A Word with You Press » The Artist Alcove

If we build it they will come; if we paint it they will stay

Diana — Thu, 16 Jun 2011 18:49:36 +0000

Written by Michelle Buysse

After living in different cities and states for the past 15 years to pursue my education, I finally returned to my hometown of Oceanside, California in December to find exactly what I was hoping for: a city tired of its old ways, ready to embrace the times and invest in its own community for the better. Since my childhood a lot has changed—Hill Street is no longer the prostitution promenade that it once was, nor are the gangs shooting from their cars in front of my mom’s house anymore. In addition to obvious new businesses and construction Downtown, there is something more subtle present—a growing sense of respect and pride that is impacting the way Oceansiders hold themselves and interact with the community. From Thursday Farmer’s Markets to colorful murals surfacing on building facades, the beauty of Oceanside and its residents is beginning to become apparent and people are realizing this city’s diamond in the rough nature.

It was only a matter of time before Oceanside realized how much potential it has to become something more than ghetto fabulous; with California’s last beach access strand, a melting pot of diversity and culture, an economy friendly to tourism, and a famous pier-side surf spot and way of life—we have a lot to offer. Just like with a neglected and salt stained beach house, a fresh coat of paint, some elbow grease, and a few potted plants have a way of bringing out the charm of vintage window frames, doors, and surrounding neighborhoods. And so it is with Oceanside; businesses are putting in the effort to make their spaces inviting and fresh, home owners are making their homes more valuable with easy fixes, and everyone is thinking and talking LOCAL. Artistry has a huge role in making Oceanside look as valuable as it truly is. From farmers to board shapers and coffee houses there is an emphasis on re-building, or rather re-arranging the city after the nationwide economic disaster—making this place as desirable to invest in as our southern sister-cities of Carlsbad, Encinitas, and La Jolla without the high sticker price. The Ocean lures people to visit our city, the culture convinces them to come back; if you build it they will come, if you paint it they will stay. Our society now demands visual stimulation, vibrancy, and interaction: Translation ART.

Figure 2- Photo of street graffiti PCH and Cassidy Street, April 2011 - Banksy Imitation

This brings me to a discussion about the Art Scene here in the O (as many of us refer to it more out of pride than laziness). We have the Oceanside Museum of Art, the Oceanside Community Arts Council, the Carlsbad-Oceanside Art League just south of Oceanside, Oceanside Days of Art annual weekend celebration, and the weekly Farmer’s Market day and night events featuring everything from painters to jewelry makers, sculptors and clothing designers. If you have driven through the streets of downtown this year, you’ve noticed the many vibrant murals that grace the sides of otherwise bland buildings—a way of these businesses to put themselves on the map, show their pride in Oceanside and to promote the conversation about art. Speaking of conversations—we even had our own little bit of excitement about being a potential target for a Banksy graffiti street art piece on the side of Bull Taco on PCH and Cassidy Street. Though it was not actually painted by Banksy, the artist used a similar style of concept and delivery and provoked the questions – What is art? Where is art? And What makes it art?

People who had never heard of Banksy now have googled his work, know his style and want to talk about art. Everyone’s open to talking about art in downtown Oceanside now, regardless of their education, existing knowledge, or occupation—I know this because we have hosted a few art shows in the local favorite coffee shop, The Cup Coffee Bistro, on Wisconsin St. Both shows have featured Taylor Gallegos’ artwork on display as well as the crowd pleasing entertainment of live portraits, raffles, music, poetry and appetizers. Everyone from friends and family to local business owners have been involved with and in attendance with a few hundred or so to pass through the shop. If you have not yet attended one, visit TayloredARTS and The Cup, Oceanside, CA on Facebook to view event pictures and keep up to date on the next planned show.

Our most recent event was a stellar fundraiser to support the new mural to for the Wisconsin Street building that houses The Cup Coffee Bistro; businesses, individuals, and groups of friends came together to throw a party where we raised enough money to fund the mural and send some extra cash to Japan to aid in their relief. The event included live music, a poetry slam, professional photography, and of course delicious coffee served with amazing artwork. I would like to say I am surprised that so many people wanted to come together to support the arts and our global community, but I knew Oceanside at it in her—it was only a matter of time. Everyone is talking about the revitalizing energy forming in downtown; businesses are getting back on their feet, upgrades are slowly taking place, new businesses are opening, art is being created and sold, and people are happier to look towards a bright future than to be stuck in a dark past.

The mural is now complete and is already such an improvement from the out dated and out of proportion gargantuan teenager in the red bikini. It is an understatement to say that it is has been received well. Now instead of an anonymous body that could arguably be a sexist statement (which we won’t get into here), there is a realistic scene of the community from the vantage point just off Wisconsin Street looking toward the strand. From surfers to beach combers, Samoans to children and fishermen, locals now hold down the surf spot with pride and the beloved pier in the background. This mural is a symbol of the strong community presence here in Oceanside as well as a sign of the changing times. According to the Oceanside City website, there is even talk of turning Wisconsin Street into an Arts District Gateway with an Arts & Technology District within walking distance. From my vantage point, the movement is underway already starting with individual business owners, artists, and community members who are ready to see their city live up to our expectations.

The Van Gogh Complex

Thornton — Tue, 08 Mar 2011 09:01:28 +0000

An Interview with Alizon Kiel

In recent news, Mr. Charlie Sheen has made it apparent that winning isn’t all it is cracked up to be. When asked if he was bipolar, his response was “I’m bi-winning; I win here and there.” Good stuff, Charlie, but in my opinion – he is most certainly bipolar. Coincidently, I am bipolar also. I wouldn’t consider his actions normal, though; I can understand them to an extent, but I don’t agree with his views. Really does it matter, though? After all, in his words, “Duh! Winning!”

The Van Gogh Complex

Good luck on your journey, Mr. Sheen. Outside of his realm of “warlocks” are millions of others who struggle with bipolar every day. The gamut of severity is quite broad and what I fear with Sheen’s public rants and rambles is that the general view of those with bipolar are no different than him. This misconception couldn’t be further from the truth. In fact, many have utilized this as a creative resource – instead of some typified diagnosis of mental illness. The purpose in my own art has been a way of coping with, and thereby illustrating, bipolar disorder.

For a long time, it was easy for me to beat myself up or doubt what I was creating. Those who didn’t understand the diagnosis often used it as a point of criticism of both my life and work. Frankly, I was tired of feeling less than just a label. I know that these misconceptions are not who I am, not completely.

Enter the Van Gogh Complex: I met Alizon Kiel last year, on Facebook first, and then following, in person. She invited me to be part of a group called the Van Gogh Complex – which she states is an “online bipolar artist’s colony.” For the first time in a great while, I felt accepted. Here was a place where I could share aspects of my life and creativity that held no boundaries or criticism.

After seeing the great work that she has accomplished through her devoted, unpaid efforts; it felt only necessary that I introduce her here, in an interview.

Photo by G. N. Brown

What led you to develop the Van Gogh Complex?

As far as where the idea of the Van Gogh Complex as a phrase, I think I describe that pretty well on the “About Us” page of the site. As far as the idea for the site itself, that actually came from another site I was running.

It started as a site for my own poetry, but the more I read of other poets in different blogs, I realized I wanted to showcase the work of others; namely others like me that had everyday jobs by day, but had art in their bones.

The idea was that we all had our day jobs and day lives, but this was a place that for a moment we could pretend that we all woke up one morning and quit. This site became the Picket Line Gallery. As part of that every-man project, I started thinking back to what my father had said and how bipolar had become more and more a central part of my identity – the part it was playing in my art.

I became more and more involved with bipolar groups on Facebook and discovered just how strong of an influence art had in the lives of people with bipolar. On these groups, people frequently posted poetry and visual art that were not only a part of their healing process but also as a profound part of who they are.

Art by Patrick Glassel

From there, I went back to my site and created a page called “the Van Gogh Complex”. I went to people in various FB groups that I was in and asked if they were interested in participating. The response was immediate and the willingness and need to participate was overwhelming.

The Picket Line gallery and the every man simply weren’t responding in the same way as the bipolar community. I decided to go with where the passion was and to follow what was changing my own life to change the lives of others. I took down the Picket Line Gallery and put up www.vangoghcomplex.com.

From the feedback you have received, do you believe that the Van Gogh Complex has been an asset to those who are members?

Frequently I receive emails and forms from the site from bipolar artists, their family, and on rare occasions therapists who just want to write and say thank you for confirming “what I have always suspected”… and for the people who write to me with bipolar — something that they have always believed within themselves – that their “illness” is part of who they are as people and surely it isn’t “all bad” if it is so tied up in who they are.

Art by Kailey Josen

Part of what I do in creating the site, is to not only display people’s artwork, but to give them community and that involves getting to know who they are. That is why I created the FB group that is coupled with the site. It is a place for bipolar artists to share their art, their knowledge, their struggles, their feelings, and anything else that goes along with being them in a creative process or in a healing process – another safe space.

That need became so obvious with all the emails and messages I received. This really had to be a community if it was going to ever be a movement to change how people think about bipolar. The site itself empowers people even if they aren’t ready to share their work on the site.

Here’s an example… we have an artist, one of the original members of the FB group and one of the people I had been trying to get to let me post her work on the site pretty much since it started. Well, it literally took her months to post one painting to the Facebook group, to get the courage to share one piece of something so sacred inside of her.

She still hasn’t let me post it on the site, but the site empowered her to let something go, to take a positive risk, to show a piece of herself… to let us tell her that part of herself is beautiful… maybe someday she’ll let me tell the world too.

Art by Peter Callan

Bipolar disorder is grossly misunderstood. How does this context relate to your work with the Van Gogh Complex?

I have been thinking a lot about the power of context. It is so important and people without mental illness take it for granted all the time. When you take anything out of context you almost immediately misinterpret it.

Mentally ill people often have no context and are thus misinterpreted – all of their thoughts and feelings and expressions of themselves are taken out of context and medicated and psychoanalyzed and ultimately they are marginalized for having them.

What I am trying to do is take back that context and make us a movement where we our central and vital to the process of creating. Everyone can see the value of creation and it just so happens that this is something we are exceptional at getting out there. We are a vital part of creation.

Paparazzi

Thornton — Mon, 28 Feb 2011 18:24:15 +0000

In case you’ve been on pins and needles about the trivia question I asked in my previous post, I have the answer for you. The question was “where did the term ‘paparazzi’ originate?” The source of this term is from Federico Fellini’s 1960 film La Dolce Vita. A character in the film named Paparrazo (which means ‘mosquito’ in Italian) is a photographer who goes to all lengths in order to get his shot. Subsequently, the term became common use in Italy to refer to candid photographers.

*click*

La Dolce Vita (trailer)

Every good term is not without debate as to its origins and ‘paparazzi’ is no exception. According to wikipedia, “The English usage of the word paparazzi is traced to Italian poet Margherita Guidacci, in her translation of George Gissing’s travel book By the Ionian Sea (1901), in which a restaurant-owner is called Coriolano Paparazzo. The name was supplied by the screenwriter of Federico Fellini’s La Dolce Vita, Ennio Flaiano, who in turn got it from Margherita Guidacci’s Sulle Rive dello Ionio (1957).”

Either way, I am fairly sure that in most places (these days), paparazzi translates to “Get that camera out of my face!”

M. H. Draper
Visual Arts Co-Editor
The Artist’s Alcove

COMING UP IN MY NEXT ARTICLE:
I will be interviewing Alizon Kiel. Kiel is the founder of the Van Gogh Complex, an online ‘bipolar artists’ colony.’

An introduction needs no narration.Or does it?

Thornton — Thu, 17 Feb 2011 22:54:10 +0000

“….great art evokes emotion because it is built from emotion. It speaks this evocative language solely through its medium and in a way that no other creative outlet can present.”

HELLO LITTLE UNIVERSE. I have spent a good bit of time deliberating on what I could say that would be a great introduction. You know the one: that brilliant statement that says and tells all in a nutshell. While I could spend this time stroking my ego and going on about myself, I won’t. Long story short: I am an artist, or rather a creative. It seems long ago I discovered a natural drive to create; whether it is art, music, or literature. However (for all intensive purposes), I am here for the art. I am betting that you are as well.

While debating what to include, I found myself reminded of a creative writing class adage that warned, “if you have to narrate, you have already failed at telling your story.” I think over the years, I have come to disagree with this on a literary level. I do agree when it comes to art. Let me explain why.

Hieronymus Bosch. Temptation of St. Anthony. 1500s. Oil on panel. Museo del Prado, Madrid, Spain.

Art never inherently has a narration. Sometimes it probably deserves one, but it doesn’t on the superficial face of it. I will add that a great deal of people also believe art needs some formal study to appreciate it. Want to test this theory? Just drop by your local contemporary arts museum one day and have a dialog with one of the curators. Feel intimidated, yet? Thank goodness they have labels to introduce the work. Right? If you have felt that cold creep of inferiority trying to grasp the meaning of some well-known contemporary art, you are not alone. I will admit I have felt this, too. In fact, I will go so far as to say that I absolutely dislike Cy Twombly’s art (since ‘hate’ is a strong word). “Gasp!” you say?

I do believe that scribbles is a bit outside of my objective view and to call it ‘art’ is only doing so because someone else qualified it. (Be sure to Google “Cy Twombly” if you aren’t familiar with his art). Don’t get me wrong; I absolutely love contemporary art. Also, Cy Twombly was a very accomplished artist, but one who accomplished exactly what I don’t like: a contemporary nature that is so ephemeral it almost takes an art history degree to explain it. Good for Twombly, bad for me. My point here is that art really shouldn’t need a narration because it is about feeling, even if it is just scribbles.

Case in point: I recently shared a work-in-progress photo on a well-known social media site and received a gamut of responses from fear to intense personal questions asking my intent on the work. With all due respect, it was unfinished. However, just what was I trying to accomplish? I hadn’t a real clue because a lot of my work seems to unfold on its own. In doing so, what becomes presented is completely emotive and true to art’s special form.

Edvard Munch. Anxiety. 1896. Woodcut. Munch Museum, Oslo, Norway.

I was a bit taken aback by the ‘fear’ comments at first, but then realized I was on the right track by receiving this type of feedback. One can thumb through any surface volume of art history and find artwork such as that by Francisco de Goya, Edvard Munch, Hieronymus Bosch and more that present nightmarish depictions. For me, these works were always the most fascinating. Being concerned that I may have caused some awkward personal reflection with the art, I felt the need to explain, to narrate the art. I did a mediocre job of it, but managed to get my point across that great art evokes emotion because it is built from emotion. It speaks this evocative language solely through its medium and in a way that no other creative outlet can present.

Afterwards, I felt bothered by the feeling that I had to narrate my art. I wanted it to stand as a creative statement alone. Based on the reactions, it did exactly that. So, where did the problem exist? It existed with me and me only. It was as if I was qualifying the work or making it diluted enough for mainstream understanding. Unfortunately, art’s mainstream is sellable and comfortable: which is exactly what most artists try to avoid. If I had to repeat this little episode, I wonder if I would have explained it again. I probably would have, to be honest. However, I think that working towards an artistic objective or statement is being able to walk away from the finished work without words, letting the art speak or narrate itself.

Francisco de Goya. Saturn Devouring One of His Children. c. 1820-23. Oil on canvas, Museo del Prado, Madrid, Spain.

I would like to know what your thoughts are about this. This forum works best that way, so I now yield the floor to all the fine folks out there who took the time to read this. Artist or not, I want to hear your feedback. Do you believe art should speak for itself or do you think that it must be accompanied with an ‘artist’s statement?’ In the real world of gallery exhibitions, an artist’s statement is essential. However, it almost becomes redundant considering that the statement is in the artwork itself. So, what are your thoughts?

If this isn’t enough to keep you satiated on thinking about art until my next posting, I will leave you with a trivia question. What’s that? You want a prize? Well, the prize here is knowledge, but we will be having some contests coming up. Keep your eyes peeled for the announcements. As for the trivia question, you get the joy of knowing you were right (or learning the right answer if you were wrong). You can Google or Wikipedia the answer if you want. In fact, it would be conducive to learning and life is all about learning. Roll your eyes if you have heard that before. Thanks. Now that the peanut gallery has had a go at it, here is your chance:

“Where did the term paparazzi originate?”

NOTE: Please don’t answer this in the comments below. The answer to this is something I would rather you discover (or let others discover should you know the answer) instead of just blurting it out. Where’s the fun in easy answers?

Do feel free to blurt out your thoughts about art needing (or not needing) a narration. How does it make you feel when you see contemporary art that is labeled “Untitled” and in an sequence? What does this say to you about the art (or the artist)? Share your ‘real world’ responses as opposed to lofty ‘art school’ answers. After all, art is accessible in so many ways every day and to everyone. Here in this little alcove, there is no exception. Fresh minds are always welcome.

M. H. Draper
Visual Arts Co-editor,
The Artists’ Alcove

The Wintree Exhibit, featuring Alcove Artists Michael Wooten and Jennifer Eli!

Kristy Webster — Sat, 15 Jan 2011 06:50:50 +0000

Time:
Saturday, January 15 · 3:00pm – 7:00pm

Location:
ERS Gallery
3210 Preston
Houston, TX 77003

Created By:
Jordan Sills, Wesley Gantt

More Info:
Abstracts and More is excited to host our second event. Due to the weather we will be having it at ERS Gallery.
Come out and enjoy some of Houston’s best art by outstanding local artists…

Kenneth Pierson
J Austin Griffith
Justin Parker
Michael Wooten
Jordan Sills
Indaco
Jose Gonzales
JSQUARD
Stephanie Gonzalos
Sergio Hernandez Montemayor
Jennifer Eli
Karen Cartagena
Wesley Gantt
George Manzur
Catarina Williams
Joler Sampang
Vincent Fink
+more

There will be delicious nachos and strong drinks
MUSIC BY FLO TRIO

Don’t miss out!

Here’s a sneak peek of the exhibit, a new painting by Michael Wooten:

It’s all about Eve…

Kristy Webster — Wed, 12 Jan 2011 06:07:49 +0000

It’s no secret that I’m a huge fan of Laurie McClave. I featured her on the Alcove back in July. Laurie is of course an incredibly talented, skillful painter, but even more importantly, she is a painter with vision and spirit.
Right now you have an opportunity to support this well deserving artist. Below is a link to a site called kickstarter.com where you can lend a dollar to Laurie’s Faces of Eve project. Kickstarter is “the largest funding platform for creative projects in the world,” so not only do you have an opportunity to show your support for a fellow artist, Laurie’s project might just inspire you to kick off a project of your own.
Please watch the video embedded below to see Laurie at work and don’t forget to visit the link and make a pledge. This project is worth it!
Thanks,
Kristy

“Hello Everyone
I am creating a series of paintings for several upcoming shows around the country.

The series will deal with the perceptions we hold of women and their different iconic personalities, strengths and weaknesses…
for example… the saint, the lover, the martyr, the mother, the sinner and so-forth…Some people would lump the martyr and the mother together, but that is another story….
I will use symbolism both animal and political to describe these traits in my own unique style, some have described as fantastic realism…

My technique..I paint with oils and oil mediums on wood and canvas and the techniques I use are mostly traditional borrowing from the old masters of Renaissance painting. I start to paint from the support up in thin layers starting with a graphite or charcoal drawing. The colors I use are also based on the traditional but with a very saturated twist. I like to draw the viewer into the story by way of symbolism and color..

My muse? She is the woman in both classical art history and our Popular social culture…
I will be drawing upon iconic images from both , art history and popular culture to pursue this goal.
I will use the money raised to pay for my supplies to complete this series such as, canvas, wood board, paints, mediums , brushes and the printing of limited editions.”

Please take a look at this invitation by one of the Alcove’s feature artists, Jackie Zucker!

What a great Way to Start the New Year, You are invited,

January 15^th, Saturday, 2011 from 6:00-8:00PM

You are invited to an extraordinary event

A feast for the senses Music Art Delicious Food

And Select Art by 14 Allied Artists at the Riford Center

6811 La Jolla Blvd., La Jolla, CA (858) 459-0831 begin_of_the_skype_highlighting (858) 459-0831 end_of_the_skype_highlighting

An ideal opportunity meet and be part of Daniel Hendrick’s and enjoy selections from Opera and his provocative musical, Destino which combines rock, mariachi, bolero, ballad and country music.

Select art will be featured for your enjoyment.

A delicious dinner is specially prepared by a well known restaurateur.

For those interested in more information on the Musical Destano I have attached a short writeup. I very much am looking forward to sharing the evening with you. Cheers, Jackie

Tickets for the Event including Dinner are $25. Please RSVP to The Riford Center, (858) 459-0831

the event is co-sponsored by the Riford Center and Allied Artists of San Diego

www.rifordcenter .org www.danielhendrick.com www.aaasd.org

you are welcome to visit my website: www.jackiezartist.com

A Look Back at the Featured Artists of 2010

Kristy Webster — Mon, 03 Jan 2011 05:36:49 +0000

I want to thank all the artists for their unique, whimsical, and thought provoking contributions to the Artist Alcove in 2010. It has been an honor and a pleasure to feature each and every one of you. Every artist has graced the alcove with their original perspectives, their brilliant work, and their lively and inspiring interviews. Here’s to another year of art making and sharing!

Happy New Year!

–Kristy

Michael Draper

“If I have one piece of advice to aspiring artists, it is to strip away the preconceived notions of what an artist is supposed to be and instead focus on what the art is supposed to be. When this is reached, you don’t have to define yourself as an artist. Your work defines you. This is how it should be.”–-Michael Draper.

Papuna Bersenadze

“…what motivates my art would be the beauty as I see it, and my attempt to show it in that way, to create something I consider beautiful with my unique outlook on life.” Papuna Bersenadze

Ed Coonce

“Say something meaningful about yourself and your creative legacy will endure.” Ed Coonce.

Laurie McClave

“I am a big fan of women figurative painters of course, the surrealist Dorthea Tanning is my all time favorite, along with Frida Khalo and Artemesia Gentileschi. I like some of the German Expressionist like Otto Dix as well, though they are a bit morbid. I feel inspired by many artists today, they are all telling a story and working at their craft in really unsteady times and that is awe inspiring.” Laurie McClave.

Rachel Walker

“My photography is mostly inspired by color and shape in nature, and the human form in shadow and silhouette. An unusual color scheme in an ocean sunset, or a shard of green glass on the sidewalk, these images capture my imagination and if I don’t take their picture I’m likely to lie awake all night wondering “what if?”” Rachel Walker.

Katie Berggren

Katie’s days are spent with her two little boys by her side… at her heels, and running ahead. Each day she strives to balance simple, loving motherhood with the discipline and craft of painting. The resulting acrylic portraits reflect intimate moments of motherhood through gentle, whimsical compositions and soothing tones.

Michael Wooten

“In my senior year of High School, my afore mentioned teacher Mr. Illig wrote in my yearbook, “You have to need to make art to succeed.” I need to make art, it just burns inside me. I get an idea and I have to get it on paper or canvas or it was eat at me until I do.” Michael Wooten.

David Lara

“There’s a certain allure about the female form and figure that I can’t get away from. It’s hard for me to imagine creating anything else as the focus of my art. Even throughout history, you see women more often in art. So maybe I’m carrying on that tradition.” David Lara.

Jennifer Eli

“My insatiable need to know and create are the main things that keep me painting. Painting keeps me involved and in touch with myself and the world around me. It begs that I ask the right questions….and in turn, it always seems to lead me to the right answers…” Jennifer Eli.

Mandy Ceyhun

“Being an artist can be a lonely existence at times. I worry sometimes that I might turn strange or that someone will find me one day, hunched in my studio, pop eyed and stinking of turpentine, clutching a tube of paint with the walls covered in monster paintings.”–Mandy Ceyhun

Jenny Dayton

“I feel art should be a unique challenge, not a skill based solely on repetition. There is always comfort in echoes and familiarity but there are so many thrills to be had in the metamorphosis to the unfamiliar.” Jenny Dayton.

Jackie Zucker

“The colors, patterns and motion that occur in nature are my passion. I enjoy interpreting these in different ways in semi-abstracts, figures and landscapes. The color patterns and the “music of motion” are what I love to explore in my paintings.”

There’s something about Mandy…

Kristy Webster — Sat, 18 Dec 2010 05:51:09 +0000

My two years at The Evergreen State College were two of the happiest years of my life. I didn’t really learn anything. Well, in the academic department that is. My first year I took a program called Transcendent Practices, an integrative study involving poetry, yoga and sculpture. You know, all those practical subjects that help you find a high paying job after you graduate. Riiiggghhhhttt…

Anyway, the reason why I can reminisce so fondly over my years carving pieces of wood that symbolized the element of air (my older son would ask me later why I carved a sculpture of giant peanuts), or learning how to breathe one nostril at a time, is because of the three incredible, fascinating, beautiful and wildly talented women that became my closest friends in Olympia. Rebecca the poet, Larissa the Zen-like, wise beyond her years sage, and Mandy, the artist and sculptor.

I am so pleased to feature someone who has been a long-time friend, a cohort in creative mayhem, and an artist I deeply admire. Read the interview, check out her paintings and smile. It would be really nice if you could leave my good friend some kind comments as well. You don’t want to get coal in your stocking, do you?

1. I always admired you because in everything you did, whether it waspoetry, painting or sculpture, your signature style boldly came through. What do you credit this to? Knowing who you are, or knowing what you want to say with the medium itself?

Well, first let me say what a huge compliment that is. You know, it’s funny, I feel like I spent an awfully long time trying to do things the way that I thought they were supposed to be done. In art and writing both, I was trying to make them the very serious works that I thought they aught to be. And then one day, I remember it distinctly, I read this book of poetry and it was really funny. Before this I had only known Robert Frost and Mary Oliver who write very seriously about, you know, nature and roads and things. Important, thoughtful stuff. So I read this new book and I absolutely loved it, and I realized that art didn’t necessarily have to be highbrow and sophisticated to be meaningful and legitimate. So I credit David Kirby and The House of Blue Light for giving me permission to speak my truth in art.

2. Would you say you lean more towards visual art these days, rather than writing? Or are you just as involved in both?

Visual art is my main focus these days. While I love reading what other people have written, writing has never come easily for me and I find that I am able to speak more clearly through painting. Although, I have been trying my hand at songwriting lately, which I enjoy. And of course, rather than write about important issues, I write songs about losing my self respect when I ate a chili cheese hotdog at Dairy Queen.

3. Are you the type of artist that likes to collaborate with other artists, or are you more of a lone wolf?

Being an artist can be a lonely existence at times. I worry sometimes that I might turn strange or that someone will find me one day, hunched in my studio, pop eyed and stinking of turpentine, clutching a tube of paint with the walls covered in monster paintings. I’m being a little fantastic, I know, but it would be great to do more collaborative work. A dream of mine is to connect with writers to do some illustrated story telling. I’d love to do a series of paintings that are joined together into something cohesive and whole.

4. What is next for you as an artist? What are your plans?

In addition to trying to make a foray into illustration, I’ve also had this idea about combining stitching and sculpture rattling around in my brain for a little while so I’d like to explore that and see what happens to it. I’m also trying to work out the big question for a lot of artists which is, how to take what I’m doing now and make it marketable.

————-

About the artist:

Mandy Ceyhun has lived in Olympia, Wa since 2003 when she decided to learn about books, writing and other arty things at The Evergreen State College. Among the things she learned in her writing classes was that as much as she wanted to tell a story, she spent most of her time staring at her blank notebook, distressed and wondering what words to fill it up with. She much preferred illustrating her writing to the actual writing part, and soon dispensed with the troublesome words altogether and instead focusing on visual storytelling. She hopes that if she gets it right her characters will seem to be caught in a moment of their story with their own thoughts and motivations; strange people and monsters that can engage the viewer, actively inviting them to take a look and sometimes returning their gaze.

What’s blog gotta to do with it?

Kristy Webster — Wed, 15 Dec 2010 01:00:49 +0000

I have yet to make it over to the Seattle Art Museum to check out the Picasso exhibit. I’ve already missed Frida and Darger in the last few years, I would hate to miss this, too.

I found this article to be some very interesting commentary. What do you think?

www.thestranger.com/seattle/a-cubist-take-on-a-cubist/Content?oid=5788887