NYAXE Gallery Representation Winners. May 21, 2009 Exhibit

Congratulations to the www.myartspace.com artists selected for representation at the NYAXE Gallery. 3 artists-- Jane Fulton Alt, Leah Tomaino, and Miles Holbert, will have their work physically represented at the gallery. 17 others will be represented digitally.

Jane Fulton Alt

NYAXE Gallery is located at 818 Emerson St. in Palo Alto, CA. The represented members were chosen from a selective-- ongoing --competition that allows members of the myartspace.com community to compete for NYAXE Gallery representation. The gallery serves as a bridge between the online and physical art world.

The NYAXE Gallery in Palo Alto, CA marks myartspace.com as one of only a few social art sites to have a physical presence in the form of a brick & mortar gallery-- as well as the only online art community to have a physical gallery presence in the heart of Silicon Valley. The NYAXE Gallery places myartspace.com members art within reach of some of the most powerful-- and wealthy-- professionals in the United States.

Leah Tomaino

Catherine McCormack-Skiba, Founder and CEO of myartspace, notes "It's very exciting to energize the creative spirit in Silicon Valley with world-class contemporary art. The blend of the technology innovation center of the world, and compelling art is very inspiring".

The competition is free for Premium myartspace.com members to enter. Standard members pay a $25 submission fee. Myartspace.com pays shipping expenses to and from the exhibit for artists who are selected for NYAXE Gallery representation.

Miles Holbert

The exhibit will open on May 21st . NYAXE Gallery is managed by Catherine McCormack-Skiba, the founder of www.myartspace.com and www.nyaxe.com. For more information about the winners visit, www.myartspace.com/nyaxegallery/winners.

For more information about Premium membership on myartspace.com visit, www.myartspace.com/premium. To learn about past and current myartspace.com competitions please visit, www.myartspace.com/contests.

The digitally represented artists for the May 21st NYAXE Gallery exhibit (click to view their myartspace.com profile):

Lisa Mistiuk, Edie Nadelhaft, Martin H.M Schreiber, Hans Meertens, Carla Falb, Jovan Villalba, Reka Nyari, Syed Zaman, Viviane Vives, Bill Bosler, Pau Guerrero-Prado, Bob Martin, Jagna Wesolowska, Jason Wolfe, Lucille Dweck, Thomas C Chung, Peter Tankey

To view the prior winners, February 26, 2009, click HERE.

London Calling Update

There are only a few days left to submit art to the myartspace.com London Calling competition. The juror panel includes Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). See, www.myartspace.com/londoncalling/jurors.html

Winners will have an exhibit at Scream London, a cutting-edge gallery operated by Tyrone Wood (son of Ronnie Wood of The Rolling Stones). Scream London, known for its edgy and progressive atmosphere, is located in the heart of West London’s art district. Notable guests and patrons have included Tracey Emin, Claire Danes, Rosie Huntington-Whiteley, Beverly Knight, Meg Mathews, and Ronnie Wood of The Rolling Stones.

For more information visit, www.myartspace.com/londoncalling

For a special coupon code ($25 off the entry fee) visit, www.myartspace.com/londoncalling/coupon

With the coupon code www.myartspace.com members can enter a myartspace.com gallery of 20 images for only $25. The jurors for the competition are: Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). The competition is open to artists worldwide. All mediums are accepted-- including photography, digital art, and video art.

Banksy: Did Banksy Reveal His Identity?

Did Banksy Reveal His Identity?

It appears that British street artist Banksy has once again made a visual play on the pop culture mystique surrounding his identity. This time the anonymous-one has allegedly created a self-portrait on the side of an office building in the Shoreditch area of London. The stencil piece involves a necklace wearing rat holding a sign with a face upon it. Some individuals have assumed that the piece is a self-portrait.

Rumor has it that the face upon the sign is from a photo of a man believed to be Banksy that was taken in 2004. The photo, which Banksy allegedly referenced, was taken during a graffiti event in Jamaica. In 2004 the photo spread on the internet like wildfire-- it caused an online media blitz of claims that Banksy’s identity had been revealed. However, if the piece involving the infamous photograph is authentic it is most likely Banksy’s way of poking fun at individuals who try to make his identity known.

The visual play on identity may very well be a response to a recent hoax that involved Banksy’s identity. Earlier this month an elaborate hoax that involved a former chairman of London’s Institute of Contemporary Arts, an actor impersonating British street artist Banksy, and a celebrity dinner hosted by Joan Collins was exposed. The hoax was masterminded by Ivan Massow, former chairman of London’s Institute of Contemporary Art.

Massow hired an actor, Bryan Lawrence, to dupe his longtime friend celebrity Joan Collins. Apparently Massow had hoped to sell footage of the bogus Banksy attending a dinner party hosted by Collins in order to reveal Banksy’s identity to the masses-- and to profit. After being exposed Massow flip-flopped on the issue by suggesting that actor Bryan Lawrence “could be” Banksy.

Banksy's street work often features humorous images that flirt with serious issues. The images often focus on anti-war, anti-capitalist, and anti-establishment messages. His collective work is often described as a prime example of creative freedom and as a visual voice for a public that would otherwise be silent. His work has inspired thousands if not millions of young artists. However, some critics suggest that Banksy profits from war, capitalism, and the establishment-- as well as the cult of celebrity. Or is it the cult of anonymity?

Today it is difficult to be anonymous-- there is little room to be mysterious in our online world. Thus, the fact that Banksy has been able to conceal his identity, at least to the masses, is attractive in our social media driven age. Regardless of who Banksy is the mystique has proven to be a key factor in keeping his visual message on bookstore shelves, in gallery exhibits, and in the news.

Hoaxes and ethical criticism aside, Banksy’s choice of anonymity has fostered debate concerning who is behind the persona. For example, several Banksy theories have been expressed on blogs and art forums. Some comments suggest that he is actually a she while others suggest that Banksy is a group of street artists rather than an individual.

On that same note, others have suggested that the ‘real’ Banksy has nothing to do with the commercialization of his work. Some have went as far as to suggest that Banksy’s work has been ‘hijacked’ by art dealers for profit due to the popularity of his art-- or that Banksy was ‘created’ by a group of gallerists in order to ‘legitimize’ street art within the mainstream art world for profit.

The Banksy conspiracy theorists suggest that alleged recordings of Banksy’s voice and his ‘official’ website are not legitimate. Some have noted that the registrant for Banksy’s website (www.banksy.co.uk) is Steve Lazarides-- who happens to be Banksy’s agent/ art dealer-- as ‘evidence’. Could it be that Steve Lazarides is running one of the most profitable art schemes in history? Could it be that Steve Lazarides is in fact Banksy? Perhaps the other artists that Steve Lazarides represents are collectively Banksy? Doubtful.

That said, one could suggest that Banksy-- the individual, the myth, the icon-- has found the perfect recipe for fame and fortune (and more importantly a surefire way to keep people focused on his art and social messages) in that he has been able to keep people guessing. Debates about Banksy tend to focus more on who he is rather than the art itself-- at least at first. The motives behind the mystery seep into the dialogue.

Is Banksy nothing more than a paper-tiger provocateur smothered by contradictions and hypocrisy? Maybe. Is Banksy an artist who is more interested in conveying a visual message to the world than basking in the media spotlight directly? Possibly. One thing is for certain-- we won’t know much about Banksy until he reveals his identity and therefore addresses questions more openly. That said, if Banksy reveals his identity would we continue to care?

Link of Interest:

Fake Banksy Infiltrates Celebrity Dinner
http://www.myartspace.com/blog/2009/05/fake-banksy-infiltrates-celebrity.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Tracey Emin: Those who suffer Love at White Cube

Contamination of the Soul by Tracey Emin

White Cube is currently preparing for an exhibit of Tracey Emin’s work. The exhibit, titled Those who suffer Love, will feature a number of recent works by Emin including a new series that has been described as erotic drawings. Those who suffer Love at White Cube will mark Tracey Emin’s first exhibition in London in over four years.

In a press release Emin stated that the meaning behind the title of the show is “self-explanatory” and that “Love rarely comes easily and if it does, it usually goes quite quickly.”. The exhibit opens on May 29th and will come to a close on July 4th, 2009. For more information visit, www.whitecube.com

Premium update, London Calling update, 2009 art scholarships update

Premium Update:

The Enhanced Defintion Gallery is a new capability for myartspace premium subscribers. It allows them to create a very vivid, bold, and spacious gallery with all the power of the traditional myartspace gallery. To learn more visit, www.myartspace.com/blog/2009/05/enhanced-definition-gallery.html

London Calling Update:

There are only a few days left to submit art to the myartspace.com London Calling competition. The juror panel includes Vanessa DesClaux (Tate Modern), Tom Morton (Hayward Gallery, Frieze Magazine), and Francesco Manacorda (Barbican Gallery). Winners will have an exhibit at Scream London, a cutting-edge gallery operated by Tyrone Wood (son of Ronnie Wood of The Rolling Stones). Notable guests and patrons have included Tracey Emin, Claire Danes, Rosie Huntington-Whiteley, Beverly Knight, Meg Mathews, and Ronnie Wood of The Rolling Stones.

For more information visit, www.myartspace.com/londoncalling

For a special coupon visit, www.myartspace.com/londoncalling/coupon

For more updates, artist interviews, and art news visit, www.myartspace.com/blog
2009 myartspace.com art scholarship program:

MYARTSPACE is giving away $16,000 cash Scholarships for students to continue their education in an approved MFA, BFA or higher level degree program for the arts. The 2009 scholarship amount of $16,000 will be divided equally for an undergraduate and graduate competition. The competition is free to enter for college level art students worldwide. For more information visit, www.myartspace.com/scholarships

When Art Dealers Go Bad: Run Ronnie Run!

Art dealer Ronald Coles at his Kenthurst gallery in 2004. Photo: Natasha Paes/Hills News

In February 2009 hundreds of complaints were filed in Australia concerning art dealer Ronald Coles. This was due to two key factors. First, Coles had orchestrated an art market scheme that involved selling forgeries that he claimed were original works by Norman Lindsay and other famous Australian artists. Apparently he had the fakes created in China. Second, Coles owed millions of dollars to his angry clients and allegedly had stolen authentic works of art as well from his cliental. The forgeries had ended up for sale at auction houses and other venues while the legitimate stolen works had been sold online.

Australian authorities raided the Ronald Coles Investment Gallery and Coles residence only to find a large collection of firearms and hundreds of stolen paintings-- some of which were valued at over $4 million at the time of the bust. Afterwards dozens of former clients discovered that works of art that they had entrusted to Coles had been sold on the internet while others found out that the works they had purchased from Coles were in fact fakes. Unfortunately, Ronald Coles was no where to be found-- he has been on the run since before the police raided his property.

It has since been revealed that Coles had been running his scheme as early as 1994. Rumors state that other professionals within the market were aware of Coles activity but were wary of exposing him out of fear that the market as a whole would be scrutinized. In other words, if those claims are true it would mean that other professionals kept silent while Coles established a national reputation for himself as a legitimate art dealer and broker.

The plot thickens-- Ronald Coles is currently running from more than just the law. Recent buzz claims that Coles vanished with over $1 million in cash that belonged to an under-the-table client-- an outlaw biker (bikie for the people down under) gang in Australia. Needless to say, the biker gang did not bother with a formal complaint to Australian authorities. Instead they intimidated Coles stepdaughter, Sage Carver, who also happens to be an art dealer.

Sage Carver claims that the gang told her that they want to take Ronald Coles for a “ride”. However, the name of the specific gang has yet to be released to the press-- though the story has been confirmed by press in Sydney under the condition of anonymity. Apparently members of the biker gang had shown up at a gallery opening hosted by Carver in order to find out where Coles had gone. The outlaw biker gang members left with five paintings after Carver was unable to provide them with information.

A senior member of the outlaw biker gang, under the condition of anonymity, informed the press that the gang had invested money in Coles operation and that the shamed art dealer owes millions to over a dozen dozen senior members of the gang. The outlaw stated that the biker gang has the resources and the manpower to find Ronald Coles before he is captured by law enforcement, stating that “one way or another“ his gang will get their investment back.

The senior member of the outlaw biker gang made it clear to the press that Ronald Coles can only run for so long. All I can say is that Coles had better keep running-- or do the smart thing and run to the nearest jail cell… though it might be wise for him to pay back a few of his clients first.
Link of Interest:

Bikies want to have a 'chat' about their $1m
www.smh.com.au/national/bikies-want-to-have-a-chat-about-their-1m-20090509-aykb.html?page=-1

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

The Enhanced Definition Gallery

The Enhanced Defintion Gallery is a new capability for myartspace premium subscribers. It allows them to create a very vivid, bold, and spacious gallery with all the power of the traditional myartspace gallery. Click on the picture below to see the difference.



For more information on Premium Membership, see http://www.myartspace.com/premium.

Downward Spiral: Confidence in Contemporary Indian Art drops 90%

Diamonds, 2007, Bindis on panel, 64.25 x 70.25 inches. By Bharti Kher

According to ArtTactic, a London based research company that examines the art market, the art market boom for contemporary Indian art may very well be over-- at least for now. ArtTactic’s confidence index states that art market confidence in contemporary Indian art has dropped by 90 percent since last October. ArtTactic’s data is based on a number of factors-- including a balance between pessimistic and optimistic art market professionals who respond to their surveys. The responses were offered by over 80 individuals-- ranging from Indian and international collectors, art dealers, art advisers, to auction house specialists.

The confidence for Indian art in general has dropped 63% in the same length of time. The report states that the market for Indian art in general may take anywhere between two and 10 years to recover due to the aftermath of a market that sent prices for Indian art souring in the last few years. In fact, just over a year ago prices for some Indian artists had doubled-- a rapid increase in what turned out to be a paper-tiger market. The founder of ArtTactic, Anders Petterson, has said, “people see there’s nothing to hold these prices up any more.”.

The current slump is largely due to the state of the economy and the financial crises that has swept the world-- another sign that the stability of the art market in general can shift rather quickly. The implications of the bubble-burst market for contemporary Indian art may end up being disastrous for western art dealers who invested heavily in Indian artist since 2006. Concerning the burst Petterson has stated, “Western galleries got involved with Indian art at a high price-point and now they’re stuck with it.”

Needless to say, there is some concern that younger contemporary Indian artists may end up in obscurity due to the fact that the high prices for their work is no longer valid within the current art market-- 10 years is a long time to wait for the art market to recover after having been introduced to rising success early on.

Young contemporary Indian artists are not alone. There has also been a downward spiral in the art market for contemporary Chinese art. Similar to the contemporary Indian art market many of the top selling Chinese artists were virtually unknown before the Chinese art market boom. Successful young contemporary artists from India and China reaped what quick fame and fortune offers to artists who dominate the global art market.

I suppose the lesson to be learned from this is that success can be fleeting-- these young artists have been caught in the downward spiral of the economically burdened art market. That said, the art market may recover just as fast as it crashed. If the global financial crises has taught us anything it is that the unexpected can happen.

Link of Interest:

www.arttactic.com

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Frieze Art Fair Exhibitor List 2009 (A-F)

The 2009 exhibitor list for Frieze Art Fair (www.friezeartfair.com) has been made public. According to the Frieze website-- details of Frieze Art Fair 2009, 15-18 October, have been announced by directors Amanda Sharp and Matthew Slotover. The site explains that a fresh and exciting addition for 2009 will be the first presentation of Frame, a new section within the fair dedicated to solo artist presentations. Frame will show young galleries from around the world that have been in existence for less than six years.

Frieze Art Fair takes place every October in Regent’s Park, London. The fair provides an environment to introduce and showcase new and established artists to visitors from around the world. Frieze Art Fair features more than 150 galleries from around the world, providing visitors with a unique opportunity to see and buy art by the world’s leading artists. The fair hosts an annual curatorial programme, presented by Frieze Foundation.

Clare Stephenson -- Analysis & Reflection, 2009, framed xerox and collage on paper, 62 x 47.5 x 4.2 cm -- Represented by Sorcha Dallas

Frieze Art Fair Exhibitor List 2009 (A-F)

Galería Juana de Aizpuru, Madrid -- www.juanadeaizpuru.com
Galería Helga de Alvear, Madrid -- www.helgadealvear.com
Andersen's contemporary, Copenhagen -- www.andersen-s.dk
Galerie Paul Andriesse, Amsterdam
The Approach, London -- www.theapproach.co.uk
Galerie Catherine Bastide, Brussels -- www.catherinebastide.com

Boers-Li Gallery, Beijing -- www.boersligallery.com
Marianne Boesky Gallery, New York -- www.marianneboeskygallery.com

Kaye Donachie -- Every mornin' our love is reborn, 2004, Oil on canvas, 24 5/8 x 35 3/8 inches -- Represented by Marianne Boesky Gallery

Galerie Isabella Bortolozzi, Berlin -- www.bortolozzi.com
The Breeder, Athens -- www.thebreedersystem.com
Broadway 1602, New York -- www.broadway1602.com
Gavin Brown's enterprise, New York -- www.gavinbrown.biz
Galerie Daniel Buchholz, Cologne -- www.galeriebuchholz.de
Luis Campaña, Berlin -- www.luiscampana.de
Galerie Gisela Capitain, Cologne -- www.galerie-capitain.com
Casa Triângulo, Sao Paulo
Sadie Coles HQ, London -- www.sadiecoles.com
COMA Centre for Opinions in Music and Art, Berlin -- www.coma-berlin.com

Stef Driesen--Untitled, 2008, Oil on linen, 70.875 H x 59 W inches -- represented by Marc Foxx

Contemporary Fine Arts, Berlin -- www.cfa-berlin.com
Corvi-Mora, London -- www.corvi-mora.com
Sorcha Dallas, Glasgow -- www.sorchadallas.com
Thomas Dane Gallery, London -- www.thomasdane.com
Galleria Massimo De Carlo, Milan -- www.massimodecarlo.it
Dicksmith Gallery, London -- www.dicksmithgallery.co.uk
doggerfisher, Edinburgh -- www.doggerfisher.com
Galerie Eigen + Art, Berlin -- www.eigen-art.com
Galerie Frank Elbaz, Paris -- www.galeriefrankelbaz.com
Foksal Gallery Foundation, Warsaw

Joel Croxson-- Echo Balls, 2009, Acrylic on Linen with wooden strip, 130 x 68 cms -- represented by Dicksmith Gallery

Galeria Fortes Vilaça, Sao Paulo -- www.fortesvilaca.com.br
Marc Foxx, Los Angeles -- www.marcfoxx.com
Carl Freedman Gallery, London -- www.carlfreedmangallery.com
Stephen Friedman Gallery, London -- www.stephenfriedman.com
Frith Street Gallery, London -- www.frithstreetgallery.com

Art Space Talk: Bronwen Hyde (Part 3)

Institutionalized: Untitled #10 by Bronwen Hyde

This is part 3 of my interview with Bronwen Hyde. To return to part 2 click, HERE

Brian Sherwin: Bronwen, do you have any concerns about the art world at this time?

Bronwen Hyde: At the moment I have a couple of concerns in regard to art and photography in particular.

The first is the increasing harassment of photographers in regard to photographing in public places, especially in cities like London. Although this seems to be a lesser issue in Australia, obviously precedents are set for Australia by countries like the UK and US, so it is still something that concerns me.

The second is the double standard I often see in regard to the censorship of and lack of acceptance of nudity in fine art photography versus nudity in other art mediums like painting and sculpture. The recent furore over Bill Henson's work with underage models is an example. No doubt if the models, irrespective of age, had been depicted in paintings the police would not have been so quick to sweep in and remove the works from the gallery, even if the paintings had been more graphic and disturbing.

I see similar issues in online photo-sharing sites where art nudes or art incorporating nudity are lumped together as “restricted” with images of penetration and other images that are clearly pornography, when the same people viewing the work on the site can walk into a gallery and see larger-than-life nude statues. The art world seem to be able to differentiate clearly between art and pornography, but those outside it often seem unable to.

Simulacrum: pin-up by Bronwen Hyde

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

BH: I feel quite strongly about copyright, though I respect the right of other artists to opt for Creative Commons licenses in respect to their own work. In terms of artists referencing existing artworks, I feel there is room for tributes / homages to and commentary on other artworks / films / etc., however, crediting the inspiration in some way, even simply in the titling of the work is basic etiquette.

Creating derivative works, especially where the derivative work doesn't clearly reference or acknowledge the original work or artist, is something I believe should only be done with the permission of the artist, whether through their assigning of a Creative Commons license that allows the creation of derivative works, or with direct permission from the artist.

I've had other artists approach me at various times in regard to creating new interpretations of my work and I'm not adverse to the idea. Where permission has been given the final piece is akin to a collaboration in many instances. It is something that I feel is very personal though, and where you may be agreeable to one image being reinterpreted, you may not be agreeable to others.

In regard to copyright of concepts and ideas in art, it can be very difficult to prove and defend, and many argue there are no new ideas / everything's been done before. However, that doesn't mean you can't make an idea your own, or that you can never photograph the same subject or concept if someone else has already shot it (painted it, drawn it, etc). If that were the case we should all put our cameras, brushes, etc., down and move on with our lives without art.

In my view copyright doesn't stop you putting your own spin on an idea, subject matter, etc., but hopefully prevents artists copying something directly from the source. I have seen a number of instances recently where artists have copied quite specific concepts and compositions from other artists, and I believe that is only acceptable from a learning perspective and with full credit provided to the original artist, and in respect to online publication, with clear links to the original work.

Imitation may be the sincerest form of flattery, but passing off someone else's highly original concept as your own is something I find reprehensible. I do feel strong copyright is a reflection of artists' rights in general, in that especially with the visual arts, artists should receive the same level of credit and right to royalties as musicians, authors and such are entitled to.
Interiors: Untitled #3 by Bronwen Hyde

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

BH: As your stereotypical starving artist, I'm not sure I'm noticing a difference so far! But seriously, despite deciding in high school that I wanted to be a photographer, it's only been in the past 12 months or so that I've been pursuing my art full-time, and I only really threw myself back into photography in 2005 after being distracted by earning a living in office jobs and a 2 year photographer's block. So I'm still very much learning my way around at the moment in terms of developing, marketing and selling my art.

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

BH: More of my photography can be viewed and purchased at www.bronwenhyde.com and I am available for commissions.

This is the conclusion of my interview with Bronwen Hyde. To return to Part 1 of the interview click, HERE . You can read more of my interviews at www.myartspace.com/interviews. Feel free to discuss Hyde’s work on the myartspace forum at, www.myartspace.com/forum.

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Bronwen Hyde (Part 2)

Best of 365 Days: beautiful agony by Bronwen Hyde

This is Part 2 of my interview with Bronwen Hyde. To return to Part 1 click, HERE

Brian Sherwin: Bronwen, what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

Bronwen Hyde: I don't feel there is always a specific message to viewers across my whole body of work. What I am hoping to express can change from series to series and from subject to subject. I do find it interesting though to hear how others interpret my work; how they “read” the work based on the beliefs, thoughts and ideas they bring to it. When viewing artwork you often bring your own experiences and preconceptions to bear on the work and those things affect how you respond to it.

I guess in some respects I like to subvert others' ideas about what they are seeing. For example, the knee-jerk response to death depicted in my work, whether in my sepulchre series or my images of dead creatures, is often along the lines of “Why would you take that? It's ugly / morbid / depressing”. However, challenging viewers to see past their automatic responses, to recognise the beauty in a creature, alive or dead, or the beauty and peace of a grave or graveyard and the history and art of the stonemasonry is something I enjoy.

Intimacy: Untitled #69 by Bronwen Hyde

BS: What are you working on at this time? Can you give our readers some insight into your current work?

BH: I am currently working on a series of self-portraits titled Interior / Exterior, which explore the relationship between self and environment, whether open or contained spaces, and includes a mixture of autobiographical and fictional imagery.

As I have been developing this body of work I am finding myself more and more drawn to pools of light contrasted with darkness and shadow, combined with strong use of colour. I am hoping to travel to the US and UK in 2010 to continue this series and to develop new work.

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

BH: For myself personally, I find the internet a very important element in the development of my art and as an avenue to gain exposure for my work. Though Melbourne, and Australia in general, has very strong art communities and opportunities, the physical distance from the art communities interstate and around the world is somewhat overcome by the accessibility of galleries and other artists online.

There is more opportunity to connect with like-minded artists whom you would otherwise never see the work of, let alone meet; and it is as easy for a gallery, a collector or a potential client to view your work as to view the work of someone from their own city.

Simulacrum: adventures in bedland [inspired by Samantha West] by Bronwen Hyde

Exposure within the local art scene is generally better achieved through exhibitions and publications as art has stronger impact “in the flesh”, but in terms of initial exposure to galleries and other artists, there is more scope to reach a wider audience. I have also found the internet to be an invaluable tool for receiving feedback on my work when I may not be able to afford to stage an exhibition.

However, as with music, the internet has a double-edged effect on artists: on the one hand, the internet allows for more people to see and enjoy your work; on the other hand, it makes it easier for others to enjoy, make money from and / or utilise your artwork without giving appropriate credit or payment to the artist.

BS: Will you be involved with any upcoming exhibits?

BH: I'm hoping to stage an exhibition of my Interior / Exterior work in 2010, and I regularly exhibit work within local group shows and salons.



To read Part 3 of my interview with Bronwen Hyde click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Bronwen Hyde (Part 1)

Bronwen Hyde’s passion for photography took hold at the tender age of fifteen when her father gave her his old SLR camera. She completed a three year Diploma of Illustrative Photography at Photography Studies College in Melbourne, Australia in 1997 and has been working on various photography series since that time.

A large portion of Bronwen Hyde’s work centers around self-portraiture, urban landscapes, graveyards and dolls. Hyde also works on photography projects. For example, between the 17th of April 2007 and 16th of April 2008 she completed a 365 Days project - a self-portrait a day for a year. Hyde’s debut solo exhibition took place at Brunswick Street Gallery in Fitzroy, Victoria.
Institutionalized: truth lies beyond by Bronwen Hyde

Brian Sherwin: Bronwen, What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

Bronwen Hyde: I completed a three year Diploma of Illustrative Photography at Photography Studies College in Melbourne in 1997 and have recently been contemplating the possibility of returning to study. Since completing the Diploma most of my education about photography and art in general has come from looking at and reading about the work of artists I admire.

Institutionalized: overlooked by Bronwen Hyde

BS: Tell us about yourself. At what point did you gain an interest in creating visual art?

BH: As a child I spent a lot of time learning and playing piano, clarinet and saxophone, and visual art wasn't something I was really involved in as I don't have any natural talent for drawing or painting. Initially photography was simply a way of recording the places we visited and the sights we saw on family holidays, but became something of an obsession once I was introduced to processing and printing my own black and white photographs in year 11.

From that point onward music took a back seat, and by the time I finished high school I knew I wanted to be a photographer as I realised there was a way for me to express the visual ideas I had without needing to know how to draw or paint.
Facade: Rebecca by Bronwen Hyde

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

BH: Essentially I will photograph anything I find aesthetically pleasing and interesting, even if that may be subject matter that others find 'weird' or 'morbid'. Fascination with something or someone usually leads me to want to photograph it or them. So my work ranges across a number of subjects in addition to my self-portraiture: portraiture, urban and natural landscapes, dolls, graveyards, and the minutiae of every day life.

My self-portraiture was initially borne from the convenience of using myself as a model, then it gave me an outlet to express my own emotions and experiences. Over the years the convenience and autobiography of it has remained an aspect of my continuation of that work, but it's also become an area of my art where I can create narratives and take on roles and characters.

Like many self-portrait artists, I value having control over every aspect of the work: from conception, art direction / styling, posing, composition, shooting and editing. Although I enjoy working with other models and other artists, there's something I find quite freeing about the autonomy of being able to do a shoot whenever the mood may take me independent of anyone else's schedule or restrictions.

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

BH: With my self-portraiture it varies. Sometimes I will have a specific visual idea in my mind which may be inspired by a particular item of clothing, a wig, a prop, the quality of light through a window or from a lamp, or a location, and the shoot may be somewhat pre-planned. Other times I will just have the urge to shoot on a whim and it will all come together quite quickly.

Depending on how pre-planned the shoot is, I may shoot for as little as 10 to 20 minutes until I get the one image I'm after; other times when the shoot is inspired more by a feeling or a compulsion, the shoot may be longer and more intense and I will continue to shoot until I feel I've exhausted all of my inspiration. As I don't have a traditional studio or studio lighting at this stage, my shoots take place in my home or on location using available light.

Although I originally started off shooting film, my work has been predominantly digital since 2005 so I post-process all my images to some degree in Photoshop, aside from anything because I shoot in RAW format. I rarely consider my photographs to be “finished” without some form of editing, whether it be basic colour and contrast adjustments or more detailed manipulation.

Dolls: Untitled #53 by Bronwen Hyde

BS: What about other influences? For example, are you influenced by any specific artists?

BH: I find inspiration in what I guess are many of the 'standards': film, music, other artists, dreams and books. Some mainstays in my influences are David Lynch, Cindy Sherman and Bill Henson; to list all the artists and films that inspire me would be a lengthy task, as every day I discover more artists, both known and emerging, who amaze me with their work and inspire me to do more. However, some photographers I've recently been drawn to the work of are Aaron Hobson, Jeff Bark and Julia Fullerton-Batten.



To read Part 2 of my interview with Bronwen Hyde click, HERE
Take care, Stay true,

Brian Sherwin
Senior Editor
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Did Paul Gauguin cut off Vincent van Gogh's ear?

A self-portrait by Vincent Van Gogh

Two art historians from Germany are challenging one of the key legends surrounding Vincent van Gogh-- the story involving his self-inflicted ear mutilation. As the story goes, van Gogh sliced off his ear during a fit of madness and presented it to a prostitute whom he favored. However, Art historians Rita Wildegans and Hans Kaufmann claim to have evidence that supports their theory that Vincent van Gogh’s ear was severed by his on-and-off friend artist Paul Gauguin during their final altercation.

Wildegans and Kaufmann base their theory that Vincent van Gogh was a victim of Paul Gauguin’s skillful swordplay on documents from the time. For example, they note specific letters that Vincent sent to his brother Theo and a sketch of an ear by the artist as evidence. The sketch has the word “ictus”-- a Latin term used in fencing-- upon it.

Paul Gauguin’s account from the time states that van Gogh approached him with an open razor after he informed van Gogh that he was leaving for the last time. Gauguin is quoted as having said that he was able to quell van Gogh’s approach with just a glance. In other words, Gauguin’s account suggests that van Gogh cut off his ear after the altercation. However, Wildegans and Kaufmann suggest that what actually occurred was covered up in order to protect Paul Gauguin.

Paul Gauguin's account makes sense because in many ways van Gogh viewed Gauguin as more than just a man. After all, van Gogh idolized Gauguin. True, Gauguin could have made his side of the event up in order to protect himself-- and it could be that Vincent went along with it in order to protect his idol. However, the theory suggested by Wildegans and Kaufmann does not exactly add up.

I’m not sure if I can agree with Wildegans and Kaufmann’s theory. It is true that Paul Gauguin is noted for having been a skilled fencer and was known to have carried an epee at his side-- that said, an epee is not necessarily a slashing weapon due to the fact that it is designed for thrusting. In fact, an epee does not have a cutting edge. In other words, that specific type of fencing sword involves thrusting motions not slashing. That alone places a great burden on the theory presented by Wildegans and Kaufmann.

A self-portrait by Paul Gauguin

If Paul Gauguin had used his epee upon Vincent van Gogh it would have meant that he was aiming to kill since, based on the claims, he targeted van Gogh’s head. Point blank-- an epee is designed to penetrate an opponent with a thrust-- not severe body parts with a slash. So if Gauguin had thrusted the sword toward van Gogh's head he would have most likely aimed for the eye. Contrary to popular belief that would not have been a prime target.

I'll play Devil's advocate and say that it is possible that Paul Gauguin attempted to land a skillful epee thrust in van Gogh’s direction. However, that act would not have slashed van Gogh’s ear off entirely. If anything it would have-- due to the force of the thrust-- pierced his ear brutally. If that happened perhaps van Gogh decided to slash the rest of the ear off with his trusty razor. That said, it is important to remember that Paul Gauguin was a skillful fencer.

Being a skilled fencer Gauguin would have most likely aimed for Vincent's wrist if he desired to ward him off or for his heart if he desired to kill him. Since Gauguin's account states that van Gogh was armed it would have made sense for him to thrust in a manner that would have disarmed his opponent rather than kill him-- especially since Gauguin would have most likely wanted to sustain an amicable relationship with Vincen't brother Theo.

I doubt that Paul Gauguin would have wanted to kill Vincent van Gogh on the street in the first place-- especially since he was trying to leave hostile living conditions. He obviously wanted to leave trouble-- not find it. Nevertheless, Wildegans and Kaufmann have published their findings in a book titled Van Gogh’s Ear: Paul Gauguin and the Pact of Silence. The book will most likely stir more controversy and speculation once it is widely available.

Links of Interest:

Van Gogh’s Missing Ear: Was Gauguin the Culprit?
www.nytimes.com/2009/05/06/arts/design/06arts-WASGAUGUINTH_BRF.html?_r=1&ref=arts

Van Gogh's ear 'was cut off by friend Gauguin with a sword'
www.telegraph.co.uk/culture/art/art-news/5274073/Van-Goghs-ear-was-cut-off-by-friend-Gauguin-with-a-sword.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
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Myartspace Blog on Twitter
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the qi peng dynasty (we are duchampions) at envoy enterprises

alexis granwell panel 1 (2009), ink on paper, 8.5” x 11" by qi peng

envoy enterprises is currently preparing for an exhibit involving the work of conceptual artist qi peng. The exhibit, titled the qi peng dynasty (we are duchampions), will involve a complex installation featuring a hybrid fusion between traditional works on paper and painting and cutting-edge new media art. The installation has been described as being based on the idea of autobiography loosely based on James Joyce’s novel “A Portrait of the Artist As a Young Man” smashed with Facebook and Xerox.

qi peng combines selected “interview portraits,” which he has published through www.examiner.com as an online art project, between art professionals which he has met in real life or Facebook or Twitter or other social networking websites into a larger installation project. By delivering a cross section of the international art world, focusing on New York City and Los Angeles mostly with a small dose of his current hometown of Salt Lake City, the artist attempts to democratize how the public perceives any particular individual within this complex web of artists, art dealers, museum curators, art workers, and “slaves” who comprise this whole system of people who put together contemporary
art for the audience. By displaying offset prints of these portraits like a digital version of August Sander photographs, peng attempts to humanize the art world as an antithesis to the glossy art market and blue chip players portrayed by the magazines.

edward winkleman panel 2 (2009), ink on paper, 8.5” x 11" by qi peng

This installation piece will present secondary documents that will reflect on how the artist’s first solo show in New York City became extant at envoy enterprises. Mixing together proposals, acceptance and rejection letters, critiques, as well some surprising documents that feature a Chelsea gallery, and a painting that is based on a prominent Brooklyn artist with overtones of the idea of “WWPD,” this work becomes a brave exploration of the politics of how exhibitions are created and galleries are curated.

This is a fairly dispassionate view of the artist’s subjective journey from a virtually unknown artist as a displaced New Yorker located in Utah into a slowly emerging artist as a small player within the international art world. He also highlights the challenges of an atypical Utah conceptual artist attaining both “critical affirmation” and “artistic defiance” with and against the somewhat insular New York contemporary art world reframed as the Garden of Eden.

qi peng states that there will be a surprise ending to the whole installation and a possible inclusion of the following events: an artist book signing at a table, an unexpected appearance of the Zero Dollar project by Laura Gilbert, a performance duel between Rick Herron and the artist himself, and guest appearances by famed bootlegger Eric Doeringer and collaborating artists William Powhida and Jennifer Dalton.

william powhida panel 1 (2009), ink on paper, 8.5” x 11" by qi peng

“the qi peng dynasty (we are duchampions)” is qi peng’s first solo exhibit in New York City. qi peng was born in 1976 in Queens, New York City. He lives and works mostly in Salt Lake City and sometimes in New York. His work has been exhibited at The Lab at Belmar, Anna Kustera, James Cohen/NURTUREART, Metro Pictures/Visual AIDS, modern8 gallery, and Projects Gallery. Currently he is represented by The Barbara Ann Levy Gallery in West Palm Beach, Florida.

envoy enterprises is a contemporary art space dedicated to the generation, presentation and promotion of contemporary visual arts practice. envoy enterprises' dynamic program of exhibitions, performances, concerts, artists' talks, publications, video and movie screenings, aims to provide opportunities for artists to exhibit their work within a context of current national and international practice. For more information visit, www.envoyenterprises.com

For more information about the exhibit visit www.envoyenterprises.com or www.qipeng.net



Link of Interest:

Myartspace.com interview with qi peng
www.myartspace.com/blog/2009/04/art-space-talk-qi-peng-part-1.html

Chet Zar / James Zar: When Worlds Collide at L'Imagerie Gallery

L'Imagerie Gallery, located in North Hollywood, is currently preparing for an exhibit titled When Worlds Collide. The exhibit is considered an intergenerational exhibit due to the fact that it will feature the art of Chet Zar and his father James Zar.

The press release states, “This is a father and son show that is amazing in it's polarity of imagery. You would be hard pressed to visually discern that both painters are related-except for their astounding facility with a paintbrush and clarity of their respective vision. This is more than a father/son exhibit, it's a visual polemic of antipodean aesthetics, contradictory world-views and a personal glimpse into the genetics of visual creativity.”

Drawing inspiration from his love of horror films, Chet Zar (the son) creates characters that capture feelings of fear and anxiety. There is degree of isolation about his paintings. The viewer senses danger as he or she views the nightmares that stem from Zar's wonderfully creative mind. When I first observed his work I thought about the horrors of what a nuclear attack may result in.

Chet Zar also draws inspiration from his career as a special effects make up artist, designer, and sculptor for the motion picture industry. Chet Zar has designed and created creatures and special effects make up for such films as, "Planet of the Apes", "The Ring", and "Hellboy". His work can also be observed in the critically acclaimed music videos for the art metal band, Tool.

James Zar (the father), also referred to as the 'Still Life Magician', has been an established artist for decades. He has befriended celebrities and star athletes... a far cry from his humble roots in a hard-working fishing community. However, James still embraces his roots with honor and respect. He shares the same integrity for his work that those who influenced him had shown when he was young. This strong work ethic can be observed in his images, artistic practice, and interactions with people who are interested in his work.

James Zar creates paintings that allow the viewer to travel to another world. A place full of vibrant color and lively beings. His work is marked by a bold use of color, mastery of composition, and playful spirituality. They offer the viewer the perfect visual escape from a long day at work.

James Zar has been involved with major movie studios where he worked professionally and became friends with Arnold Schwarzenegger and Sylvester Stallone. He also befriended Frank Sinatra, Jack Palance, Don Rickles and Hal Holbrook. His paintings have been displayed in their private collections. Mr. Zar has remained humble even though he has had great success with his art.

The L'Imagerie Gallery exhibit-- When Worlds Collide-- opens on May 16th, 2009 and is scheduled to come to a close in June. For more information visit, www.limageriegallery.com


Chet Zar on www.myartspace.com

Links of Interest:

Myartspace.com interview with Chet Zar (2006)
www.myartspace.com/blog/2006/11/art-space-talk-chet-zar.html

Myartspace.com interview with James Zar (2006)
www.myartspace.com/blog/2006/12/art-space-talk-james-zar.html

Mark McGowan: The Reenactment of the Death of Jade Goody

The Reenactment of the Death of Jade Goody (video still) - Mark McGowan

Mark McGowan’s recent performance/installation, titled The Reenactment of the Death of Jade Goody, took place at the Guy Hilton Gallery in East London on May 3rd. For the performance/installation McGowan recreated late British reality TV star Jade Goody's deathbed.

The depiction of Goody’s dying moments has been deemed a controversial exhibition by the media. However, McGowan has stated, “It was not ironic, funny, shocking or disturbing. It was a very emotional experience and of the many people who attended, two people openly cried. Not for Jade, but for their own loved ones who they stayed with and held their hands as they passed away.”


Mark McGowan says, 'It was absolutely extraordinary and beyond expectation, everyone was incredibly emotional. The cardboard boxes that Jade, Jack Tweed and Jade's mum Jackiey wore, were really inspired and captivated peoples imagination.”. The set features a bed on which the artist playing Goody lies while those depicting loved ones sit at the bedside holding Goody’s hands. The performance involves no dialogue or sound in that it is designed to be a tableau representation of what Goody’s final hours may have looked like. The performance/installation, which lasted just over two hours, was attended by over 200 people.

Mark McGowan: Kick George Bush's Ass. Photo courtesy of Charlie Smith, London

Mark McGowan’s work is often provocative. For example, at SCOPE NY 2007 McGowan performed his infamous Kick George Bush's Ass performance during the Collector and Press Preview. However, McGowan has made it clear that The Reenactment of the Death of Jade Goody is a tribute to Goody, who died of cervical cancer at the age of 27.

Concerning criticism over the performance McGowan has stated, "I understand it's provocative and sometime that is my aim, to provoke people. I've been accused of jumping on the Jade Goody bandwagon, but the truth is I think people are just too hung up about death in this country.”.

Mark McGowan on www.myartspace.com

Links of Interest:

myartspace.com interview with Mark McGowan
www.myartspace.com/blog/2007/03/art-space-talk-mark-mcgowan.html

myartspace.com interview with Mark McGowan #2
www.myartspace.com/blog/2007/06/art-space-talk-mark-mcgowan-second.html

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
www.twitter.com/myartspace_blog

Art Space Talk: Thea Pratt (Part 3)

Window 4 by Thea Pratt

This is Part 3 of my interview with Thea Pratt. To return to Part 2 click, HERE

Brian Sherwin: Will you be involved with any upcoming exhibits?

Thea Pratt: No. When I left school I took slides around to galleries and no one was interested. Actually, there were 2 galleries that were interested but I went back and they had closed! I always laugh about that. Then life got weird and I only have time to make the work and survive. However, if shows like the NYAXE show come along, I'll try to take advantage of them now that I've seen how easy it is to apply.

BS: Do you have any concerns about the art world at this time?

TP: I'm sad about it. I think that people (both viewers and artists) are closing themselves off and seem unable to feel or think or care for themselves. Most people focus on the external (just ride the NY subway or walk the streets some time). To be a viewer or artist I think that you have to be coming from someplace central because the external is always changing and moving away and falling apart and it divides us.

But then, I'm naive when it comes to the art world since I've always been on the outside of it.

BS: There has been several stories involving copyright infringement in the mainstream press as of late. What is your stance on copyright? Do you see strong copyright as a reflection of artist rights in general? Or do you feel that copyright restricts creativity? Do you have a stance on this issue?

TP: I think that we have to have a balance here. As artists we can box ourselves in saying "this is mine, this is mine". I think that it's most important to find out what we are and then, coming from there, open ourselves to everything. And this means letting things go as well.

I think that it's a question of respect. Asian artists in the past would use an ancestor's poetry in their piece and it was recognized that this was done in homage to the ancestor. At the moment, that's not the modern Western way but it is something to keep at the back of our collective mind.

Alien 1 by Thea Pratt

BS: As you know, the economy has been hard. Have you had to change-- or should I say adapt-- your practice due to the economy?

TP: I was laid off from my 9 to 5 library job in 2006 and was thrown back on teaching yoga. I've started a small business which is growing slowly. This actually has helped my art. My present inconsistent schedule is great for making art. I carry my drawing materials with me and use Starbucks as my studio to do my "Swarm" drawings. And this has its own juice. You wouldn't believe how many job interviews, staff reviews and meetings, illicit affairs, divorces, etc., etc. are held in Starbucks!

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

TP: No. But thanks for the questions and your interest in my work. You've made me think a lot. And your interest has helped me to look at my work and put it out on the web. Thanks.



This is the conclusion of my interview with Thea Pratt. To return to Part 1 of the interview click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
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Art Space Talk: Thea Pratt (Part 2)

On Fire by Thea Pratt

This is Part 2 of my interview with Thea Pratt. To return to Part 1 click, HERE

Brian Sherwin: Thea, what about other influences? For example, are you influenced by any specific artists?

Thea Pratt: A lot of the artists who influence me are anonymous. The New Guinea carvers who made the "hooks" that can be seen at the Met, the artists who illustrated the Utrecht Psalter, a painting of a Buddha that glows on the walls of the Rubin Museum, a piece of Inuit sculpture of the seal goddess made of green soapstone.

Of known artists, I'm interested in the automatic drawing of the Surrealists and I love the attitude of the 1920's, the humor and biting commentary. I practice Asian brush calligraphy and love the ancient calligraphers. And the Goya show a while back at the Met literally left me speechless, particularly the Saturn pieces. So much agony.

BS: So what is the specific message you strive to convey to viewers? Do you adhere to a specific philosophy as far as your work is concerned?

TP: Ah, yes. At this point I become wordless again. Perhaps a word I can throw out is "honesty". I'm a yoga teacher and coming from the core is so important there. I think I learned a lot about that from making art.
I think that that's why I find words to be such a problem. People just throw them around.

In yoga I can't describe what happens in meditation. It's the same In art. I have more of a philosophy about words than about my art. Words can narrow and categorize, can change the piece entirely. I think that its important to allow art to be ambiguous, to always have that part that you don't "understand". On the other hand, if words are a carefully considered, integral part of the piece, they can open and add to it.

On Fire by Thea Pratt

BS: What are you working on at this time? Can you give our readers some insight into your current work?

TP: Right now I'm working on several pieces. That's another thing I do. I find that if I focus on anything too much it doesn't work for me. If I were teaching a yoga class I'd describe it as keeping my eyes soft, allowing for the peripheral vision of my mind.

Anyway, I keep doing the drawings for "Swarm". This began as a children's story around 2005 and then grew too dark so I just call it a "story" Right now I'm working on part 3: "exploding houses". This is a wall piece made up of drawings of city buildings. The streets on the periphery of the city are detaching and these houses are exploding. The drawings together form the shape of a spiral galaxy that covers the wall.

I also keep working on the "icons". Each one of these has taken years. They stop and start, the materials keep being recycled and getting more of a "natural" feel and, finally, everything pulls together and they're finished.

And I recently uploaded a lot of photographs and, for the first time, have had a chance to really look at them. So I have my camera out again.

On Fire by Thea Pratt

BS: What are your thoughts concerning the internet and utilizing the World Wide Web in order to gain exposure for your art? In your opinion, why is it important for artists to embrace the internet?

TP: I think that the internet is both good and bad. It's good because the people who are making art that isn't part of the main stream (I know a lot of really good artists who aren't showing in galleries) can be seen and can connect with people who relate to them. It's downside is that the work is never as it appears on the web.

Getting back to Winnipeg, the only work other than local art we saw was in reproductions. It was a shock when I came to NY and saw the real thing. Goya's Saturns are interesting in a book but they bowled me over in real life. However, the internet is good at introducing the viewer and the artist so I think it's important that we use it.



To read Part 3 of my interview with Thea Pratt click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
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Art Space Talk: Thea Pratt (Part 1)

Thea Pratt is an artist who works in a variety of mediums. She studied art at the University of Manitoba and Hunter College. Pratt was recently selected for representation at the NYAXE Gallery in Palo Alto, CA.

Woods by Thea Pratt

Brian Sherwin: Thea, you were selected for representation at the NYAXE Gallery in Palo Alto, CA. As you know, NYAXE Gallery is operated by the founders of www.myartspace.com and www.nyaxe.com and serves as a way to bridge the online and physical art world. Why did you decide to submit your work for consideration?

Thea Pratt: It was so easy. My life is hectic just surviving and making art. Trying to get it out there is just one more hassle and I'm not good at it. So when all I had to do was press a computer key, it was a no-brainer.

BS: What can you tell us about your academic background concerning art? Did you study art formally? Tell us about your art studies in general-- any influential instructors?

TP: I did my BFA in Winnipeg, Canada at the University of Manitoba. The best thing about those years was the rivalry between the Manitoba born and bred faculty and those who had come in from the U.S. This produced a really good energy, allowed for experimentation and new ideas. There was also a good Visiting artists program that brought in people like Lynda Benglis, Dennis Oppenheim, Richard Serra, Robert Irwin and so on.

Then I came to New York and went to Hunter College for my MA in studio art. Interestingly I found very little energy and a parochial attitude. The best part of these years was the students I met. We visited each other's studios which were all over NY so I got to see parts of the city I would otherwise have missed.

I left Hunter having completed all my requirements except for my thesis. (call it frustration) I guess the one instructor who I remember from Hunter is Rosalind Kraus. She helped me to "see" photography.

Woods by Thea Pratt

BS: Tell us about yourself. At what point did you gain an interest in creating visual art?

TP: I guess that the consistent thing about my life has been moving. I've done this since I was about 8 and my latest move was in Feb of this year. This means that my life is always "new"I really became hooked on art when I moved to a small town in Manitoba, Canada.

I had been married for about a year and had only lived in cities. I had a lot of time on my hands and our living-room window looked out on a tiny house with a huge vegetable garden owned by a tiny, bowlegged, elderly Ukrainian lady. I saw her planting and weeding during the summer. Then in the fall, she came around the corner of her house, wearing a straw hat and carrying an armload of dried cornstalks and a bucket of straw. The sun hit her and, to me, she glowed. It was a split second but I felt that I had to put this down in some way - it was just too beautiful. I didn't have a camera but I did have some paint-by-number paints and canvas board.

So I started painting. I came across other scenes that hit me the same way and this just continued. (except that I got better paint!) Then I moved back to the city, went to art school and found that I could find that excitement from a blank sheet of paper and lines and forms and colour.

You Are Not Ready by Thea Pratt

BS: Can you tell us about your art? Give us some insight into the thoughts behind your art.

TP: At art school I had a terrible time talking about my art. This hasn't changed. Part of this is because it's spontaneous and intuitive. One of my profs said that the reptile part of my brain is very active. A fellow student said I take things in, digest them and they come out my own.

BS: Can you discuss your process in general? Are there any specific techniques that you utilize?

TP: As I said, the process is spontaneous and intuitive. Some pieces start with a few lines on a page. I keep building until something comes out of it. Some pieces take years to complete. I think that they're done and then have to go back to them again and again. The materials (I include my drawings/paintings/images in this) keep recycling and then become something.

Very few pieces "emerge fully formed" and take a very short time to do. These are usually my favorite pieces. Art is intertwined with my life so I just keep making things and they keep growing.



To read Part 2 of my interview with Thea Pratt click, HERE

Take care, Stay true,

Brian Sherwin
Senior Editor
myartspace.com
www.myartspace.com
Myartspace Blog on Twitter
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