Art Space Talk: Axel Geis

I recently interviewed artist Axel Geis. I first observed his work while attending the Press Preview of the Armory Show in New York. I was impressed by the expressive quality of his paintings. Axel is represented by the Galerie Jan Wentrup, Berlin. Mr. Geis lives and works in Berlin.

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

A: "Several months before birth, I sensed my mother standing in front of a certain da Vinci in the Louvre."

Q. How has society influenced your art? Are there any social implications in your art?

A: "An artist is always a part of society, therefore the art created is social."

Q. On average, how long does it take you to create a piece?

A: "Too long."

Q. Can you share some of your philosophy about art and artistic creation?

A: "It doesn’t matter what it is, as long as it takes up enough space."

Q. Has your art ever been published?

A: "Yes, in various catalogues."

Q. What was your most important exhibition? Care to share that experience?

A: "My first gallery exhibition with Jan Wentrup; this is when it all started."

Q. 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?

A: "Gregor Hildebrandt."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A: "They all have good taste."

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

A: "I never discuss my pieces. I am a painter, not a philosopher."

Q. Why did you choose the medium(s) that you use?

A: "The medium chose me."

Q. What trends do you see in the 'art world'?

A: "Things are getting worse."

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

A: "No one in the art academy wanted to see my paintings. Since then I have lost faith in the established system for teaching art."

Q. What can you tell our readers about the art scene in your area?

A: "Berlin ’s art scene has depth and character. Artists come here from around the world to partake in the vigor of the underground art movements and develop close working relationships. Both successful and emerging artists are essential in supporting my own practice, and I’m honoured to be a part of Berlin ’s diverse artistic community."

Q. Has politics or religion ever entered your art?

A: "Always, at any time."

I hope that you have enjoyed my interview with Axel Geis. Feel free to critique or discuss her work. You can observe more of Axel's work at: http://janwentrup.com/splash/

Take care, Stay true,

Brian Sherwin

Art Space Talk: William Swanson

I recently interviewed artist William Swanson. Mr. Swanson has been a featured artist at Scope (New York, Miami) several times and his work has been published in ARTnews, Art in America, New American Paintings, and several other publications. William is represented by DCKT Contemporary, Heather Marx Gallery, and Walter Maciel Gallery. In his paintings, William combines vividly colored abstractions with images influenced by Pop culture, Japanese animation, science fiction, architecture, nature, and music.

Mr. Swanson's work attempts to visualize the workings of modern, post-industrial landscapes by hovering the line between landscape and abstraction, between the real and the synthetic. Using a palette that is both soothing and insolent, Swanson paints recognizable forms combined with abstract marking. The results are illusory images that suggest the familiar as well as the fantastic.

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

A. "I think it was a cumulative decision after many years of confirming that drawing and painting was the thing I liked to do most. Art was an important part of my childhood and at times bordered on obsession."

Q. On average, how long does it take you to create a piece?

A. "Lately I've been taking more time to complete paintings. On average it's about 2 months in the studio start to finish. I usually have anywhere from 4 to 8 pieces in progress so it's hard to keep track of exactly how much time goes into each piece."

Q. Has your art ever been published?

A. "Yes. "Anthem" Issue 11; "100 Artists of the West Coast" Douglas Bullis, 2003, Shiffer Books."

Q. 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?

A. "I listen to music constantly while working. When I was renovating the garage that is now my studio I made sure to insulate all the walls and ceiling for soundproofing since I tend to crank up the volume at times. I keep dark chocolate on hand when I need to get going in the studio."

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

A. ""After Site" is a recent piece that took the idea of a disaster site as the basis for the imagery. The wreckage is a mass of architectural slabs and planes that aren't quite settled. On top of the wreckage is a makeshift structure made of logs and salvaged wood. This handmade element shows the human need for shelter and structure. The reflection is something I use to bring in another dimension to a landscape. It's as much about reflecting on the disaster as it is about a play on optics and symmetry."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "I have a BFA in painting from RISD. In the late 80's and early 90's when I was at school there was an emphasis on political correctness that pervaded much of the curriculum. Then there were the old timers teaching abstract expressionism like it was the mid sixties. I didn't reject either side but let's just say I had some "unlearning" to do after I got out of school. The best thing about being at RISD was the proximity to New York for faculty and visiting artists."

Q. Why did you choose the medium(s) that you use?

A. "I arrived at using acrylic paint on wood panel after a lot of experimentation with formats and materials. I need a smooth hard surface since I work with very liquid paint. I pour pools and make washes as under- layers that I later build upon with top layers. I enjoy building and prepping the panels almost as much as painting on them."

Q.Where can we see more of your art?

A. "Heather Marx Gallery, SF: http://heathermarxgallery.com/ and DCKT, NY: http://dcktcontemporary.com/ Both galleries have inventories of my work."

Q. Do you have any upcoming exhibits?

A. "I am scheduling a show in NY at DCKT- most likely in the Fall. They are relocating to a new space so the schedule is still TBD. Next year will be Walter Maciel Gallery, LA and Heather Marx Gallery, SF."

Q. What galleries have you exhibited in? Can you provide links to their sites?

A. "I am represented by Heather Marx Gallery in San Francisco: ( http://heathermarxgallery.com/ ) , DCKT Contemporary in NY: ( http://dcktcontemporary.com/ ), and Walter Maciel Gallery in LA:( http://waltermacielgallery.com/ )- I have also shown in San Francisco at: Luggage Store, New Langton Arts, Southern Exposure, San Francisco Arts Commission Gallery, The Lab, Yerba Buena Center For The Arts, A.O.V."

Q. What trends do you see in the 'art world'?

A. "More and more art fairs. (Ha Ha)"

Q. Any tips for emerging artists?

A. "I would say the best way to develop is to get involved on the community level in local non profit and alternative spaces. Also put together group shows with like minded artists in the DIY spirit. Show in a closet if you have to."

Q. What was the toughest point in your career as an artist?

A. "The toughest point in my career was when we had just bought a fixer house and had a 7 month old baby. We had to live in the front room while we completely gutted the kitchen, bathroom and bedrooms. All this while trying to keep the art making going. My wife Alena is an artist as well. We were both selected for "Bay Area Now" at YBCA so it was right in the midst of all this mayhem of renovating and diaper changing. We were lucky to survive that episode. Somehow we got the work done for the show and now our daughter Elsa is in kindergarten, but we are still working on the house!"

Q. In one sentence... why do you create art?

A. "Art comes right after eating and sleeping on my list of needs.... actually eating, art, then sleeping."

Q. What can you tell our readers about the art scene in your area?

A. "I have lived and worked in the San Francisco area for 14 years. It is a great place to develop as an artist since it's out of the spotlight of the art hubs of the world. Non profit spaces such as New Langton Arts, Southern Exposure, The Lab, and Yerba Buena Center For The Arts are vital resources for artists in this area. I now live in Oakland where there is a blossoming art scene of artist run spaces with lots of energy."

Q. Has politics ever entered your art?

A. "A fair amount of geo- political issues run through my artwork. My work is purposely open for interpretation. It often poses questions about land use, nature vs. technology, bio- engineering, etc."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "The situations presented in my paintings are diagrammatic renderings of engineered environments. I like to pose a fictional view of the ever-changing state of nature and it’s various forms of adaptation. Selected elements from the natural world persist within the architecture of limitation and categorization. Trees, plants and mushrooms flourish in crystalline formations in the face of bleak prospects. Walls block the growth of would be forests. I imagine the sub-structure of a landscape exposed and visible to reveal networks of hidden layers. The inorganic mimics the organic within these networks in a melding of form and function. Light becomes subjective since so many sources co-exist within a given space. Depicting this multi faceted condition is a challenge I like to take on in my work. I also find a challenge in the positioning of my view onto this altered nature while maintaining a sense of wonderment and critical appreciation for the oddities within it."

I hope that you have enjoyed my interview with William Swanson. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Stella Lai

I recently interviewed artist Stella Lai. Lai is a San Francisco artist born in Hong Kong. Her paintings have been described as so precise that they could pass for digital prints. I observed her work at the Pulse art fair.

A recent Art in America review of Lai’s work said it had a "graphic sensibility informed by anime and advertising," and that "behind the overall prettiness of Lai’s Asian-flavored imagery, there’s often a feeling of melancholy or menace."

Lai's work is influenced by the cultural environment of Hong Kong , which was returned to China in 1997 after 155 years as a British colony. By drawing upon her memories and knowledge of the architecture and language of Hong Kong , Lai has developed an installation of paintings that examine the city’s bipolar history and new status as a hyper-accelerated metropolis dominated by 21st century consumption.

Q. I observed your work at Pulse (New York). Your work was represented by the Nathan Larramendy Gallery. How did you feel about this experience?

A. "I am currently having a show at Nathan Larrymendy Gallery, he decided to take my works to Pulse. The works were well received, it was a good experience."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My paintings investigate the schizophrenic character of contemporary Chinese culture, at once imprinted by the weight of its imperial history and propelled by the hyper-accelerated frenzy of global technology and consumerism. I use both mass media culture and traditional Chinese painting traditions as a means of exploring how gender identities and notions of "beauty" are constructed today."

Q. On average, how long does it take you to create a piece?

A. "2 weeks to a month."

Q. What was your most important exhibition? Care to share that experience?

A. "My first museum solo show at ASU Art Museum, Phoenix. The building was designed by Antoine Predock, it’s an amazing architecture. The space where I had my show was beautiful. It was the first time working with professional preparators, and it made the who installation process so much easier."

Q. 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?

A. "I normally listen to NPR when I am painting, sometimes I get bored, and switch to music. It’s very important to have background noise, it helps me to focus. I have to organized my work station before I start."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "Hmmm, it’s really all over the place. People like my work for different reasons, but for the most part it’s sex. Who doesn’t like sex?"

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

A. ""I Love My Foreigner Friends, Whiter," (image above) gouache on paper, 2006, 30" x 20"

This piece is inspired by a lot of cosmetics in Asia that sells the idea of whitening. It’s very common for women to buy skin care because they believe it can lighten their skin. When I went to get a facial in Hong Kong awhile ago, the women recommended a mask that can whiten and take out the "yellowness" under my skin. This obsession of beauty and skin tone fascinate me."

Q.Where can we see more of your art?

A. " http://www.stellalai.com "

Q. Are you represented by a gallery? Do you have any upcoming exhibits?

A. "I am working with Nathan Larramendy Gallery in Ojai, CA and Saltworks in Atlanta, GA. I am going to be in a group show at the 1918 Artspace in Shanghai, China, this summer."

Q. In one sentence... why do you create art?

A. "Ice-cream & Chocolate."

Q. What can you tell our readers about the art scene in your area?

A. "I just moved to LA from San Francisco about a year ago. I really don’t know LA very well yet."

I hope that you have enjoyed my interview with Stella Lai. Feel free to critique or discuss her work.

Take care, Stay true,

Brian Sherwin

Gallery Space Talk: Caryn Coleman- sixspace

Website: http://www.sixspace.com/
Location: 5803 Washington Blvd, Culver City, CA 90232
Phone: 323.932.6200

I recently interviewed Caryn Coleman. Caryn is the owner and director of the sixspace gallery in Los Angeles. Sixspace represented several artists at Pulse this year. The gallery is known for representing artists who have a great deal of studio integrity and skill.

(Sean Higgins - Island of Relative Stability March 3 - April 7, 2007 Installation view)

Q. You are the gallery director of sixspace. When was the gallery established? What is the mission of your gallery?

A. "I am the owner and director of sixspace. The gallery opened in Los Angeles in November 2002 in downtown Los Angeles (we had a brief stint as a project-based space in Chicago from 1999-2000). In 2005 we relocated to the thriving art district in Culver City (still L.A.). Sixspace's mission is really to establish strong working relationships to build the careers of emerging artists, in a variety of mediums, that we feel are not only aesthetically and conceptually strong but also constantly evolving their craft."

Q. Why did you decide to become a gallery director? Are you an artist yourself?

A. "How did you get involved with the arts? I became a gallery director by default when I decided to open up my own space - comes with the territory when you're building your own program. I am not an artist - never was - my desire is to be around art is to foster and to promote it. I discovered my interest in art when I was 17 but didn't officially get involved until I began working at the Museum of Contemporary Art, Chicago. It grew from there by working at the museum, opening my first space, and working a several other galleries."

Q. What is your personal philosophy about about art and artistic creation? What makes an artist and artist?

A. "I think art is a very personal experience both for the creator and for the viewer - to me art is about ideas, aesthetics, reaction, and opinion. An artist is someone who creates something. Whether or not they're a good artist is up for debate."

(Sarah Cromarty - The Books and Records Show (In the Annex) January 20 - February 17, 2007 Installation view)

Q. It often seems that many artists are not aware of the business side of art. Do you have any suggestions for an artist who wishes to learn more about the marketing side of the business that is art?

A. "In Los Angeles there is this fantastic series produced by a CalArts professor called "Get Your Shit Together." It gets into the details of how the business works and what to expect. I would suggest to an artist to see if there are any programs like that in their time. Other advice, for those who work with galleries, is to ask your dealer questions. Communication is key! But really, like I will never know what it entails to be an artist, not all artists are going to fully understand the business gallerist side of the business."

Q. Who are you currently representing? Do you have any exhibits going on at this time?

A. "Sixspace gallery artists are: Heather Cantrell, Coop, Sarah Cromarty, Donovan Crosby, Wendy Heldmann, Sean Higgins, Seonna Hong, kozyndan, Carrie Marill, Russell Nachman, and Chad Robertson. We also work with Evah Fan, D'nell Larson, Andrew Sutherland, and Karin Weiner. Our current exhibition is up through April 7th and it's the debut solo exhibition in Los Angeles by Sean Higgins.

The show features these incredible hazy, dreamlike landscapes - the locations are vague and displace the viewer. Issues of time, place, and memory are called into question when looking at the work. The pieces are photographically based (the images are digital and are Inkjet prints) but the hand that is involved in the creation lends them to be more painterly, almost sculptural. I'm very pleased with it!"

Q. Your gallery represented several artists at Pulse New York (2007). Did the exhibit go well for your artists?

A. "At Pulse we presented a curated statement called reLAted that explored how five artists (Heather Cantrell, Wendy Heldmann, kozyndan, D'nell Larson, and Chad Robertson) working in Los Angeles deal with issues of "relating" and "relationships" within their work. The fair was a great success for us in terms of sales, promotion, establishing relationships, and press. We're very happy with the outcome."

Q. What can you tell our readers about the artists you represent?

A. "That they are fantastic! The artists I work with are all very diverse and that's on purpose. It's important for me to have a well-rounded program. One underlying thread within my artists is that they all tend to investigate environments and issues of space whether that be through literal places, relationships, personal, whatever. Each artist just goes about it in his/her unique conceptual way and medium. Also, most live in Los Angeles - this isn't on purpose but has happened organically because I really enjoy us all being a part of something together. Proximity helps foster that."

(Russell Nachman - Paradise (In the Annex) October 21 - November 22, 2006 Installation view)

Q. What kind of message do you want the art you exhibit at sixspace to have?

A. "I'm not looking for any one or really overall message with the art that we show as the gallery is very intentionally diverse. I just want my artist's individual messages to come about in their shows. Those individual messages will hopefully construct a larger, whole vision of what the gallery is doing."

Q. Do you have any advice for emerging or established artists who would like to exhibit at your gallery?

A. "Sixspace is currently at the point where we're quite solidly booked and committed to the artists we're already working with. Still, we look for new artists and that's usually through fellow dealers we know or through our artists. My biggest recommendation to artists is to pick galleries in your town where they feel their art would fit and start visiting those galleries to put their face out there. Cold submissions either via email, mail, or drop off simply don't work anymore."

Q. What was the most important exhibition you've been involved with? Care to share that experience?

A. "They're like kids, I could never pick - each has its own special quality."

Q. If you could pinpoint the characteristics of people who buy art from sixspace, what would they be?

A. "Because of the diversity of our artists and the fact that Los Angeles has such a range of art collectors (age, income, employment) there's really not a way to describe people who buy from us other than that they have excellent taste."

Q. As a gallery director, what trends do you see in the 'art world'? What is 'hot' at this moment?

A. "What's "hot" is what other people think is hot. Young artists are big, hype is big (always has been), and collecting has become more mainstream. I try to avoid trends and just focus on what we're doing."

(There Goes the Neighborhood: Part Deux December 2, 2006 - January 17, 2007 Works shown by: David Lloyd (background) and Asuka Ohsawa (foregrand) Installation view)

Q. What can you tell our readers about the art scene in your area?

A. "The Los Angeles is so incredibly rich and exciting that there's no way to encapsulate it in a paragraph (in fact my blog art.blogging.la was created to discuss what's going on here). The artists, galleries, and museums in L.A. are so thriving; creating and showing innovative work. The scene has been happening since the 1960s but you just can't beat Los Angeles - it has a D.I.Y. attitude with the quality to back it up."

Q. Do you have a website for your gallery?

A. "I do - http://www.sixspace.com/ "

I hope that you have enjoyed my interview with Caryn Coleman about the sixspace gallery. You can find details about sixspace by visiting the gallery website: http://www.sixspace.com/

Take care, Stay true,

Brian Sherwin

Art Space Talk: Stephan Vladov

I recently interviewed artist Stephan Vladov. Mr. Vladov is a sculptor from Bulgaria. Stephan is known for the traditional methods he applies when creating his bronze sculptures. Critics have noted that his work is 'full of movement'.

Mr. Vladov's work has been exhibited internationally and can be found in private collections throughout the world. He is currently represented by George Iliev- who helped in the translation process.

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

A. "I have always loved to paint – ever since I was a child – and my family has always backed me up in this. After I finished my secondary school education I was in a dilemma whether to go for figurative-art or architecture. I chose figurative-art."

Q. How has society influenced your art? Are there any social implications in your art?

A. "In order to become a member of the Club of Young Artists and later a member of the Union of Bulgarian Artists I had to put up with participation in dozens of strictly thematic exhibitions – all influenced by the then socialist culture of my country."

Q. On average, how long does it take you to create a piece?

A. "Usually it takes me at least 3 weeks to create one of the smaller sculptures. The bigger ones require more time – it all depends on the dimensions and the complexity of the sculpture."

Q. Can you share some of your philosophy about art and artistic creation?

A. "Before I create a sculpture I first create it in my mind. Then I try to sketch the idea of it on a piece of paper. Then what follows is purely technical procedures."

Q. What was your most important exhibition? Care to share that experience?

A. "All of my exhibitions are equally important to me as they all reflect a period in my life."

Q. 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?

A. "The only ritual that I follow is to turn the music on when I enter my studio. Music helps me get in a "creative" mood."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I can’t think of any specific characteristics…as a whole these are people that like my style of artistic vision, like art and…have the necessary financial means."

Q. Discuss your work. What are you thinking when you create?

A. "When I create a sculpture I use my life experience, my memories of what I have seen and lived through. I try to rethink these and incorporate them in my works. Often I try to use humor in my sculptures – sometimes more openly, in other times more concealed humor. I don’t like to photographic accuracy, I stylize the figural compositions thus reaching almost geometrical forms. I believe that movement is what lies in the foundation of any sculpture – I hate when art is static."

Q. Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

A. "I have a degree in sculpture from the University of Veliko Tarnovo, Bulgaria. Especially important for me were the lessons in technological skills. All the rest is up to artistic challenge and lots of hard work."

Q. Why did you choose the medium(s) that you use?

A. "Almost all of my sculptures are made of bronze. I like this material as it gives me more flexibility of expression, it is more vital and allows for a higher degree of movement in the constructional decisions."

Q.Where can we see more of your art?

A. "A small part of my works is available here: http://www.artmajeur.com/stephanvladov/ "

Q. What galleries have you exhibited in?

A. "I have exhibited in private and state galleries in Bulgaria and abroad – in Canada , Greece , Germany . My works are bought by private collectors in Bulgaria , USA , Belgium , Italy , Japan , Greece and Georgia ."

Q. What trends do you see in the 'art world'?

A. "I see this trend of "computerization" in art. Thus the most important is lost – the emotional, human touch in the works. I believe that the preservation of the traditional way for creation of a work of art is still highly valued by art connoisseurs. I do hope that it will remain so in the future as well."

Q. Any tips for emerging artists?

A. "To be themselves. To discover and stick to their way of work and artistic expression."

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

A. "A great part of my artistic experience has passed during the times of communism in Bulgaria . However, none of my works has ever been censored – perhaps due to the fact that I do not imply political ideas in my works."

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

A. "My years of an emerging artist were the toughest ones – until I found the proper way to express myself and my ideas."

Q. In one sentence... why do you create art?

A. "I feel like doing it and I can do it."

Q. What can you tell our readers about the art scene in your area?

A. "Art in Bulgaria is on a world level and corresponds to our national characteristics and identity. I live and work in one of the country’s big cities – Stara Zagora."

Q. Does religion, faith, or the lack thereof play a part in your art?

A. "I am religious and I incarnate my religious beliefs in my art – though this is not visible at first glance."

I hope that you have enjoyed my interview with Stephan Vladov. Feel free to critique or discuss his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Mary Hrbacek

I recently interviewed artist Mary Hrbacek. Mary is a writer, art critic, and painter. She has contributed to The New York Art World magazine for years and recently started writing for NY Arts Magazine. Mary has concentrated on creating paintings and drawings of trees that capture a wide range of human emotion for over a decade. She is a strong advocate for art and artists.

Q. Mary, you have focused on painting trees for over 10 years. Through the years they have taken on a form and message of their own. Why did you decide to concentrate on this theme?

A. "I became interested in drawing trees while taking walks in Riverside Park. At that time I was also working from the live model. Gradually the human physique and tree limbs merged in my psyche, fusing human and tree anatomy into deconstructed anthropomorphic tree forms. I viewed these forms in an imaginative perception as entwined figures, dark monarchs, animals, facial features and body parts."

Q. Observers of your tree paintings have noted that the leafless tree segments seem to take on aspects of the human form. This leads me to ask- what is the link between your tree images and humankind? Are these trees or are they humans captured in a different 'skin', so to speak?

A. "Good question. Because they are alive the trees could be said to be inhabited by "tree spirits," but for me, their forms recall human body parts, which is where the correspondance with humans lies. The unity of all life is accentuated as the varied personas within ourselves and in our network of relationships are revealed to correspond to the mysterious affinities in the tree configurations. Transformation in nature mirrors the perpetual changes humans undergo through their multiple roles and masks. By realizing that nature's constant state of flux reflects the variability in human existence, we can more readily accept our insecurity and reconcile ourselves to life's true changing character."

Q. Many have noted the 'dark vibe' that some of your images convey. I can see this in your work, but I also see another message... considering that we live in a world that often places nature on the back-burner. Thus, I see your images as examples of hope (or as a warning) for tomorrow and for the future in regards to environmentalism. Was this your intention? Or at least an aspect of the message you convey with your work?

A. "These images are definitely hopeful. I see the blackness as both mysterious and beautiful. The movement and gesture in the works suggests dancing figures swaying to music. Hopefully, these unusual aspects will stimulate viewers to appreciate a new vision of tree, of nature."

Q. Now, about the 'dark vibe' that viewers observe in some of your images- your work provokes memories of childhood fears with some viewers. A time when branches swaying in the wind seemed like demons lurking in the darkness. Is this symbolism an aspect of your work? Can you go into further detail about why you provoke these childhood fears?

A. "It is not my intention to provoke memories of childhood fears. I view the black swaying branches as beautiful and mysterious. To me, the works are marked by simplicity, are full of emotion. They have movement and gesture, yet they exude a calm, peaceful feeling. The pieces are both tragic and hopeful."

Q. I understand that you are also an art critic. You've contributed to The New York Art World magazine for years and recently started writing for NY Arts Magazine. Care to tell our readers about your position with these publications?

A. "Being a writer gives me the opportunity to express my thoughts and responses to some talented inspired work that I have the privilege to see in the galleries and museums here. It spurs me to get out on the scene to keep up with the times."

Q. What is your opinion of the art world at this time? Do you have any concerns? Give me your insight.

A. "In my view, the art world has never been more vibrant, dynamic, and open. There is unprecedented innovation taking place in traditional art forms, and new hybrid forms are rapidly emerging. The creative energy out there is taking ambitious form."


Q. Now, let us take a few steps back. When did you first discover that art would be an important part of your adult life?

A. "After the long process of acquiring teaching credentials to earn a living, I finally had a chance to study art. I immediately realized that a life in art was the life where I belonged. I moved to New York and never looked back."

Q. Can you share some of your philosophy about art and artistic creation?

A. "I believe philosophy comes after the creative process is complete. To me the technique of color mixing is crucial to painting. The tones of dark or light, warm or cool must be differentiated, just as tones in music must be clearly articulated."

Q. What was your most important exhibition? Care to share that experience?

A. "I enjoyed having my drawings on view a five month installation at Roger Smith Lobby Series."

Q. 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?

A. "I am overjoyed when I see the view from my studio window; even though it is industrial, it puts me in a working mood. I like being surrounded by my art (I also make painted metal sculpture.) Most of all I enjoy quiet when I can get it!"

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "They are people who possess a knowledge and love of art; artist friends, an art historian, a critic, and recently an architect, and a member of a law firm have acquired my work."

Q. Where did you attend school? Did you concentrate on art?

A. "I studied history and political science in order to teach high school history. Then when I found no job I went into special education to make a living. I was sparked by a desire to paint while making murals for the kids. I attended San Francisco Art Institute one summer. The atmosphere was very friendly and free. The instructors were dedicated to teaching; luckily for me they were incredibly generous and inspiring to work with."

Q. Why did you choose the medium(s) that you use?

A. "I am allergic to oil and turpentine, so I have turned to acrylic. I like the potential of charcoal; it is senuous and easy to use on a large scale format."

Q.Where can we see more of your art?

A. "http://maryhrbacek.neoimages.net/ "

Q. Are you represented by a gallery? Do you have any upcoming exhibits?
A. "Several shows have recently come down. I will be represented, hopefully when I am fully prepared for that step."

Q. What trends do you see in the 'art world'?

A. "There are currently a number of trends in photography, there is installation, painting with it's hybrid off-shoots, performance, collage, drawing, sculpture, video; the list is endless!"

Q. Any tips for emerging artists?

A. "Keep developing your art. Get your act together professionally. Stay focussed and never give up"

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

A. "Because I was naive, when I faced the reality of cut-throat competition and perennial envy, I was shocked and disillusioned. I got over that."

Q. In one sentence... why do you create art?

A. "I am highly ambitious, addicted to challenge, and I love the feeling of achievement that I get from creating a successful work of art."

Q. What can you tell our readers about the art scene in your area?

A. "I reside in New York City. I have never seen the art world so open, creative, innovative and dynamic as it is today. The business of art is tough but it is flourishing."

Q. Is there anything else you would like to say about your art or the 'art world'?

A. "My art is infused with feelings of transformation and regeneration. Because it is based on natural forms, it is aligned with Asian art. There are many art trends, but there is also room for the individual artist to pursue their own vision. This diversity is highly liberating."

I hope that you have enjoyed my interview with Mary Hrbacek. Feel free to critique or discuss her work. (www.nyartsmagazine.com, www.thenewyorkartworld.com).

Take care, Stay true,

Brian Sherwin