own Liptonesque vision and unique technique.

BS: I've read that you see your pencils as "colours" and that "no one in their right mind would have the patience to draw in this way, which is why it works for me so well.". Would you say that your method is a mix of pleasure and pain? What reactions do you get when people discover how long you spend on your drawings?

LL: I am not a masochist. My work is pure pleasure. I am pleased by people's reactions to my work. It's hard to tell when you see photos of my drawings, but when you are actually standing in front of one, you can see all the zillions of little lines I've used to make the picture. It's very impressive. Even I'm impressed.

BS: Laurie, you were also inspired by Diane Arbus and her use of black and white. Can you go into detail about how she inspired you?

LL: I came across Arbus' work when I was a teenager and felt an instant affinity with her and her vision. Her use of black and white was a revelation to me. It made the subject matter even more bizarre and disturbing. The viewer wasn't being distracted by colors. Nothing got in the way of the image. Her grays were a stark, frozen almost nightmarish palette. I experimented with it and found that it was exactly what my imagination needed.

BS: What else has inspired or influenced your art? I've noticed that several of your pieces seem to draw inspiration from the traditions of Mexico... can you go into further detail about these influences?

LL: I think in images. My emotions get filtered in my brain and come out as images.

I was taken to the Day of the Dead festival in Mexico and was amazed. What a different approach to mortality! My culture tries to ignore death and aging. If you get old or die you're considered a loser. People spend billions on keeping death at bay. In Mexico, however, it was celebrated, embraced, made fun of. What a relief. I've experienced the deaths of many people that I loved, so I found the Day of the Dead a good playground for my repressed emotions.

BS: Laurie, you were born in New York... since that time you have lived in Holland, Belgium, Germany and France- you now reside in London. How has your travels enhanced your art? I will assume that each location has had an influence on your work.

LL: What a complex question! Well... just by leaving my "Comfort Zone" (as they say) and putting myself in a new situation and new culture, I was able to expand my life and reality. It not only enhanced my art, it enriched my life. When everything is new and unpredictable, even the language, it wakes you up. You become aware of everything.... street signs, shops, clothing, everything.

Leaving your country of origin also gives you a unique, outsider's view of your home. I always felt like an outsider, but actually being one has helped me to see things differently, more objectively, in the USA.

BS: Laurie, you have been featured in Juxtapoz and your work can be found in 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists' published by Jon Beinart. How do you feel when your work is reviewed or featured in a publication? Do you get excited? Nervous?

LL: I have been doing this for 30 years now so I'm a bit jaded, though it's always nice to be appreciated and noticed.

BS: What are you working on at this time? Also, can you tell our readers about your studio space? What are the conditions you need for working? Do certain types of music inspire you... do you prefer to have company when your working- or do you like to work alone? Give us the details.

LL: I live alone and work on an architect's table. I always put headphones on to cut out the outside world. I blast music all day, from opera to blues to folk to rock.... it depends on the mood I'm in.

I'm working on a 2nd Day of the Dead show for the CoproNason gallery in Los Angeles for October 2008. I have also just signed up with the Strychnin Gallery and have several group shows with them, as well as a solo show in Madrid this October inspired by the work of Goya.

You can see where and when my shows are on my website: www.laurielipton.com

BS: Laurie, do you think you will ever put the pencils away in exchange for paint or some other medium to focus upon? Or do you see yourself drawing until the day you die?

LL: I have painted. I have worked with sculpture. I have done lithography and etchings. I will draw till the day I die. Hopefully.

BS: Do you have any suggestions or advice for artists who have chosen to focus on drawing? What kind of pencils do you use? Can you suggest a certain brand? What about advice for artists in general? Any suggestions for emerging artists who are just starting out?

LL: The only advice I have to give artists just starting out is this: work. Work. Work. Experiment with all the pencils and papers you can find and see what fits you best. The more you work, the more you try, the better you'll be. It's simple. There are no short cuts. If there were, I would have found them by now.

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

LL: No thank you, Brian. I think that just about covers it all.

You can learn more about Laurie and her art by visiting her website: www.laurielipton.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Laurie is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Nancy Baker

Nancy Baker was born and raised in Brooklyn, NY and received a BFA from the School of Visual Arts in NYC. Nancy maintains an artblog called Tireshop, and is a team member on the Anonymous Female Artist artblog- she speaks out for gender equality in the artworld.

As for Nancy's art, Luis Camnitzer said it best: "Over the years Baker’s work has shown her knack for what looks like a perilous travel on the borderline of kitsch. Though this line is a swampy one, she managed to give the feeling of being perched up somewhere, her feet remaining clean, and still stomping with assertion. Kitsch, for her, seemed not just an exploration of dubious taste. The enterprise was also about play with forbidden taste, subversion of highbrow arrogance, poking the provincial attitudes of hegemony that determine and separate the good and valid from the bad and invalid.

Baker is and always has been a really good painter, an academic painter who at the same time keeps a critical distance from academic painting. Or maybe, a non-academic painter who, in her wish to poke her finger in the wrong places, fakes academic painting. She manages to have it both ways, doing impeccable work and also making fun of it. In this way she effectively blurs the division between art and kitsch, but not completely letting on which of both she is enriching."



Brian Sherwin: Nancy, you graduated with a BFA from the School of Visual Arts in NYC. Who were your mentors at that time? Also, how important of a role did your education play upon graduation?

Nancy Baker: SVA has become one of the name brand, prestige art schools. It wasn’t when I went; although it had a great reputation for being a truly professional art school, preparing artists for careers in the arts. Most art colleges emphasized a more structured academic approach, while SVA launched their students directly into the New York art world snake pit. A lot of it was pretty wild. That was in the days when it was okay for the faculty to date their students, or invite us up to their lofts for a hit on the bong.. One of my 3D design projects with artist Steve Gianakos was to design and create a water pipe. I got an A.

No one followed the rules too much. I never did any figure drawing in college, because my drawing class voted against it. I also learned how to paint after I left college.

Joseph Kosuth had a big impact on my work, probably because I thought he was such a pompous ass, and I was determined to do the opposite of what he suggested. Brice Marden, Robert Ryman, Marcia Tucker, Bill Anastasi were there, but my mentor was Michael Lowe, a wonderful painter, and a wonderful man.

BS: I understand that you maintain a studio known as The Tireshop... and that you've had a few exhibits there. Can you tell our readers about this space?

NB: I live in Raleigh NC. There’s a dearth of interesting, contemporary art in this city, so instead of getting all whiney and bummed about it, I opened a small white box space street level gallery, right next to a popular hipster bar. We had our own little island of cool. My own studio is in the same building, but separate from the gallery. I’ve curated a lot of shows, and I have invited other curators to install exhibitions there as well. Deconstructing Santa was my favorite exhibit. (Santa is big in the south: it needed serious deconstructing). Ephemera was an exhibit that required the artist to work in materials that changed or decomposed. Luis Camnitzer, the New York artists had a wonderful installation at the Tire Shop. I recently moved from this space to a more secluded location, and have been concentrating more on my own work.

BS: You also maintain an artblog called Tireshop... you are a team member on the Anonymous Female Artist blog. Your moniker is Rebel Belle. Can you tell our readers about these two blog?

NB: Anonymous Female Artist(www.anonymousfemaleartist.blogspot.com) was created by Edna V. Harris. Edna is a fictitious persona, but she does exist and she is an artist. The blog focuses on the inequality of female representation in New York art galleries and art institutions. "Edna" invited me to be a team member two years ago.

When I had a solo show in NYC, only 13% of all exhibitions were girl shows. If you don’t believe me, ask art critic Jerry Saltz. (New York Magazine) Mostly everyone posts comments anonymously in order to avoid unpleasant professional consequences from the male dominated art world; except for me, because I enjoy watching the air rush out of my rapidly deflating career.

Tire Shop (www.tireshop.blogspot.com) is my personal blog, where I bitch and moan about personal art stuff.

BS: So, you would say that there is still a form of gender equality in the art world? Can you share some of your experiences in regards to this issue? Also, do you think there will ever come a time when art is seen for what it is instead of who created it?

NB: The gender equality in the art world in short, SUCKS. There are so many galleries that have one or two women out of a roster of twenty artists. No one feels the need to explain or defend this, the arrogance is monumental. I suppose women are left to assume that we are just crappy artists, when in fact a lot of this is driven by the fact that collectors think men’s art appreciates in value at a higher rate. This is all about the MONEY. I didn’t sign up for this as an artist. I’m still kind of stunned by the hedge fund mentality of the art world. Everyone’s waiting for the whole thing to collapse, and collapse it will.

BS: In regards to museums and gallery spaces that are used to only display the work of female artists- do you think that these ventures actually further the divide? Or do they open the door toward gender equality in the art world? I've spoke with a few artists (who happen to be female) who feel that said spaces are a "step back" in the direction that art should be going. What do you think?

NB: Louise Nevelson was once invited to be in an all woman artist’s show. She declined, saying that she was an artist, not a woman artist. I have mixed feelings on this. There are a lot of girl shows going on right now, and they are thematically based on bringing attention to this inequality.

Mery Lynn McCorkle put together, Pillow Talk at Ruth Bachofner, LA and Carole Cole curated "What F Word" at Cynthia Broan in NYC. Femme Fantastique will open at Volitant Gallery, Austin, in September. (I have been invited to exhibit in some of these shows and I am happy to participate). The new Elizabeth Sackler Center for Feminist Art at the Brooklyn Museum is a good beginning, and the WACK show at MOCA in LA was really important.

I think the issue here is fundamentally about being marginalized. As working artists, women want to participate in the big game and enjoy the same compensations as the boys. We don’t want our own separate island of vaginal values. Separate but equal is a big lie.

BS: You believe that solipsism is the best strategy for survival. Can you go into further detail about your philosophical position and how it relates to your art?

NB: "My mind is the only thing that exists". This keeps me from going crazy. I don’t want to obsessively wonder about what everyone else is doing or making out there. Of course this is my own special interpretation of solipsism. A severe Narcissistic disorder is probably in there too, as well.

BS: Your work seems to be directly linked to early European paintings that involved battles... yet you give these scenes a modern twist by adding spaceships. Is this a way of stating that we- contemporary society- are creating our own myths and legends just as people had done in the past. The dragon has been replaced with a little green man, so to speak?

NB: Yes. You are dead on.

BS: Cartoon characters, such as Casper the Ghost, have been known to enter your work as well. Why do you choose these characters for you work? Or should I say... how do you decide which character to use?

NB: I have a huge inventory of images on my computer. I collect images compulsively. A lot of selection is intuitive, guided by some intenful thought. The cartoon characters have a kitschy sentimental iconography for me. They are signifiers of a time and place; American, mid century, hegemonistic global power. I’m very nostalgic. Art is always informed by personal experience.

BS: Name three problems you see with the art world today. How can these issues be resolved?

NB: Money, money, money. When the revolution comes, gonna be no more limousines. Seriously, we’re talking about such a huge machine, powered by so much greed, it will be fun to watch the collapse. When a guy like Damien Hirst can make an arrogant piece of shit thing encrusted with diamonds, you know the end is coming.

Art money used to be an oxymoron. I guess it’s naive to think that artists will continue to take a vow of poverty, when there is so much money out there. They deserve a piece of the action. And good work is being done, in spite of all the craziness. Art will go on, funded or unfunded.

BS: Nancy, I read that you are represented by the Winkleman Gallery in NYC. Is that so? Are you represented by other galleries? Where can our readers find your art?

NB: I’m not with Winkleman anymore. I’m too old for them now. I’m over thirty five.

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

NB: Viva Las Vegas.

I hope that you have enjoyed my interview with Nancy Baker. You can learn more about Nancy and her art by visiting her website: www.nancysbaker.com

Take care, Stay true,

Brian Sherwin