SPECIAL ISSUE 8 depth, contrast and design. And every image has a story to tell. Within the industry I moved from the fantasy of music and music videos to documentaries, and eventually to current affairs. This was a shock to my wayward imagination. But I realised hard facts and artistic portrayal are possible within one genre and can be combined with great success. This is perhaps why, in my paintings, there is always an element of realism in the abstract, and impressionism in reality. The body of works that we have selected for this special edition of Peripheral agazine Special Edition Contemporary Art Peripheral eries Sunday Walk
11 SPECIAL ISSUE ARTeries and that our readers have already started to get to know in the introductory pages of this article has at once captured our attention for the way you have provided the results of your artistic inquiry with such a coherent combination between emotional intuition and a rigorous aesthetics. When walking our readers through your usual setup and process, would you tell us if you think if there's any a central idea that connects all your artworks? If you are looking for barbed wire and angst, don't come to my door. I appreciate a social conscience in art, I prefer to portray it more as a by-product than the main theme. Magriet van Loggerenberg eries Contemporary Art Peripheral agazine
SPECIAL ISSUE 12 agazine Special Edition Contemporary Art Peripheral eries This does not mean I have never experienced violence and hardship. Rather, l see no point in carrying it around and putting my burden on someone else's wall. Instead, my glass is almost always half full. In life, I am an incurable optimist and even in the darkest of times, I see hope in a pinprick of light. I see the joy of life in lines and colours and movement and loose brush strokes. I love beauty. I see it in the dandelion and the lines around the eyes of an old face. But there must be more than beauty. The portrayal of mood and atmosphere separates a painting from a mere picture. Every image has a story - with signs of a past and a glimpse of the future. Rather like a moment frozen in time. It could be the drama of that moment, but at times it is a small thing that catches my eye. The way the light falls, the juxtaposition of interesting colours or the dappled shade on a pavement. It is sometimes that visual trigger more than the actual subject, that gets me going. Intuition is a scary tool. It has let me down and at times, shown me the way. I'm a messy artist. I have never been able to meticulously organise my painting environment and I envy those who manage it. But even in the midst of mess, I manage to enter a zone while painting, as if I can climb into the picture and belong there. Then I know I'm on the right track. It don't know if it is intuition or sheer determination.
13 SPECIAL ISSUE Magriet van Loggerenberg eries agazine Contemporary Art Peripheral Blue wildebeest in the storm
SPECIAL ISSUE 16 agazine Special Edition Contemporary Art Peripheral eries Impression of a landscape
eries Contemporary Art Peripheral Magriet van Loggerenberg agazine 17 SPECIAL ISSUE My work is always evolving, always moving from one theme to the next. No experience in life and nature can be contained in one subject. But core elements remain in my choice of pallet, brushwork and technique, be it naive, impressionist or abstract. Featuring such effective combination between physical space and captivating abstract feeling, Riel Dancers is pervaded with such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work? Riel dancing originated with the Khoisan people of South Africa. It is different from other dances like the trance dance of the San people. Though the Riel has traditional roots, this celebration dance was performed by farm laborers and sheep shearers in the 1940's. It has grown in stature, taking on elements of other cultures. Today there is even a national competition held every year. My main aim with the painting was to translate colour, light, brushwork into movement. In so doing also taking on a more abstract feel, doing away with irrelevant detail. There is a certain naivete in the choice of palette and the sketchy execution adds to the joy and exuberance. We have really appreciated the vibrancy of thoughtful and delicate nuances that mark out your artworks, and we like the way in Sunday Walk they create tension and dynamics: how did you come about settling
agazine Special Edition Contemporary Art Peripheral eries SPECIAL ISSUE 10 Seascape with birds
SPECIAL ISSUE Magriet van Loggerenberg eries agazine Contemporary Art Peripheral 9
SPECIAL ISSUE 18 on your color palette? And how does your own psychological make-up determine the nuances of tones that you decide to include in a specific artwork? The paintin "White on white" by Kazimir Malevich has obviously left it's mark. As much as I love colour, I sometimes prefer to use colour more as accents than the agazine Special Edition Contemporary Art Peripheral eries Autumn landscape
main body of the painting. In "Sunday Walk"a few elements came into play. The effect of light on the figures, the washed out glare of a sunny day. I also wanted to incorporate a retro look in the figures and architecture, using faded colours and giving the scene a nostalgic atmosphere. eries Contemporary Art Peripheral Magriet van Loggerenberg agazine 19 SPECIAL ISSUE Three arches
SPECIAL ISSUE 12 agazine Special Edition Contemporary Art Peripheral eries Riel dancers
19 SPECIAL ISSUE eries Contemporary Art Peripheral Magriet van Loggerenberg agazine
agazine Special Edition Contemporary Art Peripheral eries I rounded the figures off with a few sketch lines to give more impact and movement. All the figures are walking away, except for a little boy. A reminder that it is sometimes a good thing to turn against the tide. With their captivating Impressionistic feature, your artworks seem to aim to look inside of what appear to be seen, rather than its surface, providing the spectatorship with freedom to realize their own perception. How important is for you to invite the viewers to elaborate personal meanings? And in particular, how open SPECIAL ISSUE 10 Bringing in the snoek
Women with flowers
agazine Special Edition Contemporary Art Peripheral eries
Magriet van Loggerenberg eries agazine Contemporary Art Peripheral 9 SPECIAL ISSUE would you like your artworks to be understood? Like many artists, my work portrays the essence of my culture, experience, taste and the language of my creativity. This is my point of departure. But when a painting becomes part of the public domain, the work is set free and is created in the eye of the beholder. The person who connects with that work could find their own memories and emotions, or they could be in sync with mine. A connection that is sometimes not explained in words. This is the miracle of art. Innocence is marked out with geometric patterns, that you sapiently combined with unique variety of tones, that provide your works with a unique aesthetic identity. New York City based artist Lydia Dona once stated that in order to make
agazine Special Edition Contemporary Art Peripheral eries SPECIAL ISSUE 10 art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes? "Innocence" was a work in progress. I literally began with the eyes and worked my way outwards, adding layers as I developed the image. This is a portrait of a young girl. Nguni cattle
Magriet van Loggerenberg eries agazine Contemporary Art Peripheral 9 SPECIAL ISSUE Soft skin of youth and clear eyes. It portrays a story about to begin, the soft colours of a full rounded person in the making. This image of innocence is juxtaposed with sharp edges and geometric lines indicating a certain arrogance and the unbending opinions of youth, not yet washed through the sands of experience. With their powerful narrative drive, your artworks seem to draw heavily from your personal experience: how do you select the landscape for your paintings? Moreover, how does your memories and your everyday life's experience fuel your creative process? The creative process is so intricate and yet at times as simple as taking a breath. This process spans across all forms of creativity. When putting together a documentary film you spend time creating the story, the focus or central theme. You look into the history, the background and timeline. And always there is magic to be found in the emotion, the tension of events and visual impact. The inspiration to paint relies on these same principles. And yet sometimes we get lucky and it all emerges from the shape of a cloud. You are an established artist: over the years have held numerous solo exhibitions and taken part in many group exhibitions, and your works are displayed in homes and galleries in South Africa and internationally: how do you consider the nature of your relationship with your audience? And what do you hope your audience take away from your artworks? By the way, as the move of Art from traditional gallery spaces, to street and especially to online platforms increases,
SPECIAL ISSUE 10 agazine Special Edition Contemporary Art Peripheral eries how would in your opinion change the relationship with a globalised audience? When your art does not need to bring home the bacon, you are free to follow your passion wherever it takes you. Art has been my livelihood for many years. To survive I've had to compromise on dignity and authenticity many times. This becomes an ongoing saga because as we all know, Google lives forever, and so do images with your name on it. Especially older images, good or bad. One has to simply grin and bear it and see it as part of your evolution as an artist, warts and all. I have two approaches when it comes to ego and stubbornness in my work and dealing with the public. Paintings I was inspired to do, stand as they are and will find appeal or sometimes not. When I do a commission I leave my ego at the door. The most important aim is that the client is happy. I may have forgotten the painting, but it will still be hanging on their wall and perhaps their childs wall one day. Often, to be an artist is to be isolated. You most always lose track of your painting once it is sold an shipped off to some part of the world.But sometimes there is feedback, for example my friend was surprised to come across a number of my paintings at a house in the US. That was very satisfying. We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Magriet. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? I am deeply honoured to be part of your creative community. To receive validation of one's work in this way makes all the difficulty worthwhile. As an artist, every blank canvass is uncharted territory. It makes us question ourselves and keeps us real. Although I now realise it is still easier to paint than to write about painting it! There is always that blank canvass in the wings, impatient for attention. There will be another exhibition soon, and clients and galleries to attend to. I hope this article will serve as invitation to other creatives to give me feedback and advice through this publication or through email. Art should not exist in isolation. It should resonate with a global audience. It is a living, breathing energy that contains universal values, connects across continents and unites the world. Please feel free to contact me at [email protected] An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected]
Cloudscape
SPECIAL ISSUE 4 Hello Joseph and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production we would like to invite our readers to visit https://josephblumstein.com in order to get a wide idea about your artistic Joseph Blumstein Lives and works in Rye, NY, United States Peripheral ARTeries meets These two collections attempt to reference history. The art works integrate an older sensibility with the contemporary environment. By reaching back we can better realize the excitement and understanding of an older age and use that to develop a deeper appreciation of the contemporary art world. Exploring a past experience can enhance the understanding of the contemporary. What can truly move us beside form and color are religious themes, personal expression and dramatic story. The older pieces that I used as an inspiration have all these. The abstract portraiture collection was inspired by Renaissance paintings of faces; bold, exciting and filled with inner meaning. The viewer searches for a human connection imagining the feelings of the subject. Applying this to a contemporary setting helped me reflect the story of the old and more fully understand the development of the new. Use of vivid color and expression, convey dramatic depths, excitement and unique personal history. These artists want to be remembered, leave their mark. Their concerns were grounded in hope and Devine belief, which I have tried to replicate. The Illuminated manuscript series was inspired by the original manuscripts at the MET/Cloisters. The colors, organization and overall beauty of the pieces impressed me. and I imagined the artists laboring over these works. Was it possible to develop an understanding of their community, express their deep love and hope in a contemporary work? I chose the Psalms of David as basis because I am familiar with them and find them meaningful. The Latin translation was a gift from the internet. They were designed to be small and very personal in order to achieve a more intimate viewing. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected] agazine Special Edition Contemporary Art Peripheral eries
Sacrificial Lamb, Oil on canvas
SPECIAL ISSUE 8 agazine Special Edition Contemporary Art Peripheral eries production and we would start this interview with a couple of introductory questions. Are there any experiences that did particularly influence your evolution as an artist and help you to develop your attitude to experiment? Moreover, how does your cultural substratum direct the trajectory of your current artistic research? New York City is my home. Born and raised in this melting pot I’ve always felt part of the music, art, and theatre world. My father was a jewelry designer and my mother a real estate manager, so we were very much into of the ongoing ”scene.” A particularly memorable experience was viewing an exhibition of Vaszily Kandinsky. Prior to that I had been painting portraiture and French impressionistic pieces. The impact of Kandinsky’s work was dramatic. He opened my eyes and my head. His use of form and color gave me license to expand and experiment. I’ve always been somewhat restless and impressionable. As usual, this city offered a parade of over-the- top people and events and I was compelled to find a unique voice in order to join the party. If one combines this with the need to express something significant, you have the perfect formula for inner conflict. The body of works that we have selected for this special edition of
9 SPECIAL ISSUE Joseph Blumstein eries agazine Contemporary Art Peripheral Morning in the City, Collage using limited edition prints of my work
SPECIAL ISSUE 10 agazine Special Edition Contemporary Art Peripheral eries Twitter, Oil on canvas
11 SPECIAL ISSUE Peripheral ARTeries and that our readers have already started to get to know in the introductory pages of this article, has at once impressed us for the way you sapiently combined elements and inspiration from the past with captivating contemporary abstract sensitiveness, to provide the viewers with such a multilayered visual experience: when walking our readers through your usual workflow and process, we would like to ask you if you think that there is a central idea that connects all your works. Finding a unity between texture and form, the old and the new, the pain and the joy is my thing. A metropolitan setting in which we discern the layers of history is provocative and intellectually stimulating for me. People looking and evaluating each other, showing off, hiding, stories, poverty, money, power, influence, sexual expression. a collective environment. I use all of this to hook into the emotional structure in order to feel and understand the city. New York City based artist Lydia Dona once stated that in order to make art today one has to reevaluate the conceptual language behind the mechanism of art making itself: do you create your works gesturally, instinctively? Or do you methodically transpose geometric schemes? Joseph Blumstein eries Contemporary Art Peripheral agazine
Midnight, Collage using limited edition prints of my work
SPECIAL ISSUE 12 agazine Special Edition Contemporary Art Peripheral eries I agree that we must create our individual “toolbox” to learn how to communicate from the heart. As far as how I proceed with my work, I definitely use my instincts to find the right path and occasionally certain gestures to take me down that path. I do a lot of sketching to solidify my ideas and when I have something that I feel is worthwhile, I use a light projector to transfer the sketch onto the canvas so that I can capture the emotional effect of the original idea. I also sometimes work directly on the canvas from the outset if the spirit moves me. We have really appreciated the vibrancy of the delicate nuances of that mark out your artistic production: in particular, we like the way your artworks show that vivacious tones are not indespensable in order to create tension and dynamics: how does your own psychological makeup determine the nuances of tones that you decide to include in a specific artwork in order to achieve such brilliant results? In the image inserted below, I set out to express the horror of the inundation by an ocean of water. I had the Katrina hurricane hitting New Orleans in mind. We have the destroyed buildings and the black sun. But when it comes to executing the violent water I am swallowed up in positive feeling. I am drowning with the city and obviously liking it. The water is engulfing, and I love it (note the brilliant blue textured waves). What this says of me psychologically I can’t say, but it certainly produces a weird effect. So, I decided to rename the painting “Venezia” which is more in keeping with the spirit of the piece. We have been fascinated with the way your artworks unveil the point of convergence between past and present, highlighting that "exploring a past experience can enhance the understanding of the contemporary": how do you consider the relationship between Tradition and Contemporariness playing within your artistic process? Moreover, do you think that your artistic research responds to a particular cultural moment? History is an integral part of my work. References to history are often indicated by the contrast between dramatic crisp lines and textured uneven areas. These contrasts express depth and interest. I feel there is something more to what we see besides the surface configuration. I am looking for the faults, the unfinished, the mistakes that mar the surface. This I see as “real” and is what interests me most. The edge behind the here and now which reflects the truth about what we are. A new present is in our DNA. We have a need to recreate ourselves into something new constantly.
13 SPECIAL ISSUE Joseph Blumstein eries agazine Contemporary Art Peripheral I attempt to incorporate the past in order to give depth to our lives and experiences. Over the years you have travelled a lot and you lived in Brazil, New York and especially in Italy, where you recently Venetzia
SPECIAL ISSUE 16 agazine Special Edition Contemporary Art Peripheral eries Illuminated manuscript, Collage. Blessed be the lord, for he hath heard the voice of my supplications. returned to explore some Roman themes. How do you consider the tension between reality and imagination playing within your work? How do your memories and your everyday life's experience fuel your creative process?
eries Contemporary Art Peripheral Joseph Blumstein agazine 17 SPECIAL ISSUE I am not aware that there is a tension between reality and imagination for me. I have always felt that I am painting a certain reality in my abstract work. Is a chair an assembly of pieces and movement or is it something to sit in? Illuminated manuscript, Collage. Hear, O Lord, the voice of my supplication when I prey to thee; when I lift up my hands to thy holy temple.
SPECIAL ISSUE 18 That depends on how you choose to view it. Which view is more real? My everyday life experiences are the fuel for my work. I try to stay tuned into the ebb and flow of social and political agazine Special Edition Contemporary Art Peripheral eries Illuminated manuscript, collage. Blessed is the man that findeth wisdom, and is rich in prudence.
19 SPECIAL ISSUE eries Contemporary Art Peripheral Joseph Blumstein agazine Troubled Waters, Oil on canvas
SPECIAL ISSUE 12 agazine Special Edition Contemporary Art Peripheral eries City Garden, Collage using limited edition prints of my work.
forces and hope that will produce an unconscious effect on my work. If I think too much about it, I sometimes miss the mark as evidenced by my experience above with New Orleans / Venezia painting. As far as the political goes, I limit my intake to the weekend New York Times and the New York Review of Books. TV, internet and most other publications have become too confusing to deal with. We like the way you artworks convey such a stimulating combination between figurative elements and abstract sensitiveness, to create such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work? I assume the question regarding the relationship between abstraction and figurative refers to the renaissance faces. These faces represent an attempt to develop an abstract language for the human form. When I was younger, I studied portraiture and figure drawing. This experience has totally overshadowed my ability to ”see” the human form from an abstract point of view. This has been an extremely difficult project. My early training has become so ingrained that I have difficulty breaking free. I have recently spent hours sketching Roman marble busts and statues at the Metropolitan Museum in NYC. I choose marble figures because I want to avoid the emotional distraction of live models. This is a work in process, an exploration. I can easily find an alternate reality in a chair, but when it comes to the human form, I struggle. I am not seeking a balance between abstraction and figurative; I have that now. I am seeking a pure form, a line that will redefine my understanding of the human form. Brancusi did it. Marked out with such unique visual identity, your artworks deeply struck us for the way they incite the viewer to make new personal associations. Austrian Art historian Ernst Gombrich once remarked the importance of providing a space for the viewers to project onto, so that they can actively participate in the creation of the illusion: how important is for you to trigger the viewers' imagination in order to address them to elaborate personal interpretations? In particular, how open would you like your works to be understood? More than understood I would like my work to be felt. Whatever personal eries Contemporary Art Peripheral Joseph Blumstein agazine 19 SPECIAL ISSUE
SPECIAL ISSUE 12 story is created the painting must first appeal to the viewer for that person to expend the energy to interpret it. I like to offer an opening to the viewer to help them enter the painting and engage with it. If a viewer feels uncomfortable with one of my pieces, I consider that a success. I have gotten through. We have really appreciated the originality of your artistic research and before leaving this conversation we want to catch this occasion to ask you how importance has for you the feedback of the viewers: how do you consider the nature of your relationship with your audience and what do you like your viewers take away from your artworks? agazine Special Edition Contemporary Art Peripheral eries Portrait of John Collage on canvas using limited edition prints of my work Portrait of Astrid Collage on canvas using limited edition prints of my work
19 SPECIAL ISSUE eries Contemporary Art Peripheral Joseph Blumstein agazine We all have a need to tell our stories and it is particularly distressing when there is no one to listen. I have had success with a very limited number of viewers and that is OK with me. Just knowing that there are some people who “see” gives me great satisfaction. I feel I am not alone in the world. We have really appreciated the multifaceted nature of your artistic research and before leaving this stimulating conversation we would like to thank you for chatting with us and for sharing your thoughts, Joseph. What projects are you currently working on, and what are some of the ideas that you hope to explore in the future? I am currently working on the abstract concepts of the human form as discussed above. In the future I would like to return to a project that I have explored in the past which involves molded fiberglass. The pieces have a 3-dimensional effect that I find satisfying. Please see the insert below for a sample. This piece is called Underground Rome. It is molded fiberglass mounted on wood, 24”x 30”, a product of my recent time in Rome and is inspired by the archaeological excavations at the Church of San Clementi in Rome. At this site one can descend through the excavated surface to 1st century Rome, walk the original streets and visit 1st century shops and homes. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected] Portrait of Marguerite Collage on canvas using limited edition prints of my work
SPECIAL ISSUE 90 Hello Tommy and welcome to Peripheral ARTeries. Before starting to elaborate about your artistic production we would like to invite our readers to visit www.motzero.com in order to get a wide idea about your artistic production. We would start this interview with a couple of introductory questions. You have a solid formal training, majoring in Fine Art with a focus in Illustration at California State University Fullerton and Video Game Art & Design at the Art Institute of California, Orange County: how did those formative years influence your evolution as an artist? First, let me start by saying Thank You for having me in your publication and that I am super excited for this interview. Lets start at the beginning, for as long as I can remember, art was a part of my life. As a kid, I loved to draw and color. Over the years, crayons transitioned into colored pencils, then ink, watercolor and airbrush. It was at CSUF that I was introduced to both acrylic and oil painting, and immediately fell Tommy Orosco Lives and works in Southern California Peripheral ARTeries meets Tommy Orosco is an award winning artist from south Orange County, CA. who works under the art-alias MOTZERO. A majority of his work is acrylic on canvas but he does experiment with spray paint and ink and just about any surface that looks interesting and fun. Tommy has been “arting” his whole life. Whether it was with crayons and watercolors, or ink and airbrush, there was never a time in his life devoid of art. In college, he majored in illustration and immediately fell in love with acrylic painting. Inspired by street art and graffiti, Tommys acrylic paintings use bright colors and cartoony creatures to mask an underlying sense of sadness and despair. Tommys artwork has been featured in galleries all over Southern California including Hollywood, Laguna Beach, and Los Angeles. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected] agazine Special Edition Contemporary Art Peripheral eries AKA MOTZERO
Death Star
93 SPECIAL ISSUE in love with acrylics. Eventually, my professors challenged me to stop painting fantastical scenes and creatures and instead told me to go out in nature and paint en Plein Air. At the time I hated it. I didn’t want to paint trees. But, over time, my feelings changed and I spent the next decade painting landscapes and seascapes that blended nature with a sense of sublime fantasy. Eventually, landscapes would disappear from my repertoire but I still retain the lessons I learned from those quiet afternoons in nature. The Art Institute of California taught me about digital art and skills that I needed to become a graphic designer and, now, Marketing Manager. Yet, digital art has never had the same effect on me (though I did go through a period where I primarily created digitally). I like the tactile feeling of paint on canvas, the feeling of using my fingers to spread the paint, the smell of the paint and the wood. How did you develop your attitude of experimentation with different media? I have always been curious when it comes to making art. I enjoy playing around with media and just seeing what happens. “What if I glue newspaper onto the canvas? What if I use try to light that section on fire? That metal thing looks cool, what if I paint it” Some stuff works, most doesn’t. But what really matters is the moment. I find it fun to get out of my comfort zone when I comes to art. If I mess up, its still a learning experience. The body of work that we have selected for this special edition of Peripheral ARTeries and that our readers have already started to get to know in the introductory pages of this article has at once impressed us for the way you sapiently combined elements from reality with captivating abstract sensitiveness, to provide the viewers with such a multilayered visual experience: when walking our readers through your usual workflow and process, we would like to ask you if you think that there is a central idea that connects all your works. Sadness perhaps. Loneliness. Though those feelings are never what I set out to present. I tend to use the same critters in my works; rabbits, robots, skulls, and hearts. I also use bright colors; cheerful colors. Yet somehow, each of my works ultimately end up feeling melancholy. Maybe it’s a subconscious response to my view of the world, I don’t know. I do know, however, that I view my art as positive and my creation process is fun and peaceful, even cathartic at times. I don’t think I am ever more happy than when I am in my little studio; music going, incense burning, and ideas flowing. All else fades away. Some of your pieces are marked with such a rigorous sense of geometry, specifically the interesting Freefall, to create such a coherent combination between a sense of Tommy Orosco aka MOTZERO eries Contemporary Art Peripheral agazine
SPECIAL ISSUE 94 agazine Special Edition Contemporary Art Peripheral eries freedom and unique aesthetics: do you conceive you works instinctively, or do you methodically lay out your pieces? In particular, what role does spontaneity play in your work? My process is very loose. I usually go into a new piece with a quick sketch and a general idea of the color scheme, but i am very open to letting the paint do what it does. I prefer this “freeform” method because it allows me to live in the moment. This is in direct opposition to my 9-5 job which demands strict adherence to rules, and brand guidelines, and multiple collaborators, all of which stifle creativity. Painting gives me an outlet for my creativity that would remain otherwise untapped. You work under the alias MOTZERO. Why do you feel the need to work under an alias and does the name have any special meaning to you? My alias allows me to get outside of myself and be bigger than I am. Tommy Orosco is an introvert; a family man with a career and a mortgage. But MOTZERO… MOTZERO is a rockstar! When I’m at a show or gallery and in full artist mode presenting or talking about my work, I feel confident and cool and just awesome. I am also able to use this name to better market myself. Think about it. No one would wear a shirt that says “Tommy Orosco” on it. But they will wear a shirt with “MOTZERO” and my skull logo. Over the years, I have had MOTZERO shirts, hats, sweaters, and skateboards. I am constantly handing out MOTZERO stickers to people who
95 SPECIAL ISSUE Tommy Orosco aka MOTZERO eries agazine Contemporary Art Peripheral The Awakening
SPECIAL ISSUE 96 agazine Special Edition Contemporary Art Peripheral eries Acid On Easter
eries Contemporary Art Peripheral Tommy Orosco aka MOTZERO agazine 97 SPECIAL ISSUE attend my shows, or just to the neighborhood kids to slap on their skateboards or street signs (This is in no way a promotion of vandalism *wink wink). We like the way your artworks convey such a stimulating combination between figurative elements and captivating abstract feeling, whose background - as in the interesting Into The Madness - creates such an oniric atmosphere: how would you consider the relationship between abstraction and figurative in your practice? In particular, how does representation and a tendency towards abstraction find their balance in your work? I’ve never really thought about that. But i do suppose my work does have a dreamlike element to it. As to the relationship between abstract and figurative, I like to find a balance between order and chaos. I always feel I can get as wild, as crazy as i want with certain elements of my work, whether it be throwing paint at the canvas or letting spray paint drip unrestricted or using stamps and stencils, as long as i incorporate an element that is more recognizable and structured. An example would be Acid on Easter. The background on that piece is bananas and completely abstract. But i added a recognizable component, in 5 spazzed out rabbits, as a jumping off point for the viewer. I feel as long as there is some relatable object, my audience can use that as a starting point on their journey into my world. Speaking of rabbits, cartoony creatures are recurrent figures in your imagery: what fasincation to you have with these subjects?
SPECIAL ISSUE 98 People always want to know “Why rabbits?”. While i can not give a definitive answer, i can say that rabbits intrigue me. They convey a sense of vulnerability and innocence. agazine Special Edition Contemporary Art Peripheral eries Overdose
Into The Madness
Freefall