Jessica Ann
II Jessica Ann 4 Roeland Kneepkens 14 Gareth Edwards 46 JL Maxcy 38 Karin Berg 24 Krzysztof Kaczmar 30 Peripheral ARTeries A R T R E V I E W January 2014 Special Issue Fascinated by the life of 19th and early 20th century elite and the dedication to their appearance has inspired Roeland to create work which breaths the atmosphere of this period. Using friends, collegues and sometimes complete strangers to be a model in his work he manages to create a link between these different era’s. Art is a message about the water that separates us, about the cognition of coordinates on the map of this errant archipelago. If water does not interest us than how we can send a bottled message for it to successfully reach its destination? Only deepening these variable factors, that are influencing its route, could give us the possibility of conscious improvement. My work reflects a desire to understand how and why a life mediated by technology is changing what it means to be human, and how this new human can use a technoscientific art practice to influence evolution (personal, cultural, biological). I begin projects by extensively researching my subject matter. Research takes on a life of its own as perpetual hyperlinking mediates data gathered. My art is largely motivated by a desire to connect with people and to understand them objectively. my portrait series the intimate process of posing intentionally becomes an informative interview that helps me identify personality and life motives. Using the subject’s memories and identifying their sentiment, I form an image of the subject. In conclusion, Karin is not only a wife and mother but also an intuitive artist. Karin was raised in an artistic family. It is therefore not surprising that she developed all kinds of artistic expressions at a young age. Fashion design was her passion which grew into a serious business. The ballpoint pen is often overlooked as a medium from which we can create art. It is seen as a writing implement, and many would initially consider it impossible to create the beautiful imagery I do with such a humble source. It is a risky medium to choose because it is defined in the evidence of the skill, where one error can have catastrophic consequences.
III 66 annie de wiest is a bona fide Belgian artist who works on photographs, texts, and images. She was tutored by Berthe Dubail and inspired by masterpieces from the greats. Marcel Hoppenbrouwers 56 Erin O’Malley “With digital macro photography I have been exploring the interaction of light with transparent and reflective surfaces. I consider my photography a series of experiments, a process of trial and error that builds upon past successes through the manipulation of variables” 78 Shelley Whitney 88 Marilyn Gaffney David Wilde 108 Feel free to submit your artworks to our art review: just write to [email protected] My ability to draw and sketch was developed strongly by a well known local artist and school teacher in the city where I lived when I was young, but I never put it to serious use, until I was asked to design a float for the local Mardigrass events. Memories I am interested in our relationship to landscape and how particular places hold memories and can invoke emotional responses. A snapshot memory of a place may be recreated through automatic responses with worked material providing a form of remembering. My art is influenced by caricature and mural art. When I was fifteen years old I realized that realism did not capture the emotion or essence of the human experience. So I took a sketch pad and started experimenting with methods of distorting faces. 114 The process of creating and the presentation of art is a fundamental blessing and encouragement for human society that arises from the artists' ability to open to the primal elements of life's appearances. Feeling the heart of events and finding the freedom to express that in media and terms beyond the distortions of ego is a liberating thing that wakes people up to the natural benevolent vividness of circumstances. annie de wiest
4 Peripheral ARTeries I am a new media artist working with video, electronics, code, and internet-based mediums to examine and experiment with the phenomena that is a tech-augmented life. My work reflects a desire to understand how and why a life mediated by technology is changing what it means to be human, and how this new human can use a technoscientific art practice to influence evolution (personal, cultural, biological). I begin projects by extensively researching my subject matter. Research takes on a life of its own as perpetual hyperlinking mediates data gathered. Combing through the data sidelines an ongoing studio practice where I deconstruct and collage together otherwise disparate electronics. I distill down projects by making connections between my electronic experiments and my theoretical research. From an anthropocentric view of the world, the human operates from a privileged plateau of awareness, domination, and responsibility. Is this already a livable world? It depends who you ask. In my work I want to imagine new understandings of what the world is and could be. In this way I perceive my art practice as an ongoing-mutable-exchange with nature/culture. Or, a way to practice living and transcribe my observations. (USA) an artist’s statement Jessica Ann Jessica Ann
Jessica Ann 2 Peripheral ARTeries Thesauraphone Interactive Musical Sculpture 20” x 24” x 6” 2013
Jessica Ann 6 Jessica Ann Peripheral ARTeries Hello Jessica and welcome to Peripheral ARTeries. I would start this interview with our usual introductory question: what in your opinion defines a work of Art? I think the bottom line for me is that one, someone's intentions were involved, and two, I want to look at the thing (the art) a second time. In that case there is a relationship between me and the thing, and it is at that juncture something interesting may happen. When that something interesting is a change in my personal affect, that is when I feel like I am experiencing a good work of art. Moreover, do you think that there's still a contrast between tradition and contemporary? Honestly, this is not something I think about. A lot of my friends are thinking very interestingly and critically about art itself, but I end up ignoring the dialogue a lot of the time to read articles about bees perceiving the world in slow motion, or the latest developments in radical life extension. Perhaps this is naivety or ignorance, but it is just the reality of how I am balancing my data input right now. Would you like to tell us something about your background? You hold a BFA that you have recently received from the University of Oklahoma, and you are currently pursuing a MFA of Art & Technology at the Ohio State University: how do these experiences impact on the way you produce your art? By the way, I would like to ask what's your point about formal training in Art an especially if in your opinion a formal training -or better, a certain kind of formal training- could even stifle an artist's creativity... Before I returned to pursue a BFA at the University of Oklahoma, I was working in the energy industry as a SCADA Systems Analyst. I wasn't thinking about art making at all… I returned to school to learn how to make cinematic movies. Of course, Cassandra Hanks the BFA curriculum didn't offer that in the curriculum, I adapted because I fell in love with the alternative offerings: maya deren, pipilotti rist, janine antoni, ann hamilton, among others. You asked how my formal art education has impacted the way I produce art… well, the education has been a door to whole other world I didn't even know existed. As soon as I was introduced to all of the alternative dialogues available in art I was hooked. Generally, I don't think formal training in art, at least at the BFA level, is very productive for most of the people in pursuit of the degree. That is just my observation.. of course for myself, it has been a remarkable experience I'm fortunate to have had. an interview with Jessica Ann
Jessica Ann 7 Peripheral ARTeries the moments that need materialization by asking what needs to be made. Projects begin with me extensively researching the subject matter or material (at times synonymous). Research takes on a life of its own as perpetual hyperlinking mediates data gathered. Whether I am online or in books, hypertext and footnotes arouse tangential interests and prompt alternative approaches to the subject. Combing through the data sidelines an ongoing studio practice where I deconstruct and collage together otherwise disparate electronics, symbols, and various curiosities. I distill down projects by making connections between my studio experiments and my theoretical research. This is the beginning of first-order negotiations, the what; second-order negotiations is the how. Now let's focus on your art production: I would start from the recent interactive sound sculpture Thesauraphone, that our readers have already admired in the starting pages of this article. Would you tell us something about the genesis of this interesting piece? What was your initial inspiration? I spent about a year on this project. It began with my obsession repurposing an old XY plotter salvaged from the university surplus store. At the time I had the plotter working with a Processing sketch that converted images to blobs and sent the blobs coordinates to the plotter (via Arduino). SimultaneousBefore starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your works? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? Lately I am seriously thinking about how can I practice new ways of thinking and being through art making. In Emerson’s words, how can I find “an original relation to the universe”? Working in the studio affords many moments to consider how I (re)think [about] things, bodies, systems, formulas, and networks. I am trying to pay attention to Thesauraphone, 2013, detail
8 Peripheral ARTeries ly I was spending all this time looking at different materials under a microscope. And as always, I was dreaming of epic treasure hunts. Sometimes my studio is like this, many different threads running all at once. But I have to keep them going because they are my interests. In the case of Thesauraphone, I put all my threads together to create a complicated system to generate treasure maps. Then I put the system to practice and produced an instrument that archives data from the experience. This is perhaps my most confusing piece to date, as soon as I start describing it to folks they ALWAYS say one minute into my spiel, "you lost me at mouth bacteria". But I am so demented because that is just what I love about it! The system is absurd and hard to follow, but it really "works", so if you invest the interest in following the steps to see how it really "works" then you just had your own treasure hunt of sorts. Another work of yours on which I would like to spend some words is entitled In Between Points, which is an installation that attempts to materially map the time viewers spend at points on a path. It is so based on a deep involvement of the viewer and his personal perception of the space around him... How much do you draw inspiration from our reality? I would like to ask you if in your opinion personal experience is an absolutely indespensable part of a creative process… Do you Cassandra Hanks think that a creative process could be disconnected from direct experience? I draw most of my inspiration from my perceived reality, and I think this is an indispensable part of my creative process. But what I want to do more of is to inspire new perceptions of what reality could be. In this vein, I am working on a project now where I attempt to change the reality of my dreams. It is a video game modeled after a specific recurring dream of mine. The only difference between my actual dream and the video game is the end of the dream which has been changed in video game space to my preferred outcome. The goal is to play the game in an attempt to rewire the neural pathways creating the dream, essentially hacking my dreams. Thesauraphone, 2013, detail In Between Points, Interactive sculpture 8” x 8’ 2012 Jessica Ann
Jessica Ann 9 Peripheral ARTeries Cassandra Hanks A crucial part of your work is to examine the ways new technologies modify our experience of space and time in order to address a larger dialogue about human perception and consciousness. This cannot lead us to spend some words about augmented reality: I'm sort of convinced that this is a clear example of how Art and Technology are assimilating one to each other... I am researching this very subject now. I am thinking about the gray matter of our brain as material, and what can be done in the mind to change our perception of things, specifically time. New technologies will augment this of course, specifically in the neurosciences. I am trying to figure out how [my] art can fit into this dialogue. The assimilation of art and technology will be a In Between Points, detail by product of this process and not necessarily subject matter. It goes without saying that modern technology has considerably impacted on Contemporary Art: I personally find really stimulating the synergy between Art and Science and I do think that these apparentely different fields soon or later will merge each other, even though it's not uncommon to listen to some old-fashioned opinions according to which only acryl on a canvas makes an artwork... What's your point about this? Do you think that nowadays still exists a dichotomy between Art and Science? I think the dichotomy will be dead when there is an artist in residence in every major and/or minor scientific research lab, and a scientist in residence in every major/minor art institution. In Between Points, detail
Jessica Ann 10 Peripheral ARTeries Cassandra Hanks And I couldn't do without mentioning Lab Star, that I have to admit is one of my favourite work of yours... By the way, while crossing the borders of different artistic fields have you ever happened to realize that a synergy between different disciplines is the only way to achieve some results, to express some concepts? The concepts I am interested in expressing require synergy between different disciplines. At present I learning to navigate across disciplines. Up till now I have been able to work alone, but some of my interests are getting complicated, I see more collaboration in my future. Lab Star, 2012, detail Coordinate Retriever, detail Lab Star, the game, 2012 Arcade Cabinet & Game 10’ x 34” x 38”
Jessica Ann 11 Peripheral ARTeries personally motivated, I will pursue them regardless of award timetables. Feedback of an audience is a huge motivation for me, and I think I can always have that via the internet. For this reason documenting my work has been a very time consuming part of the process, but a necessary one. Let me thank you for your time and for sharing your thoughts with us, Jessica. My last question deals with your future plans: anything coming up for you professionally that you would like readers to be aware of? Soon I will be updating my website with some of the new research mentioned above, so check it out, and thank you. During these last three years your works have been exhibited and presented in several occasions, and moreover you have been also awarded... it goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award -or better, the expectation of an award- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? The expectation of an award motivates deadlines for me, but generally I am working towards goals that are self sustaining. That is, my questions are Coordinate Retriever Interactive Briefcase 17” x 12.5” x 3” 2012 An interview by [email protected]
12 Peripheral ARTeries Fascinated by the life of 19th and early 20th century elite and the dedication to their appearance has inspired Roeland to create work which breaths the atmosphere of this period. Using friends, collegues and sometimes complete strangers to be a model in his work he manages to create a link between these different era’s. Typical for his paintings is that they are painted with a loose streak, with an eye for detail. He likes to paint people the way they would like to see themselves, with the right clothes and attitude. His use of color is also striking and he likes to emphasize the true character of the person. Born in 1978 in the Netherlands. Roeland graduated at the Royal Art academy in ‘s Hertogenbosch in 2004. Roeland has had several exhibitions in the Netherlands, but also in Belgium, France, Poland and the USA (The Netherlands) an artist’s statement Roeland Kneepkens Roeland Kne
Roeland Kneepkens 2 Peripheral ARTeries Ernest 2013, 60x70cm from the The gentlemen’s cabinet series
Roeland Kneepkens 14 Roeland Kneepkens Peripheral ARTeries Hello Roeland, and a warm welcome to Peripheral ARTeries. I would start this interview with my usual ice breaker question: what in your opinion defines a work of Art? I live with the firm believe that the label ‘art’ is indeed determined by the beholder. As a kid i often went to the Rijksmuseum with my parents in Amsterdam. Every time when I saw a painting of Frans Hals or Rembrandt I wanted to paint to. The sheer joyment these painters had in the actual painting was so visible it inspires people to want to do the same even if they are 6 –years old. A good work of art can make people more creative, it might get them even a little bit closer to what they want. By the way, what could be in your opinion the features that mark an artworks as a piece of Contemporary Art? Since you are fascinated by the life of 19th and early 20th century elite, do you think that there's a dichotomy between tradition and contemporariness? Contemporary art expresses the feelings, ideas and longings of present time. Given that the contemporary progresses with every tick of the clock I think contemporary art is also ever dynamic. However that may be, sometimes a radical reaction to a status quo causes the traditional and contemporary to feel like more separate and dichotomous than it actually is. Basically radical reactions to the conservative thinking of a society creates a division that is more easily perceptible than the continuance of techniques and styles over such a watershed. History shows that this process repeats itself over and over again. Would you like to tell us something about your background? You have graduated about ten years ago at the Royal Art academy in Hertogenbosch. How has this experience impacted on the way you currenly produce your artworks? By the way, I sometimes I wonder if a certain kind of formal Cassandra Hanks training could even stifle a young artist's creativity... what's your point? Coming from a family of artists, art formed a natural part of my upbringing. Indeed while growing up most of the time the conversations at home were about art. Eventually I studied one year of art teaching and four years of commercial presentation After which I was accepted at the Art academy. I was, I thought I would learn how to draw and paint. Instead I learned how to present myself as an artist in contemporary society. I was broan interview with Roeland Kneepkens
Roeland Kneepkens 15 Peripheral ARTeries Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? When I first started painting, I went straight for the canvas and ideas would evolve as I was painting. This resulted in changing the painting and completely repainting parts ever so often. The past two years or so, I focused more on a general idea before starting to paint. Nowadays, I construct the scene ken down into little pieces so they could make a me a ‘true’ artist with no old-fashioned easy painting ideas. Most of them did not even know how to paint, and as a consequence most of the techniques were abandoned and lost. They said I had to find out the technical part myself. This raised a lot of anger and disappointment in me, but the experience also kindled my ambition to be able to paint, to learn technique and to follow my own aspirations and ideas. As such I basically trained myself. The academy may have stifled me at some point or slowed me down, but eventually it did make me more aware of what I wanted, and what made me feel good. Aperitief, 150x100cm, from the The gentlemen’s cabinet series, 2013
16 Peripheral ARTeries Roeland Kneepkens I want to paint and, more importantly, use models, usually friends and family, to act out the scene whilst using photography to capture moments, expressions and poses. After taking vast amounts of pictures I start looking for the best composition and start sketching. The sketching and scene preparation can take up to a month. After this I start painting, having prepared my canvasses before-hand mostly in a dark even colour. I want my paintings to be realistic but not too much and need the “loose” painting streak to make them come alive. Now let's focus on your art production: I would like to start with Lafite and Aperitief that our readers can admire in these pages : would you Cassandra Hanks tell us something about the genesis of the project behind these pieces? What was your initial inspiration? Aperitief and Lafite were part of an more ambitious plan I was brooding on for quite some time. I wanted to create larger scenes, involving more people not posing but interacting naturally. This evolved into the gentlemen’s cabinet series that started off with the painting Champagne in 2012, and of which Aperitief and Lafite are also a part. My initial inspiration for Aperitief came from a scene in the movie Master and commander, in which the captain entertains his ship’s officers at the dinner table with a story of him meeting Admiral Nelson back when he was a young lad. Lafite Oil on canvas 100 x 70 cm from the The Gentlemen cabinet series, 2013
Roeland Kneepkens 17 Peripheral ARTeries With that scene in mind I arranged the evening and it turned out to be a great success. As the evening progressed I formed and evolved more ideas for other paintings and I happily joined the scene and banter whilst sketching and photographing. While the aforesaid pieces tell us of the social feature of life, or an intense state of happiness as Kim, a painting as Ernest, that I have to admit is one of my favourite pieces of yours, communicates a deep, quiet meditation: I have been impressed with your skilful capability of communicating a wide variety of states of mind... Have you ever happened to discover something that you didn't previously plan and that you didn't even think about before? I'm sort of convinced that one of the roles of an artist could be to reveal hidden sides of life and nature... what's you point? Thank you very much for the compliments. For Ernest I painted a good friend of mine, who actually writes me letters once a week or so using good ink on high quality paper. I never really planned making this painting. It just happened after I saw him writing a letter which was indeed a very intense image. When I have an idea for a painting I only plan the rough idea, for I can never know or want to know how people will truly behave or react. This “unknown” part is what fascinates me most when making a painting. It’s the true joy, happiness, concentration or surprise you can see on faces. It is something you cannot really act. In some way I can reveal hidden sides, not because they are really hidden but because when they appear, they are gone in the blink of an eye and therefore often elude people. As you have remarked, your projects involves friends, collegues and sometimes complete strangers... I personally find absolutely fascinating collaborations that artists can estaKim Oil on canvas, 15.7 x 15.7 x 0.8 Kim Oil on canvas, 15.7 x 15.7 x 0.8 Fur coat and pearls, 2012 from the The Ladies cabinet series
Roeland Kneepkens 18 Peripheral ARTeries Blish together: especially because they reveals a symbiosis between apparently different approaches to art, especially as concern whom I would define "non professional artists" as "ordinary people"... and I can't help without mention Peter Tabor who once said that "collaboration is working together with another to create something as a synthesis of two practices, that alone one could not": what's your point about this? Can you explain how your work demonstrates communication between several artists? I found recently, especially when I started using more people in a scene, that communication is the key to creating a successful scene. As for the paintings discussed here I must say that I end up painting my story. That story is influenced by the world around me and I would lie if I said that communicating with artists influences the stories and ideas most. I find that discussing my ideas of images and stories with people of various professions and backgrounds, such as for instance historians, actors, communication technology salesmen and psychologists, results in more various and widely developed ideas that eventually influence the story I paint. Indeed I find that to create one has to observe and to tell a story one has to listen. Cassandra Hanks Another pieces of yours on which I would like to spend some words are from your Ladies series: in particular, I love the nuance of red that you have used in Lofty and especially in My ecstatically shocked girlfriend... Far from being the usual deep red that we should expect to see in a painting with such title, it's a thoughtful red... And what has mostly impres-sed me is that it is capable of establishing such a dialogue, a synergy with all the other tones, instead of a contrast... By the way, any comments on your choice of Linger, 2012 Oil on canvas 60x80cm from the The Gentlemen cabinet series Lotfy
Roeland Kneepkens 19 Peripheral ARTeries "palette" and how it has changed over time? Since I started the painting I fell in love with threecolours, Golden Baroque, Brilliant light yellow and Naples yellow. I have been using these three colours as a basis now for about 10 years. They sort of form the basic palette I use for every painting, together with umber and van Dijck brown for the shades and darker parts. Whilst using some different colours for expressions and warmth that make every painting unique, I love the way the colours I use as a basis create a unity between the different paintings. My ecstatically shocked girlfriend! A night at the bar Oil on canvas 39.4 x 59.1, 2012
Roeland Kneepkens 20 Peripheral ARTeries Your works have been exhibited in several occasions: both in the Netherlands and in the USA, Belgium, France, Poland ... it goes without saying that feedbacks and especially awards are capable of supporting an artist: I was just wondering if an award -or better, the expectation of an award- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? Positive critique and awards are a great motivator to keep working. It is great to get recognition for your work and to know people love what you do and connect to you in a way. This is a positive influence I cannot deny. However, I think one of the hardest parts is trying to stay honest to yourself when getting feedback, be it positive or negative. If you have lots of success with a series of paintings but at a certain point in time it does not satisfy you anymore, you need the courage to change, even if that means losing fans and getting bad reviews. I find it immensely interesting to hear people’s thoughts about my paintings, especially because often their interpretations broaden my own view on my own work. As such I find it enlightening to hear peoples interpretations of my paintings for often they see stories in a painting that I never even dreamt up when I was painting it. Whilst working on a piece though, I try not to think too much about other people’s opinions. I’m telling my story then. Cassandra Hanks Champagne, Oil on canvas, 2012 from the The Gentlemen cabinet series
Roeland Kneepkens 21 Peripheral ARTeries Thanks a lot for your time and your thoughts, Roeland. My last question deals with your future plans: what's next for you? Anything coming up for you professionally that you would like readers to be aware of? The past year has been very kind to me. I got loads of positive reactions and opportunities, like going to the New York Art fair. For now I can reveal that I’m planning and working on a few new series of paintings and have to say that I do keep quite busy due to the people lining up, and pressing me, to be models. Besides that flattering occurrence, I take opportunities as they come along. The Party, Oil on canvas, 31.5 x 23.6 x 0.8 inches Conversation, oil on canvas, 23.6 x 15.7 x 0.8 inches An interview by [email protected]
22 Peripheral ARTeries In conclusion, Karin is not only a wife and mother but also an intuitive artist. Karin was raised in an artistic family. It is therefore not surprising that she developed all kinds of artistic expressions at a young age. Fashion design was her passion which grew into a serious business. After that she committed herself to interior styling and decorating, fascinated by the beauty and shapes of the living environment. Her passion for art came at a later age. Karin is an autodidact. She rather calls herself someone who wants to capture the fascination for life to the fullest in all its facets. An artist is indeed fed, inspired and motivated through life. Karin makes art without borders where inspiration, capacity to create, shape and the free expression of color in art the base is for her work. Art plucked from life: "The Art of Intuition." More information about Karin and her work: www.karinberg.nl. (The Netherlands) an artist’s statement Karin Berg Let Go 100x100
Karin Berg 2 Peripheral ARTeries
Karin Berg 24 Karin Berg Peripheral ARTeries Hello Karin, and a warm welcome to Peripheral ARTeries. I would start this interview with my usual introductory question: what in your opinion defines a work of Art? Moreover, what could be the features that mark the contemporariness of an artwork? First of all I want to thank you for giving me the opportunity for this interview. Regarding your question, I think an artwork must be unique and has to evoke emotion by the viewer. A contemporary artwork must radiate something new and must have a characteristic from which you can deduce which artist made it. ‘A kind of signature’ A contemporary artwork is for all generations, all ages and all cultures so timeless across the world Would you like to tell us something about your background? Are there particular experiences that has impacted on the way you produce your art nowadays? Moreover, since you are a selftaught artist raised in an artistic family, I would like to ask your point about formal training... Sometimes I ask my self if a certain kind of training could even stifle a young artist's creativity... I‘ve always been very sensitive to the atmosphere in the living environment and I find art contributes immensly to atmosphere. It also says something about the people who live there. The origin to start painting objects is actually born from my own need. You often search for something to complete the Art and then find fullfilment in ordinary objects as pillows on the couch, candles etc. I always say keep things calm and place one completing object to the environment It took me quite a while to develope my own style/signature. Nice to know is that the work I have created in the last few years, is originated in an elevator with a Plasma floor. I became intrigued by the forms that developed at the moment you touched the floor. You can still find these organic forms in my work. Naturally I followed workshops and courses to get where I am today. I was tought by different artists. Cassandra Hanks Mainly I followed these courses to learn different techniques… For instance I was instructed to paint a Blossom Tree in the style of Monet or Landscapes in the style of the Fauvism. I soon discovered that that was not “ My Idea” of painting. Finally I was instructed to abstract a photograph. At this time I got inspired by the freedom of painting using my own feelings and using colors that do not match reality. In my opinion you are right that the creativity of an artist is stifled by these type of workshops/courses Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? an interview with Karin Berg I paint only on feeling and intuition. Often events or experiences from my daily life are the base for it. I never start with a preconcieved plan. A work is created by slowly connecting colours and lines and layer over layer overflowing the colours. Often I use sponges for the effects. Finalising a work is also a feeling in me that says “this is it”. If a work is finished I am often not sure yet wat I intended. And how much preparation and time do you
Karin Berg 25 Peripheral ARTeries -or better, the expectation of an award- could even influence the process of an artist... The last few months everything is going very rapidly. Different people/organisations approach me. They “found” my work on the internet or somewhere else. Of course that flatters your ego. I see it as a kind of recognition of my art. Last november I was one of the exhibitors, among 71 other artists of the international exhibition “Variations” at Galeria de Marchi in Bologna, Italy. Unannounced the organisation awarded 9 artists for their work and I was one of them. It shows me that I am on the right track and that I need to continue on this road. By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? I have always had the feeling, that people who like my work and want to buy it, strive to find a place for their feelings or grievances. I love to hear from them what a painting or painted object means to them personally. My art often has a therapeutic influence and that is not only for myself but surely also for the buyer or viewer. The most beautiful comment on my art which I heard was: Your art is not only beautifull to watch but invites me to look deeper into myself. Now let's focus on your artworks: I would like to start with the recent Glorious Summer and Let Go that our readers have admired in the starting pages of this article could you tell us something about your initial inspiration for this work? “Glorious Summer” is an example of a work which I created in a short time. Because it was easy to create and at that time we had a wonderfull summer, the name “Glorious Summer” was born. “Let Go” is another story. After a long, turbulent and stressful period it was important for me to paint so I could find my inner peace. This work represents my internal struggle, so it took a very long time not in the least because I already had the name :”Let Go” before I started. put in before and during the process of creating a piece? The work is turned and turned again and then, suddenly, it is clear to me why I made it. At that time I recognise the event or something I have seen or read. It is possible that I made the painting upside down. I paint nearly every day. Sometimes a work is finished quickly and other works take me a very long time before it is finished. During these years your works have been exhibited in many times,and you have been recently invited to Florence Biennale 2013 and moreover you have been nominated for the "Palm Art Award" of Art Domain, in Leipzig. It goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award Glorious Summer, 100x120
26 Peripheral ARTeries I have been impressed with the contrast between deep, intense colors with a tactile feature that pervades your works ... it suggests me such a dialog between different nuances of tone, and a sense of movement capable of giving rhythm to the canvas: you have summed up your art as "Art of Intui-tion"... could you elaborate a bit this concept for our readers? As I told you before my work arises spontaneous-ly. I sit before an empty canvas without a plan. At that time I purely follow my intuition for the color palette and lines. I just let it come to me and just see what kind of work arises. It is difficult for me to explain my work to others because it exposes a lot about myself. Both for your paintings and for your sculptural works, you draw your imagery basically from abstract subject: once I was said that abstraction is the esthetics of unsaid and charm of art is in search of meaning. I'm sort of convinced that in a way, Art could offer us a way to snatch hidden meanings of our reality, which in a certain sense need to be deciphe-red: maybe that one of the roles of an artist could be to reveal these hidden aspect of the world... what's your opinion about this? I totally agree with you. I often hear comments that people try to discover the deeper background of my work. They tell me that they discover a link with something that happened in their own lives or another special occasion which has impressed them deeply. Aries, from the Zodiac Project Virgo, From the Zodiac Project Gemini, from the Zodiac Project Taurus, from the Zodiac Project Karin Berg
Karin Berg 27 Peripheral ARTeries From the Shade of Gray Object series
Karin Berg 28 Peripheral ARTeries And I cannot do without mentioning Liquid, which I have to admit that is definetely one of the my favourite pieces of yours. I love the effective symbiosis between the intense blue tone that perfectly mixes with red that gives pulsating life and moreover, I noticed that in many of your pieces blue is a very recurrent colour, as in Water Flow and especially in Purple Blue Abstract. By the way, any comments on your choice of "palette" and how it has changed over time? My favorite colors are red, orange and yellow mainly because they give you a warm and happy feeling and they can be very determing for an atmosphere. The blue and aqua colors give a feeling of ease. I think that the colors I use have everything to do with my own feelings at that moment. Someone said: All your art works are based on sun and sea. I never thought about it in that way but it could be true. I love the summer and enjoy the warmth of the sun and the relaxation of the sea. Thank you for your time and for sharing with us your thoughts, Karin. My last question deals with your future plans: anything coming up for you professionally that you would like readers to be aware of? It was my pleasure. For the future I keep on going on the way I am now, and see what happens. Of course there are a few exhibitions planned for instance in the Pullitzer Hotel in Amsterdam. I am curious to know how the organisation in Leipzig judge my art. The jury’s results will come on DecemCassandra Hanks WaterFlow, 160 x 120 cm
Karin Berg 29 Peripheral ARTeries ber 30, 2013. Of course that is exciting but whatever the result may be I am going to continue in my own way. Maybe it is nice to know that there are a few publications in which you can see some of my work. For Instance “The Art Guide Amsterdam 2013” and “Energia Creativa” International Catalogue of Contemporary Artists Liquid and of course this issue of Peripheral ARTeries. , 30 x 70 cm Purple Blue Abstract, 100 x 70 In Shape, 50 x 150
1 Peripheral ARTeries Krzysztof Kaczmar, White water I, video, 2011, video screen 30
Tanya Stadnichenko 2 Peripheral ARTeries Krzysztof Kaczmar (Poland) an artist’s statement Krzysztof Kaczmar Every person is on a separate island of his own being. Between us spreads the night of mysterious darkness of Waters of Etiquette and Oceans of Conventions. Art is a message about the water that separates us, about the cognition of coordinates on the map of this errant archipelago. If water does not interest us – its smell, color, density which puts on our hand – than how we can send a bottled message for it to successfully reach its destination? Only deepening these variable factors, that are influencing its route, could give us the possibility of conscious improvement. In submergence lies the cognition of sea currents. In sinking lies achievement of parallel state of coexistence with the essence of depths of water, allowing mutual communication. Art is a silent gaze at gravel of our path of life, and recognizing the meaning of existence of one of its grains. In my work I pursuit to prove the existence of the fundamental content in seemingly unimportant happenings of daily life.
Krzysztof Kaczmar 32 Krzysztof Kaczmar Peripheral ARTeries Hello Krzysztof and welcome to Peripheral ARTeries. I would start this interview with my usual introductory question: what in your opinion defines a work of Art? A person experiencing an art piece reminds me of two beings and their relation- inscribed into massive homogeneous crowd. Their meeting, which happens inside of this indefinite mass, depends on their mutual recognition- remaining simple like brotherly identification. It happens like a great coincidence, but can influence their existence. In any moment can happen a great accidental event, but it can not be rushed or prearranged. By the way, what could be the features that mark the contemporariness of an artwork? I predict that contemporaries (assuming that it means a consciousness of past activities and committed mistakes, drawn conclusions, aspiration to reach metaphysics of the world and substance of human soul, successively influencing art pieces) could distinguish aspiration of excellence. Unfortunately, reality characterizes aversion to predictability. Would you like to tell us something about your background? You have recently graduated in in Poland: how has this experience of formal training - and I would say also moving to Portugal - impacted on the way you currently produce your artworks? By the way, you travel a lot and you currently live and work between Poland, which is your native country, and Portugal: how does this inform you as an artist? Possibility to learn from such amazing individual as my professors was a great fortune. Formality of this period have manifested itself just through occasional, and understandable, appearance of different papers. This preparatory period has definitely had an impact on me as a person and as an artist. I am very grateful for that and on this occasion I would like to thank them. Cassandra Hanks Experience of living in Portugal was undeniably crucial to me for many different reasons. Obvious cultural and lingual differences have pushed me into a tiny room, where I have studied symbolic linguistics of the smallest bits of my environment. Regardless of populist slogans, assigning appearance as least conclusive component of a person, I felt externally different. Eventually, it was motivating to feel (and sometimes to be treated) as a foreigner. It have triggered in me the need to develop my own means of artistic language. Statement based on contemplation of my closest surrounding, which words are its archetypal and symbolic fragments. Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your works? In particular, what technical aspects do you mainly focus an interview with Krzysztof Kaczmar
Krzysztof Kaczmar 33 Peripheral ARTeries a mushroom, he sat down in front of it, to smoke a cigarette and watch it... contemplating silence in a moment of short eternity. My artistic process- now that I think about that- remembers me these travels through the forests, and creating my titles- his adventures described with the words that could touch the imagination of a kid. Now let's focus on your artworks: I would like to start with your interesting work White water I that our readers have been admired in the starting pages of this article: would you tell us something about the genesis of this piece? What was your initial inspiration? This work have been created for the purposes of the annual River Project, conducted by BWA Art Gallery on your work? And how much preparation and time do you put in before and during the process of creating a piece? My grandfather was partisan and mushroom collector. I remember getting up at four in the morning, to go with him in a train or in a car to the best forest spots he knew about. We were arriving soon after sunrise, to be- for what I feltthe first awaken around. To be there before anybody else. Excitement immersed into deep silence was intense. Useless ears not used to the numbness, seemed to be shivering, creating a monotonous high tone. My grandfather had a big backpack to collect his treasures, nonetheless he was very fussy. Every time he have spotted Krzysztof Kaczmar, White water I, video, 2011, behind the scenes with a friend Piotr Graff
34 in Bielsko-Biała, in Poland. I have been collecting footage for this video during my journeys in the riverbed of Biała river.The name of this river is not accidental. In Polish a word "Biała" means white. So You may ask: whiteness of snow? virginal purity? or at least acceptable clearness? Well, in past golden era of textiles manufacturing and wool industry in Bielsko, the same river was called "Kolorowa"- in translation to English- colorful. In that times, everyday of the week, synthetic prisms of local factories have been diffracting water into spectrum of filthy colors, polluting with various inks and substances. Apparently this story may seem to be disconnected from me- due to my age, because I was not born then- but this history definitely implies a lot into the contemporary river that I know. Nowadays the water maybe have lost a lot of polychromatic spectacularity, but locals have definitely save it from loosing its trashy potential. I started my journey at river's mountain fount, continuously traveling down through suburban areas to eventually enter the city centre. I present my observations that appeared along the way. Another work of yours on which I would spend some words is entitled Experiences of the honeydew consciousness: how much do you draw inspiration from our reality? I would like to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience? I discovered everything, that I have already known before. I would like to compare this experience to a particular exCassandra Hanks Peripheral ARTeries Krzysztof Kaczmar Krzysztof Kaczmar, Experiences of the honeydew consciosuness, intermedia installation, 2013, still from the film Krzysztof Kaczmar, Experiences of the honey 2013, exhibition space documentation (projection
Peripheral ARTeries ample: the moment of helplessness in reaching the content of forgotten brochure, weighted down to the bottom by the tower of books. To get to it, it is necessary to dismount what we have gathered on top of it. I think that any matter can be understandable as a message if properly redefined. For me Experiences of the honeydew consciousness was a sum of my own experiences of being closed in a small room for half a year. I think that if You would sit in a place with just one rockthen this rock would become your happiness, your trauma and eventually could substitute your world. And dealing with Traces of the presence I would like to stop for a moment to consider the "function" of the background in your pieces: most of the times it doesn't seem to be just a passive background... and I'm sort of convinced that some informations & ideas are hidden, or even "encrypted" in the environment we live in, so we need -in a way- to decipher them. Maybe that one of the roles of an artist could be to reveal unexpected sides of Nature, especially of our inner Nature... what's your point about this? In my opinion the function of art is not to decipher anything. Art complicate simple subjects, intensify feelings, is never literal and does not answer questions but doubts certainties. This vivid complications loaded with sharpened emotions are lively infiltrating their environment, becoming one epheKrzysztof Kaczmar 35 Krzysztof Kaczmar, Traces of the presence, photographic cycle, 2011, photography number two dew consciosuness, intermedia installation, space)
Krzysztof Kaczmar 36 Peripheral ARTeries meral being. The most important for the artist should be to reinvent himself- and just himself- in context of his own background. Deep self-autopsy of one individual can reveal common problems of masses, and therefore become globally under-standable. I would suggest to our readers to visit your website at http://ohkrzysiu.wordpress.com/ in order to get a wider idea of your Art... while crossing the borders of different artistic fields have you ever happened to realize that a synergy between different disciplines is the only way to achieve some results, to express some concepts? I have realized the concept of Intermedia as an artistic formula, more focused on achieving a goaleffective experience of art- than academic division into separate artistic fields (inspired by Artur Tajber's text "On Intermedia"). This awareness does not allow me dividing polysensory, perceptual experience into individual components. A work of art is a conglomerate, a new value formed at the junction of sensations. During these recent six years your artworks have been internationally exhibited in several occasions: and during the current year you have been also awarded with an Artistic Scholarship of the City of Bielsko-Biała... it goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award -or better, the expectation of an awardcould even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think who will enjoy your Art when you conceive your pieces? Always when I await responses I hear one sentence from members of my family: "keep your expectations low and do not have illusions". Mentioning family in financially oriented question proves that awards, scholarships or income of any kind can severely influence the artistic process, which is doubtlessly an absorbing and demanding profession. In my opinion art is a result of a compromise. Concept is unlimited, however expression brings the necessity to use words and follow rules: grammar, orthography, punctuation etc. The quality of the effect depends on this deficient selection. Art is a retrospec- Cassandra Hanks tive representation- a scent of past conceptual qualities. This observation has led me to the conclusion: the core of artistic language development, should be embedded in the practice of understanding the significance of archetypes. It is impossible to predict and plan who can be the audience of artwork of any kind. Nonetheless, the purpose of all my creative effort is to reach its recipient. Thank you for your time and for sharing with us your thoughts, Krzysztof. My last question deals with your future plans: What's next for you? Anything coming up for you professioKrzysztof Kaczmar, Family House, installation, phic documentation of the intervention in village of
Krzysztof Kaczmar 37 Peripheral ARTeries Within this project I have started collaborating with BWA Art Gallery in Bielsko-Biała where in the upcoming year I am going to exhibit my work. In the beginning of next year I have planned exhibitions in Ars Nova Gallery in Bielsko-Biała and in Cellar Gallery in Kraków. nally that you would like readers to be aware of? In my new multi-threaded project I aim to refresh art at today's stage, with past models of Polish folk culture. I do not try to achieve it by copying its patterns, but through the process of conscious creation based on understanding, and according to my own individuality. I am deepening and interpreting its values, trying to find a new formula of my own artistic language. I want to raise public awareness of regional heritage, so in present times, deprived of identity, it would stimulate their pride of being part of a society rich in traditions. Krzysztof Kaczmar, Family House, installation, 2013, photographic documentation: detail - doorstep: past. 2013, three doorsteps: past, present, future; photograCandal in Portugal
38 Peripheral ARTeries (USA) an artist’s statement Jl Maxcy My art is largely motivated by a desire to connect with people and to understand them objectively. my portrait series the intimate process of posing intentionally becomes an informative interview that helps me identify personality and life motives. Using the subject’s memories and identifying their sentiment, I form an image of the subject. The mixed media items indicate tangible attachments the models have formed. This collage element encourages the viewer to take a closer look and establishes parallels to my original investigation. I often use text in my work. The text is how I reflect on the data I received during the sittings, a stream of conscious processing resulting in a textural narrative. The final portrait becomes a memory of the experience and the person. In my less figurative work I seek to understand human interactions without using the literal form. “Keepsake” is an iterative installation that utilizes found objects infused with personal sentiment. As a young girl I kept a shoebox under my bed. This shoebox held my most prized possession; memories of connections I shared with others. For example, a ticket stub from the museum, which I kept to remind me of the trip I took with my father, or some dried snapdragons from my mother’s garden. As I got older the objects in the box changed. When memories faded, some of my collection was discarded to make room for new objects as new people came into my life. Exploring this phenomenon and investigating the significance of those objects as they relate to time is the major goal of this work. JL Maxcy
JL Maxcy 2 Peripheral ARTeries
JL Maxcy 40 JL Maxcy Peripheral ARTeries Cassandra Hanks make art and survive. Schooling allowed me to do both. Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? The work is about making human connections: an interview with Jl Maxcy Hello JL, and a warm welcome to Peripheral ARTeries. I would start this interview with my usual introductory question: what in your opinion defines a work of Art? And moreover, what could be the features that mark the contemporariness of an artwork? I think it is important that art remains largely undefined. Art should represent endless possibilities and putting parameters on it seems counterproductive. I suppose the only defining quality an art object/act/idea must possess is that it has to be experienced. If a tree falls in the woods, and no one is there to hear it, does it make a sound? In the same way art is not art unless someone is around to experience it. As far as contemporariness of artwork goes, I think that balancing historical and modern qualities is important. If you are too progressive then you must wait for the world to catch up. If you are too regressive most of your potential admirers are dead. Contemporariness is balancing progressive and regressive qualities so that they are well received by an audience of your peers. However, I think that striking this balance is a passive process. If you are looking for it you may never find it. Would you like to tell us something about your background? You hold a Bachelors of Fine Arts in Painting, that you have recently received from the University of Texas, Arlington, and moreover you have spent a year in Florence: how have these experiences influenced the development of your artistic practice? I spent a summer in Florence and it was probably the single most important summer of my life to date. Travel has a knack for making you feel small and the world seem so large. Florence helped me get comfortable with that size ratio. I think the most important function of art school is it allows you to make art all day, everyday. I think one of the biggest struggles an artist faces is how to ma-
JL Maxcy 41 Peripheral ARTeries king aware public opinion about socio political issues: I would go as far as to say that days Art can even steer people's behavior... what's your point about this? Do you think that it's an exaggeration? And what could be in your opinion the role that an artist could play in our society? As and artist I feel more like a scientist/reporter and less like a manipulator. Clearly art is powerful enough to drive opinion, but I don't feel the urge to drive. I feel the urge to report my observations. So far your works have been exhibited in several occasion and you will soon have your first solo Objects of Sentiment, at Joel Valdez Library, Tucson: it goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award -or better, the expectation of an award- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? When I am in my studio constructing a piece, my perspective is the focus. Conversely, when I am installing those pieces, I am focused on the wide range of perspectives that a public forum brings. I want to ensure that my artwork is accessible and suits the expectations of the intended audience. As far as feedback and awards go, they can obviously be encouraging, but I think true success is perseverance even without praise. Now let's focus on your artworks: I would like to start with Self Portrait in Tub and Jasper, that our readers have admired in the starting pages of this article: could you take us through your creative process when starting these pieces? What was your initial inspiration? Self Portrait in Tub was me turning the microscope on myself: an introspective exercise. When I work with models I ask very personal questions about life motives and experiences. I ask question like, "Are you happy?", "Would you change anything about your life?", "Why do you feel the way you do?" It seemed only fair that I connections with my sitters, connections with my viewers, and connections with my peers. The preparation is forming a relationship. It is in the everyday conversations. It is in the making of life-long associations. Once this groundwork is laid I can then "make" the art. As you have remarked in your artist's statement, your art is largely motivated by a desire to connect with people and to understand them... I'm sort of convinced that Art in these days could play an effective role not only ma-
42 Peripheral ARTeries should ask myself the same questions. Jasper, on the other hand, is one of the few commissions I have taken on. Because my process relies heavily on interview, most commissions are a substantial challenge. Jasper was different. Instead of interviewing Jasper, I interviewed his nephew, the one who commissioned the work. From his description of his uncle I could understand Jasper through his eyes. It was amazing how much love and respect he had for his uncle. I wanted the piece to reflect that sense of pride. Another pieces of yours on which I would like to spend some words are from your Portrait series, as Lee and Sean, which I have to admit is one of my favourite pieces of yours... a feature of these piece that has mostly impacted on me is the fluidity of the color and especially the deep, intense red, which is a recurrent tone in your creations and that can be admired in a flooding nuance in Chase as well. By the way, any comments on your choice of "palette" and how it has changed over time? These people seem so bright in my mind and in my heart, it seemed logical to utilize colors that would illustrate how vibrant they are.
JL Maxcy 43 Peripheral ARTeries However, I am not married to any one color palette. The color and material choices are specific to each sitter and based on personal attributes/preferences that I identify during the interview. happen to interview, and I have to say that even though it might sound the simpler one, it gives me back the most complex answers: what aspect of your work do you enjoy the most? What gives you the biggest satisfaction? If I could never paint again I would still want to conduct interviews. The
JL Maxcy 44 Peripheral ARTeries Cassandra Hanks conversations I have with my models are the most satisfying part of the process: when they let me in their world and I let them in mine. This is how I love. And we couldn't do without mentioning ano-ther interesting piece: the insteractive instal-lation entitled Keepsake, which I have to admit is one of my favourite pieces of yours. As you have explained, it utilizes found objects infused with personal sentiment... not to mention that nowadays this is a very common practice. Folks sometimes wonder about the personal contribution of the artist, in such case... it goes without saying that also white canvas, acryls tube and pencil, they are all material that already exists... roaming and scavenging through "found" material to might happens to discover unexpected sides of the world, maybe of our inner world... what's you point about this? You are right! "Found" objects are perfect for making discoveries. I found that I had all these "things" that invoked personal sentiment and those sentiments were almost entirely tied to a relationship I had formed with another. Those items became an icon of those connections and showed me lots about what I deemed "important". Art is good for discoveries, no matter what materials you use. Thank you for your time and for sharing with us your thoughts, JL. My last question deals with your future plans: anything coming up for you professionally that you would like readers to be aware of? As far as my future goes, I think getting my Masters of Fine Arts will be a priority. Other than that, I will keep making portraits and try to get my art in front of as many people as possible. If any of your readers would like to participate in a letter writing project I am working on, they can drop me a line at: JL Maxcy P.O. Box 64254 Tucson, AZ 85718
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46 Peripheral ARTeries (United Kingdom) an artist’s statement Gareth Edwards Gareth Edwards The ballpoint pen is often overlooked as a medium from which we can create art. It is seen as a writing implement, and many would initially consider it impossible to create the beautiful imagery I do with such a humble source. It is a risky medium to choose because it is defined in the evidence of the skill, where one error can have catastrophic consequences. I tend to focus not on creating deep, insightful meaning, but more upon creating disbelief on the part of the viewer. The way in which I approach and create my work, in many ways belongs in Hollywood. It is risky, unique, and pushes boundaries, whilst the finished product would not look amiss among the chic of the Parisian style. In many ways, I tend to consider the Parisian style and external beauty as my inspiration. The delicacy of the work, portraying an image of elegance and continuous movement in the figure, creates perfect harmony within my pieces. When I began on this venture, I genuinely had little idea that my work would receive such fantastic recognition from around the world, to think it all started from my bedroom desk is incredible. To see the work I have created sell all over the word with collectors enjoying it with similar enthusiasm and love, sharing my own passions for my work is both flattering and greatly satisfying.
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Gareth Edwards 48 Gareth Edwards Peripheral ARTeries Cassandra Hanks an interview with Gareth Edwards Hello Gareth and a warm welcome to Peripheral ARTeries. I would start this interview with my usual ice breaker question: what in your opinion defines a work of Art? And moreover, what could be the features that mark the contemporariness of an artwork? I don’t think you can really define art, I guess that’s the beauty of it. I suppose if you trace it back to prehistoric times, cavemen used art to communicate, and that underlying reason still holds today. So I suggest art is a timeless, universal language. From my personal opinion, contemporary art is based on surrounding influences of that era. If you take a journey back in time, art was very much a communicator of religion and wealth. More recently, politics has had a big impact on art, as well as war and the idea of a peaceful, free world. Typically, contemporary art reflects those, or in more recent times, challenges those areas. Would you like to tell us something about your background? Are there particular experiences that have impacted on the way you currently produce your artworks? By the way, I would like to ask your point about formal training... I sometimes happen to wonder if a certain kind of training could even stifle a young artist's creativity... I studied art through School and College, but I always drew and had a keen interest in art from an early age. I don’t look back on my time there as training, but more a period of development through my own natural progression. Your point poses an interesting perspective and one which I have thought a lot about. I think we are all born with the capacity to be creative, it is not secluded to artists, but the educational system definitely suppresses that thought process in my opinion. The educational system rarely develops your mind to the point where it can perceive red as green and nor does it encourage you to veer from the ‘yellow brick road’. As long as you follow the rules and tick the boxes you’ll pass. To quote Jim Rohn, “Formal education will make you a living; self-education will make you a fortune.” I think that quote somewhat holds true, from not only a monetary perspective, but from a creative perspective too. Before starting to elaborate about your production, would you like to tell to our readers Garreth Edwards
Gareth Edwards 49 Peripheral ARTeries the qualities I need, but saying that, if you’re aiming to achieve similar results to mine, most hot pressed (smooth) papers will suffice. I often spend hours trying to find the right image now before I put pen to paper, it is possibly the most important stage as the image is your selling point. I focus on posture, natural light, and any meanings within the photograph. This may include the reputation the person in the photo portrays, or the expression presented in the photograph. Before I can begin in biro, I lay out the drawing outline in pencil to mark out the proportions, I think it would be relatively impossible to perfect a drawing in biro from the outset. When I start in pen, I use one of many. I have always used the BIC brand, in both fine and medium ballpoint. Many people ask if they are expensive, but they are your typical ballpoint from the shelf. I separate the use of pens into light and dark shading categories, as this controls the ink flow. Given that you can’t erase pen, there is considerable risk with every stroke. I tend to start with the hardest parts, usually the eyes as they are the focal point to my artwork. People often wonder how I can achieve such an even tone when I shade, and this is one of those factors that puts disbelief into the eyes of the viewer which is greatly satisfying. For you to get a better idea, take a pen and draw a few parallel lines as lightly as you can maintaining the same pressure. I do that a thousand times over and build up an even tone that way. There’s no shortcut. It has taken many years for me to achieve this level of realism, and believe me they haven’t worked out perfect every time. Each drawing can take weeks, if not months to complete. It is not a medium for those with a lack of patience or determination to see things through to the end, it takes a lot of self belief. Now let's focus on your artworks: I would like to start with your recent series that our readers have already admired in the starting pages of this article: would you tell us something about the genesis of these pieces? What something about your process and set up for making your works? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? The first step is to have the right paper. I strive to achieve an even gradient in tone so a smooth drawing paper is needed. I swear by Fabriano 4 Liscia paper for my ballpoint drawings, it has all Chic, features Audrey Hepburn
50 Peripheral ARTeries Mademoiselle was your initial inspiration? The idea that I could create photo-realistic work using a ballpoint pen stems from artist Juan Francisco Casas and James Mylne. My collection of work is very similar to British artist James Mylne’s. He maintains a sense of elegance with his work which has undoubtedly inspired the way I approach mine. I want to achieve continuity with my drawings, and many of my subjects are chosen in light of their personal legacies. My inspiration for Walt comes from my workplace. Having worked part time for Disney for nearly two years now, I have come into contact with Walt’s incredible legacy. When I heard that he was once fired for his lack of creativity, and was also declared bankrupt in Disney’s early days, I found his courage in pursuing his dream remarkable, so to add his legacy to my body of work was a no brainer. Moon River which features Audrey Hepburn is a drawing which I hope symbolises her legacy. Audrey Hepburn was considered one of the most most beautiful and elegant women in the world. Then and now, her beauty shone through her doe eyes and contagious smile. She is the elegance I wish to portray throughout the body of work you see before you. Moon River, features Audrey