http://www.eyeseehue.com EYE SEE HUE Thu, 26 Apr 2012 18:33:42 +0000 http://www.eyeseehue.com en http://eyeseehue.com/Nathalie-Pirotte http://eyeseehue.com/following/eyeseehue.com/Nathalie-Pirotte Thu, 26 Apr 2012 18:33:42 +0000 EYE SEE HUE 2047423 <img src="http://payload.cargocollective.com/1/3/100648/2047423/ssss.jpg" width="663" height="1000" width_o="663" height_o="1000" src_o="http://payload.cargocollective.com/1/3/100648/2047423/ssss_o.jpg" data-mid="16814016" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/X2.jpg" width="670" height="946" width_o="708" height_o="1000" src_o="http://payload.cargocollective.com/1/3/100648/2047423/X2_o.jpg" data-mid="16814017" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/np2.jpg" width="667" height="1000" width_o="667" height_o="1000" src_o="http://payload.cargocollective.com/1/3/100648/2047423/np2_o.jpg" data-mid="16814018" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/np.jpg" width="657" height="1000" width_o="657" height_o="1000" src_o="http://payload.cargocollective.com/1/3/100648/2047423/np_o.jpg" data-mid="16814019" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/eva.jpg" width="670" height="901" width_o="743" height_o="1000" src_o="http://payload.cargocollective.com/1/3/100648/2047423/eva_o.jpg" data-mid="16814022" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/la-rousse.jpg" width="670" height="939" width_o="1000" height_o="1402" src_o="http://payload.cargocollective.com/1/3/100648/2047423/la-rousse_o.jpg" data-mid="10474233" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/num2.jpg" width="670" height="910" width_o="1000" height_o="1359" src_o="http://payload.cargocollective.com/1/3/100648/2047423/num2_o.jpg" data-mid="10474235" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/pompom.jpg" width="670" height="1004" width_o="1000" height_o="1500" src_o="http://payload.cargocollective.com/1/3/100648/2047423/pompom_o.jpg" data-mid="10474236" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/biche-aux-mille-cerfs.jpg" width="670" height="1006" width_o="1000" height_o="1502" src_o="http://payload.cargocollective.com/1/3/100648/2047423/biche-aux-mille-cerfs_o.jpg" data-mid="10474224" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/galast.jpg" width="670" height="1121" width_o="1000" height_o="1674" src_o="http://payload.cargocollective.com/1/3/100648/2047423/galast_o.jpg" data-mid="10474227" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047423/augustlionness.jpg" width="670" height="894" width_o="1000" height_o="1335" src_o="http://payload.cargocollective.com/1/3/100648/2047423/augustlionness_o.jpg" data-mid="10474221" border="0" align="left"/> I began to devote my life to painting in 1984 in Connecticut and New York Parsons School of design. After that, I did a master degree in Painting, prints and 3D researches in Brussels “La Cambre” School of Art (1989). I have been teaching painting at the Academy Des Beaux Arts D’Arlon since 1995. I started to work with collages In 2005: female silhouettes cut out magazines, flipped over and sticks on wood than covered with flesh tones waxes, showing other female figures inside (Iselp, Brussels). My first oil paintings about “Effigies” were made in 2006. The idea was to find the same strangeness and erotic mood that I had in the waxes. Effigies are dreamlike body women dressed or undressed, with animal heads (mostly rabbits, lioness or deer) as faces. The subject is the collage itself and the recycling of pop pictures as well. Nathalie Pirotte Age: 46 Website: nathalie-pirotte.over-blog.com Medium: oil paintings and collages Location: Brussels Belgium Influences: Luc Tuymans, surréalists, women artists, paganism, etc Education: ENSAV, La CAMBRE, Masters in painting and 3D researches, Brussels • • • EVANICE HOLZ: Dawning from mid century ideals, following forth to our contempory culture, wllat are your sentiments on how the charactérization of women have changed over time in pornography ? NATHALIE PIROTTE: I am not specialized in history of pornography. My paintings are erotical. They are esthétical and have plenty of different sources of inspiration. If there is consommation, it is, I hope, more like candy or chocolate excess. I am a european woman and its just a fact, through my paintings, i give my point of view as one and i think i fit in my society. And yes the characterization of women has surely changed since the 19eS, thanks to photography and films, mass media, amongst other things. In pornography … some things are instinct, and wont change through time. For example, there are many stereotypes, but when I think of 1970s sensuality David Hamilton's pictures come to mind, but more recent bondages are very different. But isnt cycling? Of course my paintings and collages take some mass media photos as sources and sometimes they come from soft porn mags. Then the animal heads are there to slide in dreamlike worlds, surréalistic, fetichist, and fantastic notions. But they can be seen as stereotypes too (and plurivoques), cant they? My painting is about my freedom (I like to choose what is NOT a good idea to chose)! Dreams, romantical beauty, natural instinct, sensuality, and sexuality. I must say that with internet, sex and body images are changing... they are now more intimist, personal views, private scenes. I like that very much. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art?  NP: When I made my first collage, it was a pure hazard: I was cutting women body shapes in fashion magazines and one turned over. I liked what i saw; a woman in another one. The outside shape was very stiff, while the one inside was some female halfdressed in pink roller blowing bubbles. I thought  this is the exact me; deeply fanstamatic inside and stereotyped and a sportive bourgeoise outside … let's dream. Then when I made the first painting on that same subject, I wanted to make a seductive painted allegory of the painting itself in a state of seduction and took the stereotyped but pretty body to do it (from a softporn mag). I liked her posture and gesture. I took a rabbit head and glitters, because I wanted to be a bit pedantic and do something considered "bad taste" in painting. I looked at it and it was erotical. I thought  good, I'd like the viewer to have a look at the picture, and the subject as well, even if it's seductive (I dont judge the viewer-- What I just want is a reaction). I liked the numerous diversified reactions. Then after a discussion with a friend painter about my painting subjects, I decided to show that edge. EH: What is my most prodigious ambition as an artist ? NP: Living off my art would be fantastic .... Paint paint paint EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? NP: At my banquets table i would love to invite : Cranach, some italian painting renaissance masters Sandro Boticelli, Leonardo da Vinci, some surréalists,  Max Ernst and René Magritte, pop surréalists, Gustav Klimt, Some Indian and Asian artists, Greek sculptors, M David Lynch, fashion photographers, animals, Alice, Aspergers, friends, Mattew Barney , Charles Perault, Charles Baudelaire, le marquis de sade, Araki, stylists, models, .... EH: Delineate your creative process. NP: Inspired by the life i live, poeple i meet, my personnal relationships, the world, art pieces .... I try to open my eyes and my mind and let the things find me ...I may bump on one picture or object that inspiring me, or, look for many many on a same thema. Than make hundreds of collages, change them with my scanner and computer, program : the colors , the light, composition, softeness, mood. Play. Play with bodies and heads until i feel satisfaction about aesthetic and meanings. I paint some of these collages on a very thin linen with oils, flat. EH: Is there an element in each subject that draws you to the certain animal that elucidates their 'prey-like' identity? Why or why not? NP: I dont really see my subjects as preys or predators : i can paint deers and rabbits but also foxes, lionness or leopard heads effigies. I like the soft emotion of painting the furs. My personal world is not manichéist. I am mostly guided by esthétical preoccupations. For exemple if i am thinking of a show i will chose to paint effigies related one with another on a thema : mangas, libertines, lionness etc But each body can hold different type of heads and vice versa.... EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why?  NP: Not really …. art can take so many different forms. EH: What new projects have been occupying your time?  NP: I have prepared a very large scale painting with several effigies on a romantic landscape. I want to do some drawings. It would also be nice to think about a happening for my next show opening. EH: Any last words NP: Many thanks. Tweet © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. ISSUE 05 http://eyeseehue.com/Nicola-Tyson http://eyeseehue.com/following/eyeseehue.com/Nicola-Tyson Thu, 26 Apr 2012 18:33:41 +0000 EYE SEE HUE 2951242 <img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_015.jpg" width="670" height="667" width_o="1000" height_o="997" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_015_o.jpg" data-mid="16846924" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_004.jpg" width="670" height="858" width_o="1000" height_o="1281" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_004_o.jpg" data-mid="16846916" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_012_7.jpg" width="670" height="594" width_o="866" height_o="768" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_012_7_o.jpg" data-mid="16848262" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_014.jpg" width="670" height="519" width_o="1000" height_o="776" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_014_o.jpg" data-mid="16848263" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_016_9.jpg" width="670" height="582" width_o="885" height_o="770" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_016_9_o.jpg" data-mid="16848264" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_018.jpg" width="670" height="521" width_o="977" height_o="760" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_018_o.jpg" data-mid="16848266" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_013.jpg" width="670" height="510" width_o="1000" height_o="762" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_013_o.jpg" data-mid="16848267" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_006.jpg" width="670" height="849" width_o="1000" height_o="1268" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_006_o.jpg" data-mid="16846902" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_007.jpg" width="670" height="849" width_o="1000" height_o="1268" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_007_o.jpg" data-mid="16846906" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_008.jpg" width="670" height="871" width_o="1000" height_o="1300" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_008_o.jpg" data-mid="16846908" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_010.jpg" width="670" height="875" width_o="1000" height_o="1306" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_010_o.jpg" data-mid="16846912" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_016.jpg" width="670" height="868" width_o="1000" height_o="1297" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-05_016_o.jpg" data-mid="16846913" border="0" align="left"/><img src="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_012.jpg" width="670" height="525" width_o="1000" height_o="785" src_o="http://payload32.cargocollective.com/1/3/100648/2951242/NT-11_012_o.jpg" data-mid="16846921" border="0" align="left"/> I’ll work in any medium, but for the last 15 years I've concentrated on painting. I’m a figurative painter, in that I invent, contort and use a figure--mostly the human figure-- in my work.  I represent urgent bodies (bodies of the mind, bodies with minds) but entities that can only exist within the flatness of two dimensions. Lately, I have begun popping them out into three, and have begun making sculptural pieces again. Age: 52 Website: none Medium: Painting, Drawing, Sculpture, Writing, Photography, Film, Performance. Location: New York Influences: Cindy Sherman, Francis Bacon, caterpillars, Punk Rock, Terrence McKenna, Thomas Bernhard -the Austrian author. Education: Chelsea College of Art And Design and Central St. Martins College of Arts and Design, London. EVANICE HOLZ: According to Josef Albers, "Abstraction is real, probably more real than nature. I prefer to see with closed eyes." Thoughts? Are the subtexts and particulars in our imaginations just as clear as what's in front of us?  NICOLA TYSON: I don’t see any separation, it’s all real, including what goes on behind closed eyes, because it’s all imagined. EH: You recently interviewed Angela Dufresne for NY Arts Magazine, where she stated "There is urgency, if one is adventurous; to have a relevant emotional experience with things that occur outside of ones own experience." Keen on your work, and a reader of the pictorial dialogue you create... I thought of you, and the experiences you give, unique to your paintings. What is your own elaboration on the statement? Not only limited to art, but to other forms of expression as well.  NT: I work with what I know, in my gut, so to speak. Science has now confirmed apparently, what we already knew, that we actually have brain cells in our gut and heart, as well as the brain, and that information is received from outside ourselves, so to speak, by all of three, and transmitted between them. Our actual brain isn’t quite the HQ we’ve been led to believe. I kind of literally draw on that information flow. I don’t think about what I’m making much. EH: Delineate your creative process. NT: Begin to draw and see what happens! The paintings develop from drawings –it all starts with the line. Occasionally I have drawn directly with color, (the monoprints for instance), and then in making sculpture, the line is totally released. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art?  NT: Just about every successful drawing is a surprise to me. It must surprise me, be something I’ve never seen before, and could have never have thought up myself to be successful! EH: Instead of creating the physical version of your figures, you create the psychological version of the figure in unorthodox bodily form, metamorphosing their enigmatic attributes into raw, tangible characters. These characters are bizarre in nature with abnormal limbs, skewed or featureless faces, yet identifiable by garments and sexual attributes. What sort of psychological attributes do your characters possess, and which of your own surface through your characters? Explain. NT: All my desires, fears, assorted neuroses and curiosities of course register in the images but are not merely expressed. Instead I play will them, use them as source material - at least in two dimensions. Also, I think the limitations and claustrophobia of two dimensions creates a kind of bottle-neck, an intense pressure, that I can harness. When I work in three dimensions, it’s more relaxed, because there’s room to breathe! EH: Your ‘Letters to Artists and Other Men' letters are a gas! Teasingly resentful, they've stricken a frenzy of post-humorous fun picking. With complexities of their own, one can only dazzle in conjuring up their reactions to your playful notes. If you were a different artist engaged in this same project, what would you write to the deceased artist, Nicola Tyson? NT: The letters are satirical, and veer all over the place, from rage to sympathy, but always playfully, humorously. I’m really writing about myself in those letters. I weave together autobiographical anecdotes ,sexual politics and art history to create a kind soup out of which it becomes clear my work has evolved. But if were someone else addressing me, I guess I’d say something like – “Hey! Are you related to Mike Tyson?” EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? NT: Let’s keep it simple: Greta Garbo, Yoko Ono and Siouxsie Sue and we are going to boil an egg. EH: Choose one of your favorite art works in history, and interpret it.
 NT: A ceramic pot called a ‘breasted ewer’, found on Akrotiri, that I saw years ago in a museum in Athens. Images of swallows swoop all around it. I think of it often. It exhibited no cultural hubris or striving, just pleasure in life. Was there a time when human culture was not this alienated, neurotic, symptomatic, ego-driven activity, and instead a kind of gentle collaboration with the rest of the World? EH: Any last words? NT: I’m not dead yet! Tweet © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Images courtesy of Friedrich Petzel Gallery. ISSUE 05 http://eyeseehue.com/Ed-Loftus http://eyeseehue.com/following/eyeseehue.com/Ed-Loftus Thu, 26 Apr 2012 18:33:40 +0000 EYE SEE HUE 2659147 <img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Long-2ECB56.jpg" width="670" height="561" width_o="1800" height_o="1508" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Long-2ECB56_o.jpg" data-mid="15614951" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Held-2ECB50.jpg" width="670" height="452" width_o="1800" height_o="1217" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Held-2ECB50_o.jpg" data-mid="15614948" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Livi-2ECB5E.jpg" width="670" height="515" width_o="1800" height_o="1385" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Livi-2ECB5E_o.jpg" data-mid="15614949" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Tras-2ECB5A.jpg" width="670" height="627" width_o="1800" height_o="1687" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Tras-2ECB5A_o.jpg" data-mid="15614954" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Appl-2ECB58.jpg" width="670" height="807" width_o="1494" height_o="1800" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Appl-2ECB58_o.jpg" data-mid="15614943" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Bric-2ECB4E.jpg" width="670" height="907" width_o="1329" height_o="1800" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Bric-2ECB4E_o.jpg" data-mid="15614945" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Girl-2ECB5C.jpg" width="670" height="460" width_o="1800" height_o="1236" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Girl-2ECB5C_o.jpg" data-mid="15614946" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Hand_prs.jpg" width="670" height="1010" width_o="1194" height_o="1800" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Hand_prs_o.jpg" data-mid="15614947" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Smal-2ECB52.jpg" width="670" height="447" width_o="1800" height_o="1201" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Smal-2ECB52_o.jpg" data-mid="15614952" border="0" align="left"/><img src="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Trash Bag Landscape_prs.jpg" width="670" height="601" width_o="1800" height_o="1616" src_o="http://payload17.cargocollective.com/1/3/100648/2659147/Loftus_Untitled_Trash Bag Landscape_prs_o.jpg" data-mid="15614956" border="0" align="left"/> I am originally from Dorset England where I escaped a job building sheds and am now based in the San Francisco Bay Area. For the most part I create rather meticulous drawings that can take many months to complete . Reoccurring themes in the work include concepts of the inevitable, everyday fears and obsessions. Age: 38 Website: No website yet Medium: Mostly graphite on paper with the exception of the drawing with seagulls. In that case I used carbon pencils. Location: Oakland, CA Influences: Vija Celmins, David Hockney, Simon Evans and Paul Noble had a big impact on me. Education: High school with some college. EVANICE HOLZ: There's quite a pulling fascination in your work, from the cerebral manipulation your pieces provoke, the rigorous preciseness of your photo realism, to more discreet communications of longing, fear, obsession, and life's marvel- all relevant to the human condition. When I first caught sight of your work, my reaction was within the same bewildering astonishment most people are in when they register the pieces they're viewing are graphite on paper, and not a thing more. What have been some of your favorite bits from your spectators observing your work? ED LOFTUS: The work was created in somewhat of a vacuum with only a handful of people seeing it. And although the people that had seen it were inclined to react with some disbelief it wasn't entirely clear to me that so much emphasis would be put on the process. I must admit that after so much work it is gratifying to hear those reactions. I had hoped it would encourage the viewer to take more time with the image and so far that has been true I think. EH: Over the past three years you've created ten remarkable drawings, the rigor in creating these are attributed to your obsessive compulsive nature, and self taught adeptness. The pieces you create are derived via old family photographs, photographs you have taken, and objects around you which are then renewed into drawings bordering on tangible. Delineate your creative process. EL: Because each piece takes a fair bit of time I have the space to really think about what I am making as well as what I am planning on making next. Usually I have the basic image in my head. Sometimes it has its roots in an existing photograph, in which case I have to decide how to tweak it in order to express what I am feeling. Other times it is just an idea that won't go away and I need to gather the components by taking photos or finding the right images. Recently I have been making a collage first and reproducing it, incorporating some of the edges and peculiarities that come with collage. Once I arrive at what I plan on making it is just a matter of finding the time to make it. The exciting part of the process is not so much the drawing as the coming up with and planning of the image. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? EL: Its never enough. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? EL: Simon Evans, French toast. EH: You've described your work as a painstaking process with the average piece taking you 5 months of mentally immersed days till you're at completion. In your 'Apple with 2 Flies' piece, you describe it as "about finding companionship in a void and sharing something beautiful.” In context to the forlorn human condition, how do you define the void, and what draws you to it in your work? How does apply into the subtext of your own life? EL: Its that feeling you get on long walks, when you notice the daytime moon and are reminded that you are stepping on a planet. I find that for me that is not such an unpleasant feeling and perhaps indulging these feelings has been partly the reason for some of the latest work. Working around these ideas feels honest because it is the subtext of all our lives. EH: What is your most prodigious ambition as an artist? EL: Having work in a free, permanent Exhibition. EH: Choose one of your favorite art works in history, and interpret it.

 EL: I remember seeing Diane Arbus for the first time and getting super stoked on photography. Soon after I started seeing photos as drawings. I love the simplicity in the contrast between black and white and yet all the complexity of the grey in between. The photo that comes to mind is of identical twins, identically dressed and seemingly joined at the hip. However, their expressions although relatively similar, betray the symmetry and expose two identities a world apart. It makes me think of the space between oneself and the reflection in the mirror. EH: What obsessions do you think divert society most from musing on the wonderment of life in variance with focusing on all the jive? Why? EL: How much is too much? Am I going to get party cancer? If nuts are so fattening why aren't squirrels huge? Pick your petty grievance and fill in the blanks. I imagine it is just the itinerant nature of our minds. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? EL: There are professional appreciators and pedagogs that need ways to interpret and explain art. Every sub-culture needs its definitions and I cannot imagine that ever changing. EH: Any last words? EL: Whats the last thing you want to hear Willie Nelson say after you just slept with him? .................. I'm not Willie Nelson. Tweet © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Images courtesy of Jack Hanley Gallery. ISSUE 05 http://eyeseehue.com/Eddie-Martinez http://eyeseehue.com/following/eyeseehue.com/Eddie-Martinez Thu, 26 Apr 2012 18:33:39 +0000 EYE SEE HUE 2263841 <img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_They Build You Up To Knock You Down.jpg" width="670" height="456" width_o="1000" height_o="681" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_They Build You Up To Knock You Down_o.jpg" data-mid="13462140" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_IN3178.jpg" width="670" height="474" width_o="1000" height_o="708" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_IN3178_o.jpg" data-mid="13462125" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_IN3255.jpg" width="670" height="538" width_o="1000" height_o="803" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_IN3255_o.jpg" data-mid="13462130" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_so long as you know that i know you know....jpg" width="670" height="525" width_o="1000" height_o="784" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_so long as you know that i know you know..._o.jpg" data-mid="13462133" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_The Feast.jpg" width="670" height="198" width_o="1000" height_o="297" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_The Feast_o.jpg" data-mid="13462137" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_Untitled IN2761.jpg" width="670" height="537" width_o="1000" height_o="802" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_Untitled IN2761_o.jpg" data-mid="13462148" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_Untitled IN3090.jpg" width="670" height="564" width_o="1000" height_o="843" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_Untitled IN3090_o.jpg" data-mid="13462150" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/martinez_Val Kilmer-s James Brown.jpg" width="670" height="508" width_o="1000" height_o="759" src_o="http://payload.cargocollective.com/1/3/100648/2263841/martinez_Val Kilmer-s James Brown_o.jpg" data-mid="13462152" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_You-re Out of Your Element.jpg" width="670" height="558" width_o="1000" height_o="833" src_o="http://payload.cargocollective.com/1/3/100648/2263841/Martinez_You-re Out of Your Element_o.jpg" data-mid="13462153" border="0" align="left"/> Eddie Martinezʼs work is both less serious and more serious than his forebears. The less seriousness mirrors the central turn in philosophy and art over the past sixty years, which has been the cementing of the unconscious into every facet of human activity. The paintings are more serious in the sense that, once the subject is decentered, the topic shifts from the individual towards relationships and communication. Age: 34 Website: www.eddiemartinez.net Medium: Oil, acrylic, spraypaint, pens, pencils, paper Location: Brooklyn, NY Influences: Being alive. Education: Little. Dropped out of 2 art schools in Boston. EVANICE HOLZ: Your style seems to take the innate memento of De Kooning, the primitive instincts of Basquiat, and the youthful notions of Klee and rather than appearing emulative, you sculpt them to your own. The history of art is defined by movements, all which commence with a pioneering style and the artists of the age appending their distinctive approaches. Through that notion a myriad of masterpieces have dawned, take Impressionism or Fauvism for instance. With regards to those postulations, you've stated prior in an interview the following: "If anything you're doing looks like anyone ever made it, you cant do it...and I don't see how you can possibly get to anywhere." Elaborate on your statement, and what your sentiments are on the contemporarily-taboo notions of 'influence' in art. Why? EDDIE MARTINEZ: You can always build a better mouse trap. Anyone who shuns influence is probably not being honest with themselves. How can you possibly not be influenced by art? As artists we spend our time looking at everything, our job is to be visually critical and decisive. Of course, completely copying something is a different thing, and boring. EH: Choose one of your favorite art works in history, and interpret it. 

EM: "Excavation" by De Kooning, made in 1950. This painting is totally wild and controlled simultaneously, as is much of his work, or at least that is how it looks. The amount of back and forth, and give and take is what most impresses me in this work. It is heavy black and white with glimpses of color. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? EM: That I can do something exciting to myself, if I dont try too hard. EH: The allure of art aside from aesthetics is the emotional impression rooted in the observer upon taking in a piece. What are some of the best bits of emotions you have experienced from your audience viewing your work. In turn, how do those emotions affect you? EM: Joy. A lot of people say the energy and color in my work makes them happy. That's fun...I am certainly not looking to depress anyone! EH: Some of the marks in your paintings have a similar semblance to those of graffiti, and your usage of spray paint adheres to that influence. In more recent years the emergence of street art as an accepted form of artistic expression has come to being in the art community. How would you describe your connection between the streets and fine art in your work? EM: I am very aware of graffiti and have been for 20 years- I enjoy using spray paint for the array of marks you can achieve. EH: What new projects have been occupying your time? EM: Just figuring out how and what to make. I am not taking on any projects outside of the studio. It is time to work. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? EM: I'm not sure. It will be defined in many different ways as long as it exists so I don't think whether or not I think it is necessary matters. As time goes on I find myself less interested in my own work having to fit into a neat package of understanding. EH: What is your most prodigious ambition as an artist? EM: To keep making a living as an artist in NYC. EH: Any last words? EM: Good life! Tweet © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Images courtesy of ZieherSmith Gallery. ISSUE 05 http://eyeseehue.com/David-M-Cook http://eyeseehue.com/following/eyeseehue.com/David-M-Cook Mon, 23 Jan 2012 15:58:59 +0000 EYE SEE HUE 2106748 <img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull005.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull005_o.jpg" data-mid="10861382" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull007.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull007_o.jpg" data-mid="10861397" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull010.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull010_o.jpg" data-mid="10861436" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull011.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull011_o.jpg" data-mid="10861451" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull002.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull002_o.jpg" data-mid="10861347" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull004.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull004_o.jpg" data-mid="10861371" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull008.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull008_o.jpg" data-mid="10861412" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull009.jpg" width="670" height="921" width_o="2048" height_o="2818" src_o="http://payload.cargocollective.com/1/3/100648/2106748/dirtyskull009_o.jpg" data-mid="10861421" border="0" align="left"/> David M. Cook, born in Louisville, Kentucky in the year of 1972. Self taught color-blind artist. Snakes, hands, eyes, skulls, birds, flowers, and all things mystical. I love the detail in things, and the humor of life- I like trying to combine these things in ways that would normally not make sense. David M. Cook Age: 39 (yikes) Website: dmcook.carbonmade.com Medium: Pen, pencil, paper, collage, cut paper......etc.... Location: Brooklyn, NY Influences: Japanese wood cuts, margaret killgallen, folk art, heavy metal, punk, skateboarding, letterpress printing, the list can go on forever. Education: None. EVANICE HOLZ: Your drawings, particularly the exhibitionist 'Dirty Skulls' series are witty, provocative and sinister. Delineate your creative process for the sexually-suffused skull series? DAVID M. COOK: I tend to be working on several projects at one time so that I can help myself from getting to bored with any one in particular. The series of naked women, including the dirty skulls series, has been a project i have been working on for about 8 or 9 years. It started as a simple exercise to help me to remember how to draw the human body but has developed ,over time, into something all it's own. Their are about 50 to 60 drawings so far and the skulls series was just another really fun part of it. I think it came from my love of heavy metal music and punk rock. I have always had some fascination with skulls and the imagery that comes with heavy metal music and tattooing. I thought it might be fun to try these things out in the bigger vision of this series of drawings. Mix it up a little i guess. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? DMC: Well i am colorblind so i guess it would have to be that i can use color. I was scared forever to even try, but through trail and error and a lot of help from an ex-girlfriend, i have come to be very comfortable with it. I like the idea that whatever i am seeing might not be what the viewer sees. To me it makes it more personal for both. EH: The representation of death and mortality via skulls counter amidst cultures. Where is your appeal with all things macabre rooted from, why, and how do you apply those notions in your work? DMC: I may have already answered this to some extent but I grew up with the cultures of heavy metal, punk rock, skateboarding, and tattooing. I like the idea that a lot of the images i use in my work have been around forever and used by so many different cultures. Skulls, crosses, eyes, snakes, birds, hands, and so many more. They mean so many things to everyone. I have a lot of fun playing with them, and using them like you would any other tool. It works in the same way as the colorblindness i guess. These images may have some meaning for the viewer based on their life experiences but mean something completely different to the next person or even myself. All of my work is totally open for interpretation. EH: What new projects have been occupying your time? DMC: A group show in San Diego California that is being co-curated by my friend jay howell. Possibly doing a toy with a Lulubell. Drawing for a do it yourself kite that will be sold in museum shops all over. I am very excited about this one. Think my version of a Japanese dragon. Working with various bands, which is still some of my favorite work to do. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? DMC: This may sound odd to you but if I am getting this chance to collaborate with whoever i want it is going to be music based. Alice Cooper, Dr. Know from the Bad Brains, Cliff Burton, King Buzzo from the Melvins, and Brann Dailor of Mastodon on drums. I guess Barry McGee can do the record cover. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? DMC: Not at all. You are also asking an uneducated artist this. I think we you get into these formalities with art you scare people off that might have otherwise enjoyed it and wanted to participate in it. When you start telling people they need all of this formal education to understand it and make it you you start making people feel it is something that is not for them. Something that is for a certian class of people which to me completely defeats EH: What is your most prodigious ambition as an artist? DMC: It would really just be being able to make this my full time job. I know i am lucky that i ever get to sell anything and i am always very grateful when I do, but it would be fantastic to me to be able to make a full time living off of making art. It has always been the dream. EH: What emotions inspire you to create? DMC: All of them really. Anger, laughter, sadness, frustration is a huge one, and happiness. EH: Any last words? DMC: I just wanted to say thank you again to anyone that has purchased work from me, be it a t-shirt, a screen print, or an original. It means the world to me that you cared enough about what I am doing to want to live with it in your homes. I would like to thank anyone that has taken the time out of there day to take a look at what I am doing. I know I have a bit of a crazy brain, and that my work may not be for everyone and for people to take the time to look and maybe connect with it always puts a smile on my face. Thank you so much for doing this interview with me as well. I am no writer and I know it but it is always nice to get to talk to folks about what I am doing and maybe help them to understand it a little better. © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Tweet ISSUE 04 http://eyeseehue.com/Allison-Schulnik http://eyeseehue.com/following/eyeseehue.com/Allison-Schulnik Mon, 23 Jan 2012 15:58:58 +0000 EYE SEE HUE 2230577 <img src="http://payload.cargocollective.com/1/3/100648/2230577/Yogurt_Eater_Full.jpg" width="670" height="824" width_o="1000" height_o="1231" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Yogurt_Eater_Full_o.jpg" data-mid="12279055" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Two_Monkeys.jpg" width="670" height="811" width_o="1000" height_o="1211" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Two_Monkeys_o.jpg" data-mid="12279057" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/LongHair_Hobo_No2.jpg" width="670" height="817" width_o="1000" height_o="1220" src_o="http://payload.cargocollective.com/1/3/100648/2230577/LongHair_Hobo_No2_o.jpg" data-mid="12279058" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Klaus_No2.jpg" width="670" height="560" width_o="1000" height_o="837" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Klaus_No2_o.jpg" data-mid="12279060" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Hobo_WithBird_300dpi.jpg" width="670" height="822" width_o="1000" height_o="1227" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Hobo_WithBird_300dpi_o.jpg" data-mid="12279062" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Idyllwild.jpg" width="670" height="944" width_o="1000" height_o="1409" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Idyllwild_o.jpg" data-mid="12279063" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Hobo_Cat_Family.jpg" width="670" height="531" width_o="1000" height_o="794" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Hobo_Cat_Family_o.jpg" data-mid="12279067" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/GirlAnimal.jpg" width="670" height="561" width_o="1000" height_o="838" src_o="http://payload.cargocollective.com/1/3/100648/2230577/GirlAnimal_o.jpg" data-mid="12279069" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Gin_onHorse_no2.jpg" width="670" height="538" width_o="1000" height_o="803" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Gin_onHorse_no2_o.jpg" data-mid="12279071" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Funeral_Party_no2.jpg" width="670" height="413" width_o="1000" height_o="617" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Funeral_Party_no2_o.jpg" data-mid="12279074" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2230577/Clown_With_Hands.jpg" width="670" height="827" width_o="1000" height_o="1235" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Clown_With_Hands_o.jpg" data-mid="12279080" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Cat_Head.jpg" width="670" height="663" width_o="1000" height_o="991" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Cat_Head_o.jpg" data-mid="12279084" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Blue_Head.jpg" width="670" height="663" width_o="1000" height_o="990" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Blue_Head_o.jpg" data-mid="12279086" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Big_WoolMonkeyHead.jpg" width="670" height="672" width_o="1000" height_o="1004" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Big_WoolMonkeyHead_o.jpg" data-mid="12279088" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Big_MonkeyHead_no2.jpg" width="670" height="680" width_o="1000" height_o="1015" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Big_MonkeyHead_no2_o.jpg" data-mid="12279090" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Big_Gnomes.jpg" width="670" height="514" width_o="1000" height_o="768" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Big_Gnomes_o.jpg" data-mid="12279091" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2230577/Big_Brown_MonkeyHead.jpg" width="670" height="663" width_o="1000" height_o="990" src_o="http://payload.cargocollective.com/1/3/100648/2230577/Big_Brown_MonkeyHead_o.jpg" data-mid="12279094" border="0" align="left"/> I paint rejects, misfits and their landscapes. My fixation on these characters is not intended to exploit deficiencies, but to find valor in adversity. Whether hobo clowns, misshapen animals or alien beasts, they are usually built upon a human frame, which at times give them an awkward humanity. Drawing from film, music, cartoons and dance, I like to blend earthly fact, blatant fiction and lots of oil paint to form a stage of tragedy, farce, and raw, ominous beauty -- at times capturing otherworld buffoonery, and other times presenting a simple earthly dignified moment. Allison Schulnik Age: 33 Website: www.allisonschulnik.com Medium: Painting, Drawing, Animation & Sculpture Location: Los Angeles Influences: Bonnard, Bickford, Balthus, Babs, Bausch, Beckett, Black Sabbath, and my three great teachers Corny Cole, Jules Engel and Mike Mitchell. Education: CalArts Expermiental Animation EVANICE HOLZ: Through the myriad mediums in your work, you liberate the outcasted character whether he/she be the forlorn reject, the self-assured dunce, or jovial fool. With your love of dramatics, you've created a permanent sanctuary via your brush stokes, sculptures, and films that balance all these personas. What draws you to these misfits in your work, and how does your work portray your own inner outcast? Explain. ALLISON SCHULNIK: It seems a lot of art making is about liberating the monsters that live upstairs. I have just always been drawn to these characters. Maybe it's because I like drama. Sometimes it's simply a celebration of being the forlorn reject, or the jovial fool. Sometimes it's a study. Sometimes it's a portrait of myself, or someone I know or love. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? AS: I don't see any need to define art. Art can be that which is undefined and limitless. Definitions can only hinder the process of making things. Although that is not a rule either, because sometimes limitations make things more interesting. EH: What new projects have been occupying your time? AS: Well I literally just finished my last film Mound. So I haven't really gotten to working on the next thing. I don't usually like to talk about things that haven't been made. However I can say that I am in the process of planting a pineapple! EH: In your claymation films, you pair yourself for hours on end in a little black room to bring forth a miniature- scale world of your beloved characters, while executing the role of puppeteer. With no definite narrative, your audience sketches their own relative story.. though which of your own fancies emerge in this affair? Explain, and delineate the creative process for this world of reverie. AS: Well it is really just that, getting pleasantly lost in your own thoughts. It's really I guess quite a selfish process. Maybe not if your thoughts involve other people and their situations. And maybe I am not always lost in a pleasant way. Because sometimes you just are lost in thought in general, aside from the practical pictorial and technical thoughts, or thoughts about the character you are working with and it's world, sometimes you can be just lost in some cyclical, rotating, meaningless thought or thoughts about the morning you had or the night ahead. The creative process for this world of mine is really no different than any creative process, a matter of having a thought and birthing it from your little skull out onto the set or page or canvas. Then deciding if that little baby is good enough for me, or the world, and if it can handle itself. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? AS: Well, Benjamin Franklin and I will be making an animated film in which the characters are made of light, written by Edgar Allen Poe. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? AS: My work is full of mistakes and surprises. As much as I try to go in with some definite idea, things always happen that you can't control. Those are the best parts of creating -- not knowing what you are doing, taking risks, then in turn failing and succeeding, and making discoveries that were totally unexpected. EH: Choose one of your favorite art works in history, and interpret it.

 AS: "Woman Knitting" by Chaim Soutine. I remember seeing this at the San Diego Museum of Art when I was a kid. It struck me down even then. A portrait of just some unknown lady. I love that she is nameless, and yet you can tell he must've captured her likeness, because she was so striking. She has this intense feeling about her. When I first saw it, I thought that she must've been a mad woman, or mentally off in some way, but she had this childish ambivalence about her, and that was comforting. She seemed happy in her distinct qualities, like the years had done her no harm. Despite what the reality might've been, her smile says that she saw life as simple and complete. I would have loved to see what she knitted that day. EH: Any last words? AS: Don't ever put hot dogs in your nylons. © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Tweet ISSUE 04 http://eyeseehue.com/David-Lovejoy http://eyeseehue.com/following/eyeseehue.com/David-Lovejoy Mon, 23 Jan 2012 15:58:57 +0000 EYE SEE HUE 2164463 <img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_046.jpg" width="629" height="924" width_o="629" height_o="924" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_046_o.jpg" data-mid="13461640" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_134.jpg" width="670" height="663" width_o="970" height_o="960" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_134_o.jpg" data-mid="13461650" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_054.jpg" width="670" height="502" width_o="1043" height_o="782" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_054_o.jpg" data-mid="13461641" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_074.jpg" width="670" height="431" width_o="1072" height_o="691" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_074_o.jpg" data-mid="13461642" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_092.jpg" width="670" height="340" width_o="1126" height_o="572" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_092_o.jpg" data-mid="13461643" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_112.jpg" width="670" height="475" width_o="866" height_o="614" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_112_o.jpg" data-mid="13461644" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_119.jpg" width="670" height="555" width_o="980" height_o="812" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_119_o.jpg" data-mid="13461645" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_129.jpg" width="670" height="666" width_o="837" height_o="833" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_129_o.jpg" data-mid="13461647" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_147.jpg" width="670" height="333" width_o="1200" height_o="597" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_147_o.jpg" data-mid="13461652" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_167.jpg" width="670" height="550" width_o="992" height_o="815" src_o="http://payload.cargocollective.com/1/3/100648/2164463/2011_fall_167_o.jpg" data-mid="13461655" border="0" align="left"/> David Lovejoy has been working as a maker and designer since the early 1980’s. His artistic direction has always included repurposing whatever materials fit the need, with a feeling toward the timeworn patina of parts & hardware from the 30’s & 40’s. Trained as a ceramic artist, his current work includes assemblage and installation art. Throughout 2011, Lovejoy has been customizing a 1962 Airstream trailer for an upcoming National Geographic expedition to the South Pole, housing Steve Wozniak and Buzz Aldrin. He lives and works in Los Angeles, California with his wife, Vera, and sometimes writes about himself in the third person. David Lovejoy Age: 49 Website: www.lovejoyart.com Medium: ceramics, assemblage & installation art Location: Los Angeles, California Influences: Dave Brubeck, John Muir, Carl Zeiss Education: Ceramics - Saddleback College, San Juan Capistrano, CA, Design - Pasadena Art Center, Los Angeles Valley College, CA • • • EVANICE HOLZ: Part of the beauty I find in your assemblage works are the myriad tales that emanate through each found object. With your art you perpetuate the discarded, narrate classic memories while creating new imaginative ones, and continue the numerical odyssey of 'second-hand'. What objects are you most fond of that you have resurrected, and why? DAVID LOVEJOY: I seem to have a certain era of materials that catch my eye, as most everything in my studio is from the 1930's and 1940's. I'm drawn to parts that have been handled for years, yielding the smooth, time-worn patina of use. Old tool handles, control knobs, chair arms – they have a familiarity and comfort for me that comes through in my work. I often use old wooden picture frames in my work, and when I do, I use them backwards. Intended to hang against a wall & never be seen, picture frame backs bear the marks of their making – measurements, notations, fingerprints. I like highlighting the craftsmanship and these inadvertent artifacts. EH: Choose one of your favorite art works in history, and interpret it.

 DL: Most of my favorite historical artworks are sculptural – Michelangelo's David, Giocometti's figures, Picasso's Bull. Coming from a clay background, I also have a fondness for John Mason's crosses, and Voulkos' stacks. If I were to select one absolute favorite work, it would probably be a small handmade teabowl by an unknown Japanese craftsman. Perfectly formed for its function, you want to hold it in both hands and draw it to your lips when you see it. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? DL: I once did a public art installation of over 1000 magnifying glasses suspended overhead in an outdoor courtyard in Pasadena. It was there for over a year, and I would visit it from time to time. Early one morning, I discovered a smooth river rock, perfectly round, placed on the ground beneath the exact center of the piece. As I bent to pick it up, I noticed that a child had drawn a smiley face on it. Some child had perceived my work as a gift, and had responded with this little gift of his own. It was deeply touching, and I have the stone on a shelf in my workshop. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? DL: I guess my fantasy dinner party would include Marcel Duchamp, Salvador Dali, George Ohr and H.G. Wells. I'd just love to be in a room with those minds and see what develops. I'm a big fan of Joseph Cornell's work, but I don't imagine him being too outgoing at a dinner party. If I were more multilingual, I'd invite Mr. DaVinci as well. EH: Are your assemblage works created sporadically, do they start with a direction, and through the trek the destination is found, or are they schemed out prior to execution? Delineate your creative process. DL: What I consider to be my most completely developed works have grown organically. I typically place materials together and see what they bring to mind, then pursue that for awhile. Sometimes it yields a finished piece, sometimes a thread to be tugged on later. I think I benefit from my ceramics background, where I learned to "let the clay be clay". If I impose myself too much into the process, I tend to force things a bit and lose some of the grace that exists in the materials on their own. Spontaneity serves me well. EH: What new projects have been occupying your time? DL: Since the beginning of the year, I have been refurbishing a 1962 Airstream trailer which will be used as living quarters for Buzz Aldrin and Steve Wozniak during a National Geographic expedition to the South Pole in 2012. I just closed a solo show at MorYork Gallery in Highland Park, and am currently working on a magnifying glass installation for GATE Projects in Glendale. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? DL: Absolutely. As you mention, there is a broad definition, but a definition nonetheless. Art is a precious, inspired thing, unique to mankind. Creativity and imagination are critical to our survival, and the discussion of art keeps us looking at and thinking about art. Not everything called art is art. I consider myself a maker-of-things – I do very little painting on canvas, I've never chiseled marble or cast bronze, but some of what I've made is art. EH: What is your most prodigious ambition as an artist? DL: To make things that make people smile. EH: Any last words? DL: Yes. © Copyright 2011-2012, EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Tweet ISSUE 04 http://eyeseehue.com/Gemma-Correll http://eyeseehue.com/following/eyeseehue.com/Gemma-Correll Mon, 07 Nov 2011 17:04:27 +0000 EYE SEE HUE 2047418 <img src="http://payload.cargocollective.com/1/3/100648/2047418/catsoftheworld.jpg" width="670" height="837" width_o="1000" height_o="1250" src_o="http://payload.cargocollective.com/1/3/100648/2047418/catsoftheworld_o.jpg" data-mid="11344194" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/variousFRUITS.jpg" width="670" height="522" width_o="1000" height_o="780" src_o="http://payload.cargocollective.com/1/3/100648/2047418/variousFRUITS_o.jpg" data-mid="11344197" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/bumbling.jpg" width="670" height="607" width_o="1000" height_o="907" src_o="http://payload.cargocollective.com/1/3/100648/2047418/bumbling_o.jpg" data-mid="10807423" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2047418/cant.jpg" width="670" height="507" width_o="1000" height_o="757" src_o="http://payload.cargocollective.com/1/3/100648/2047418/cant_o.jpg" data-mid="10807427" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/planking_300.jpg" width="670" height="409" width_o="1000" height_o="611" src_o="http://payload.cargocollective.com/1/3/100648/2047418/planking_300_o.jpg" data-mid="11344196" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/dancemoves.jpg" width="670" height="944" width_o="1000" height_o="1410" src_o="http://payload.cargocollective.com/1/3/100648/2047418/dancemoves_o.jpg" data-mid="10807434" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/elGATObipolar.jpg" width="670" height="793" width_o="1000" height_o="1184" src_o="http://payload.cargocollective.com/1/3/100648/2047418/elGATObipolar_o.jpg" data-mid="10807440" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/metontheinternet.jpg" width="670" height="564" width_o="1000" height_o="843" src_o="http://payload.cargocollective.com/1/3/100648/2047418/metontheinternet_o.jpg" data-mid="10807443" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/oct30.jpg" width="670" height="893" width_o="1000" height_o="1333" src_o="http://payload.cargocollective.com/1/3/100648/2047418/oct30_o.jpg" data-mid="10807450" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/salem.jpg" width="670" height="827" width_o="1000" height_o="1235" src_o="http://payload.cargocollective.com/1/3/100648/2047418/salem_o.jpg" data-mid="10807453" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047418/to_be.jpg" width="670" height="892" width_o="1000" height_o="1332" src_o="http://payload.cargocollective.com/1/3/100648/2047418/to_be_o.jpg" data-mid="10807457" border="0" align="left"/> Gemma Correll is an Illustrator from England. She creates narrative-based artwork inspired by the people and the world around her. She has exhibited around the world, including China, Belgium and Canada, and she has worked for clients including Hallmark cards, Hermés and Toyota. Gemma likes animals, especially her Pug, Mr Pickles. She also enjoys coffee, warm socks and Greek pop music. Gemma Correll Age: 27 Website: www.gemmacorrell.com Medium: Pen and Ink, watercolour, pencil Location: Norwich, UK Influences: Comic books, childrens books, vintage annuals and posters, people, music, movies, books, pets Education: Degree in Graphic Design and Illustration • • • EVANICE HOLZ: Your illustrations are terribly witty and peculiar. I hear you enjoy hanging about in coffee shops for inspiration. What have been some of your best bits of observation from the arbitrary subjects that inspire you? GEMMA CORRELL: There are lots of students of literature in this city, so I overhear some funny conversations. Also, I like to eavesdrop on business meetings that take place in coffee shops. I find it amusing because often, they are talking about nothing really, but using a lot of long words and jargon. Children are very inspirational too, they say the funniest things. For example, I saw a little girl pointing at a big frothy Starbucks coffee with lots of fancy syrups and things and declaring loudly - "That is not coffee!" I thought, she is correct! EH: Delineate your creative process. GC: I draw in my sketchbook a lot and I also write. I write snippets of conversations or lists of ideas. Sometimes, I'll just write a list of everything I can think of, so I'll have a random list like (here's an example) - Plastic Surgery Schedule/ Timetables Road Trip Etiquette Secret Santa Which doesn't really make any sense but sometimes it will spark an idea for me. EH: The chronicles you create in your Daily Diaries transfigure your daily happenings into zany narratives, fixing your readers into a world far removed from boring. What would be your dream day from morning to night to illustrate? GC: I think a day meeting lots of interesting people and seeing new things would be the best thing to illustrate. So maybe while traveling somewhere new and exciting, eating lots of different foods, meeting different people, finding interesting objects and buildings. EH: What new projects do you have brewing? GC: I am working on some more greetings cards. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? GC: I have Saul Steinberg and Ben Shahn as the creative ingredients, plus Kate Chopin for some literary flair and The Andrews Sisters for some great music. I think we'd have an interesting night. EH: Some of the illustrations of yours I quite fancy are those with your representation of cats. For the feline aficionado's whimsy- if you had a cat Daily Diary, what narratives would follow? GC: I'd like to make a diary about the secret thoughts of cats and maybe the things that they do when their owner isn't watching. So the cat would probably be hiding somewhere, or sneaking in to other people's houses to eat their food or have a secret old lady friend who gives them food and snuggles. It would be fun to be inside the mind of a cat for a while. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? GC: I think art covers so many areas that it doesn't really require definition, rather the various facets of art can be explored. It's not just visual art, but music, film, theatre and dance. All of those things can be inspirational, I don't think any artist should feel the need to be inspired only by their own field of work. EH: What is your most prodigious ambition as an artist? GC: I would like to have a regular cartoon in a big newspaper or magazine, like the New Yorker. I would also love to make a children's book. EH: Any last words? GC: "Albuquerque" - That is my favourite word. I love to say it. © Copyright 2011, 2012 by EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Tweet http://eyeseehue.com/David-Kramer http://eyeseehue.com/following/eyeseehue.com/David-Kramer Mon, 07 Nov 2011 17:04:18 +0000 EYE SEE HUE 2164446 <img src="http://payload.cargocollective.com/1/3/100648/2164446/betteronpaper_Painting.JPG" width="670" height="784" width_o="2048" height_o="2397" src_o="http://payload.cargocollective.com/1/3/100648/2164446/betteronpaper_Painting_o.JPG" data-mid="11071685" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/191kram01_9_lr.jpg" width="645" height="531" width_o="645" height_o="531" src_o="http://payload.cargocollective.com/1/3/100648/2164446/191kram01_9_lr_o.jpg" data-mid="11071670" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/04 David_Kramer-1.jpg" width="632" height="479" width_o="632" height_o="479" src_o="http://payload.cargocollective.com/1/3/100648/2164446/04 David_Kramer-1_o.jpg" data-mid="11071656" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/Minor Details.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Minor Details_o.JPG" data-mid="11071781" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/more is more_drawing.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/3/100648/2164446/more is more_drawing_o.JPG" data-mid="11071795" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/NeverGetsOld_drawing.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/3/100648/2164446/NeverGetsOld_drawing_o.JPG" data-mid="11071824" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/nyfa 6-1.jpg" width="670" height="475" width_o="1200" height_o="851" src_o="http://payload.cargocollective.com/1/3/100648/2164446/nyfa 6-1_o.jpg" data-mid="11071828" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/841kram01_30_lr-1.jpg" width="670" height="510" width_o="700" height_o="533" src_o="http://payload.cargocollective.com/1/3/100648/2164446/841kram01_30_lr-1_o.jpg" data-mid="11071671" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/BagofPeanuts-Drawing.jpg" width="670" height="475" width_o="1200" height_o="851" src_o="http://payload.cargocollective.com/1/3/100648/2164446/BagofPeanuts-Drawing_o.jpg" data-mid="11071675" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2164446/Herd Mentality 09-3.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Herd Mentality 09-3_o.JPG" data-mid="11071755" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/JustOneSip_Painting-4.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/JustOneSip_Painting-4_o.JPG" data-mid="11071761" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/Living the Life-style 09-2.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Living the Life-style 09-2_o.JPG" data-mid="11071771" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/BruntofJokes-Drawing.jpg" width="670" height="512" width_o="1200" height_o="918" src_o="http://payload.cargocollective.com/1/3/100648/2164446/BruntofJokes-Drawing_o.jpg" data-mid="11071688" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/Buy Me Happiness 09-1.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Buy Me Happiness 09-1_o.JPG" data-mid="11071700" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/Extension of my Body 09.JPG" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Extension of my Body 09_o.JPG" data-mid="11071736" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2164446/70-s Porn_Painting2.jpg" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/70-s Porn_Painting2_o.jpg" data-mid="11071669" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2164446/best moments reformatted.jpg" width="670" height="965" width_o="2048" height_o="2951" src_o="http://payload.cargocollective.com/1/3/100648/2164446/best moments reformatted_o.jpg" data-mid="11071679" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/fashion_Drawing.JPG" width="670" height="893" width_o="2048" height_o="2730" src_o="http://payload.cargocollective.com/1/3/100648/2164446/fashion_Drawing_o.JPG" data-mid="11071749" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2164446/Waiting for Take Off-3.jpg" width="670" height="893" width_o="1275" height_o="1700" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Waiting for Take Off-3_o.jpg" data-mid="11071842" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2164446/Heiner_installation.jpg" width="670" height="502" width_o="960" height_o="720" src_o="http://payload.cargocollective.com/1/3/100648/2164446/Heiner_installation_o.jpg" data-mid="11071750" border="0" align="left"/> David Kramer was born in NYC where he currently lives and works. His performances, drawings, paintings and sculptural installations have been widely exhibited around North America and Europe. His recent shows include, The Hangover, Too. Muulherin+Pollard, NYC, Prequel to the Sequel, Heiner Contemporary, Washington,DC (both 2011) . And in 2010, If You Really Want Me To Go Away…Just Give Me What IWant, Aeroplastics Contemporary, Brussels, and “…Because I am Not Richard Prince.” Galerie Laurent Godin, Paris. He is currently working on a series of prints as part of the Special Editions Residency at the Lower Eastside Printshop, NYC. David Kramer Age: 48 Website: www.halfa6pack.tumblr.com, www.toothlessalcoholic.blogspot.com Medium: Various Location: NY,NY Influences: Various Education: Pratt Institute MFA 1987, George Washington University BA Fine Arts 1985 • • • EVANICE HOLZ: The tangible culminations of the American Dream have deterred since mid-century idealistic notions. Derived from your own sentiment, what dreams, or nightmares, do you see now in our contemporary society? DAVID KRAMER: It seems like the American Dream is well traveled. I see it in all different countries and societies. What that dream seems to look like is this idea of being in the driver's seat. Having money and a car and a girl. Now you would be lucky if you had enough money for gas. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art? DK: I have always been surprised that wealthy people actually buy my work and put it in their houses. EH: What new projects have been occupying your time? DK: I am working on a series of prints at the Lower East Side Printshop in NY. The prints are going to be beautiful. EH: Your witty paintings and drawings often feature two visually opposing thoughts that create a cerebral picture in your spectators' mind. For instance, an image of a perfectly jubilant woman, inspired by a classic 1970s magazine ad, who has everything, with wry contrasting views via text based one liners painted above and below her about how dreadful her sentiments really are. Delineate the creative process behind your work. DK: I wouldn't call her sentiments dreadful. I am often lamenting that despite all of my hard work and time and service to my job, I still don't seem to be rewarded in the way that really feels like I am getting what I deserve.... which is of course,is the promise of the American Dream. At least the version of the American Dream depicted in the 1970's ad for cigarettes and cars. I grew up looking at all the magazines around my house as a kid, and what I saw in those magazines were images of what adult life was supposed to look like. I am just lamenting that my adult life isn't nearly as sexy as the ads I remember seeing when I was back there in the 70's. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? DK: There are lots of artists who I admire. Inspiration is another story. I guess back when I was in school in the late 1980's I was greatly inspired by Woody Allen. Manhattan. Annie Hall. Hanna and Her Sisters. I wasn't really writing at all back then. But I was certainly inspired by his movies. EH: What emotions inspire you to create? DK: I find that I am in the studio as much as possible. I love it over there. I know that I really got something going when I find myself laughing out loud at something I just made. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why? DK: If I could own 3 pieces of art by 3 artists I would own paintings by Roy Lichtenstien, Philip Guston and Pieter Breugel. I think the thing that makes art ART is that it is something that you can just keep looking at forever and ever. EH: Choose one of your favorite art works in history, and interpret it.

 DK: Buster Keaton's Steamboat Bill, Jr is probably one of the greatest pieces of American Art I have ever seen. The movie is basically about Keaton returning from college to his home town to his disappointed father. He thinks his son is a college boy wimp. His dad winds up in jail and then a disastrous storm whips through the town. But Keaton saves the day, gets the girl and is the life saver of his own father. It is a romantic film about redemption and striving for greatness. But the props and stunts all by Keaton are totally amazing. EH: Are there any notions which foundations were derived from one or more of the 1970s magazine ads you're stimulated by that have become realities for you? Are there any you're still waiting for? Explain. DK: I am always striving towards all of these. Hoping the still exist. That is probably why I can't seem to give up smoking. EH: Any last words? DK: I was talking to this friend of mine who writes about art. Not that she's ever written a single word about me....She was saying to me, "Now that you are so successful, aren't you affraid you won't have anything left to make art about?" I didn't see it like that. But that was her opinion. Well, I told her, "Now I just have a whole new set of problems." © Copyright 2011, 2012 by EYE SEE HUE Magazine. All image and media rights are reserved by the artist. Tweet ISSUE 03 http://eyeseehue.com/Patricia-March http://eyeseehue.com/following/eyeseehue.com/Patricia-March Wed, 26 Oct 2011 15:23:01 +0000 EYE SEE HUE 2047421 <img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo1- 90x110cm.jpg" width="670" height="843" width_o="1576" height_o="1984" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo1- 90x110cm_o.jpg" data-mid="10474300" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo2- 21x30 cm.jpg" width="670" height="447" width_o="2048" height_o="1367" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo2- 21x30 cm_o.jpg" data-mid="10474304" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo8- 42x59 cm.jpg" width="670" height="460" width_o="2048" height_o="1406" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo8- 42x59 cm_o.jpg" data-mid="10474329" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo4- 30x42 cm.jpg" width="670" height="439" width_o="2048" height_o="1343" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo4- 30x42 cm_o.jpg" data-mid="10474319" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/Tiempo_PatriciaMarch_50x69cm_2010.jpg" width="670" height="1003" width_o="2000" height_o="2996" src_o="http://payload.cargocollective.com/1/3/100648/2047421/Tiempo_PatriciaMarch_50x69cm_2010_o.jpg" data-mid="10474277" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/Tiempo_PatriciaMarch_68x47cm_2010.jpg" width="670" height="455" width_o="2048" height_o="1391" src_o="http://payload.cargocollective.com/1/3/100648/2047421/Tiempo_PatriciaMarch_68x47cm_2010_o.jpg" data-mid="10474285" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo5- 30x42 cm.jpg" width="670" height="1000" width_o="1511" height_o="2256" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo5- 30x42 cm_o.jpg" data-mid="10474320" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo6- 42x59 cm.jpg" width="670" height="460" width_o="2048" height_o="1408" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo6- 42x59 cm_o.jpg" data-mid="10474324" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo7- 42x59 cm.jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo7- 42x59 cm_o.jpg" data-mid="10474328" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo9- 42x59 cm.jpg" width="670" height="476" width_o="2048" height_o="1457" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo9- 42x59 cm_o.jpg" data-mid="10474332" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo10- 30x42cm.jpg" width="670" height="977" width_o="1702" height_o="2483" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo10- 30x42cm_o.jpg" data-mid="10474336" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/tiempo11- 130x100 cm.jpg" width="670" height="475" width_o="2048" height_o="1454" src_o="http://payload.cargocollective.com/1/3/100648/2047421/tiempo11- 130x100 cm_o.jpg" data-mid="10474343" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/100648/2047421/ver- oir y callar- 130x89 cm.jpg" width="670" height="460" width_o="1375" height_o="945" src_o="http://payload.cargocollective.com/1/3/100648/2047421/ver- oir y callar- 130x89 cm_o.jpg" data-mid="10474344" border="0" align="left"/> I was born in Valencia, Spain. I studied fine arts at the San Carlos University of Fine Arts in Valencia, and when I finished, I studied a masters in Cinematography. I was already interested in movement and time, so since then I have tried to apply my vision about cinema in my drawings. I think what you like apart from art is what makes you as an individual, an artist. The movement of the people I draw, reminds me in someway of my own time perception. I am now installed in a Studio in Valencia, and have some exhibitions in my city and in Paris. Time will decide the rest… Patricia March Age:  24 Website: www.patriciamarch.com Medium: Drawing and painting Location: Currently- Valencia Influences: Alex Kanevsky, Bacon or Egon Schiele and some photographic directors like Lance Accord, or cinema directors like Vincent Gallo. Education: Degree in FIne Arts at Facultad de bellas artes de San Carlos (UPV) in Valencia. Spain. Master´s Degree in Photography direction for cinema at Escola superior de cinema y audiovisuals de Catalunya in Barcelona, Spain. • • • EVANICE HOLZ: The subjects you compose in your drawings are remnant of cinematic frames showing slow reactions of sentiment, and activity. What draws you to this 'frame-like' depiction? Why? PATRICIA MARCH: I have always had a huge interest in cinema and photography, I believe this interest comes from the little moments on the big screen, together with my interest in the perception of ‘time.’ That is what has motivated me to investigate the sequence and progression of time through paper. I think sometimes, only by observing flashes of time from a distance can you see the real person. Their expressions or gestures, their way of walking, their look, or simply by seeing them stand quietly, are the often the real insights into somebody’s life. I grab flashes of people’s lives, then invest my time into turning this flash of time into the representation of a life. EH: A Rembrandt piece is surely art, though it looks nothing like Warhol's Campbell's Soup piece- which is also considered art. The broad description of art allows us to speak about it in the way we do. In this modern age do you see the necessity to define art, and why?  PM: I believe that in these times the limit of art has a surprising flexibility. I don’t believe in a global collective perception of art, nobody has the right to set limits. From my point of view, ‘art’ is everything that has been created with the intention of being ‘art’. I think that every work contains a unique form of art, and it can only be defined individually. More important than the art, is how it is interpreted, and every audience will interpret art in a plethora of different ways, affected by individual experiences and perceptions. The creator, in this case the ‘artist’, only presents. ‘The art’ can have many meanings, it only requires us all to close our eyes and imagine an image which defines the word. All images are equally valid, but equally and entirely different at the same time. EH: What is your most prodigious ambition as an artist? PM: My most prodigious ambition is to never stop learning. EH: Where do the subjects in your drawings derive from? Personal, cinema, strangers? Explain why you choose them, and their settings. PM: In my drawings, the personal and the external merge into one. My proper vision of time is the one I see in certain moments of certain persons around me. That’s how for one moment, my perception of time and his owns intersects and creates a new one. Time for me, is something like water. Water erodes, destroys the form while building new ones. Like the rain, time is cyclic, so in my drawings there is a double reading, one from left to right and the other from right to left. The characters seem dominated by water movement, while resurfacing. That's my perception of time, different from yours and vice versa. EH: Dinner time! Tonight you're preparing a dish of collaborators for the inspirational palette. Which figures (in history) are the ingredients, and what will you be creating together tonight? PM: Ingredients: - Writer: Bohumil Hrabal´s observation. - Cinematographic director: Godard’s election of the point of view. - Painter: Egon Schiele´s sensibility - Painter: Picasso´s perception of form - Painter: Bacon’s expressivity - Photographic cinematographer: Lance Accord’s fog and subtlety - Musician: Eddie’s Vedder soul. First, I would take the observations of Bohumil Hrabal and mix them in a bowl with the point of view of Godard so that the audience can relate to the dish. We’d then cook it over a slow flame and slowly add a pinch of Egon Schiele’s sensitivity. Continuously stirring, we’d add a bit of Picasso’s perception to create a personal touch. When the mix is ready, we’d tip a glass of Bacon’s expression and stir. Before finishing, the final touch would be a couple of drops of Eddie Vedder, to express the feelings that we are building inside. The dish would be served hot, with a taste of Lance Accord, to add a layer of subtlety and fog the spicy content of the dish. EH: Delineate your creative process. PM: The first thing I do is walk though the city with a camera and take photos of small moments where time appears to move slowly, where time passes subtly. Later I review the photos and prepare a composition, a composition which reminds us of the idea of "eternal recurrence" Then I begin the drawing, where the stain and the line have the same importance, and they begin clashing, dominating first one then the other. Little by little through the eternal construction and destruction the person comes to prominence in the work. EH: Whether it be during, after, or by mistake- What has been the most extraordinary surprise you've discovered while creating your own art?  PM: The most extraordinary surprise I have discovered while creating my art is the amount of times a person can change with just a straw. EH: What new projects have been occupying your time?  PM: At the moment I am preparing various exhibitions, one in Paris and two in Valencia, where I live. I am trying to make the most of the time that I can to study while creating new art. Apart from this, I am working on a project of personal introspection, attempting to liberate myself from perspective and biased proportion, completing tiny pieces of work with rapid drawing. EH: Any last words? PM: As the famous Spanish singer once said: “I try to kill the hours, but in the same moment, the time is trying to kill me.” Tweet © Copyright 2011, 2012 by EYE SEE HUE Magazine. All image and media rights are reserved by the artist. ISSUE 03