Artist Interview: Spela Semrov

Our interview series continues this week with Munich, Germany based artist, Spela Semrov. Enjoy the Q & A along with a selection of Spela’s work along with a few special “behind the scenes” photos of her workspace).

Where are you located, and where do you originally you come from?

I currently live and work in Munich, Germany. I have lived in different places, like Greenville, SC where I found my first gallery (Mary Praytor Gallery). My homeland is Slovenia, a little European country full of nature and wildlife. That’s where I grew up and finished my studies.

What is your educational background?

I have a Bachelor of Fine Arts degree from Academy of Fine Art and Design in Ljubljana. I also have a degree as a Fine Art Professor and Industrial Designer.

How do you think your upbringing played a role in developing your creative point of view?

I grew up in a time and place without internet and good functioning TV so I had to find ways to occupy my time. It was good because I developed a great imagination. I was a wild child — most of the time playing in the woods — surrounded by animals and nature. I got a sense of what we as creatures of nature are, what the laws of nature look like, and how they apply to us. We can learn so much from this! Understanding nature can help us understand ourselves and make our experience of life more simple and enjoyable.
 
Although I really enjoyed life on country side, the narcissistic and judgmental society of our small town made it very hard for me to show my vulnerable and true self. That’s one of the main reasons why I repressed my artistic expression for a long time. Today this motivates me to fight against discriminating and judgmental culture and raise awareness about this through my art. People should be free.

Which artists, past or present, influence your work most?

Definitely Emerik Bernard, my professor at the academy. He taught me basics of composition which is hard wired in my brain today. Andrew Salgado‘s (who doesn’t know him nowadays?) use of vivid colors and brave lines, his story, his passion and attitude are just awesome. Manca Ahlin / Mantzalin with her architectural lace, what a brilliant idea! Mitja Ficko and I share a vision of going back to our roots, back to nature. Marc Chagall for exposing his most gentle feelings for the love of his life and his home. Wow, so inspirational. Then there are writers, poets, and musicians. Whenever I sense their depth and vulnerability they get me on their side. Pink Floyd, for instance, I consider The Wall as a true, everlasting masterpiece that I can forever gain inspiration from.

When did you become serious about your work?

I decided to go all in with my art, here in Munich, about 3 years ago. I went through a personal transformation that enabled me to become my true self. This was fundamental for me to being able to create art which I believe in. Art that is unfiltered expression of my feelings, impressions and life lessons that come from the deepest places within myself.
 
I also became familiar with the power and freedom of the internet and social media. This democratizes art which has a profound impact on artist’s community. It gives me a great opportunity to share the message about the importance of mental health and promote humanity which I’m so passionate about.

What are you working on right now?

I’m currently working on a painting that applies to women, and mothers especially. It’s about awareness of the impact that mothers have on their children. That a mother who doesn’t cure her wounds likely passes them onto her child. This goes on and on from one generation to another. So I appeal to stop this unhealthy heritage even if it means to sacrifice your relationship with your mother, or parents. I believe in some cases that’s unavoidable even if it’s painful. I believe that in order to save our children we have to first save ourselves.

Have you had any fortunate moments in your career that have been a catalyst?

Definitely with Mary Praytor, the gallery owner in downtown Greenville, SC. She wanted more and more of my paintings and this really got me painting like crazy. Also, when a happy customer sent me a letter saying that my painting was the first one that they put on the walls of their new home. I cried.

What most often inspires your creativity?

Feelings and stories (my own or others). I’m a sucker for psychological themes that go deep into the core searching for the truth. My everlasting source of inspiration is also nature with its power and beauty.

What is your creative process?

I usually make a few sketches just to break the ice and find a starting point for the painting. Often I start with an idea that later turns into something much deeper and personal. It takes a lot of concentration and experimentation (and frustration) to come to a point where I feel I can relax and just work on improving the image. This phase is the most enjoyable. At some point I feel like I can’t do anything more for the painting as it becomes independent. I put it on the “probation wall” in my kitchen to watch it every time I drink coffee or eat a meal and wait see if I get any new ideas on how to make it better. If I don’t then I consider the painting is done.

What do you believe is a key element in creating a good composition?

To forget about everything you learned about it. To let go of the control and simply trust that the knowledge will manifest itself through your unfiltered feeling.

How has your style and technique evolved over time?

I’ve been traveling back and forth from realistic to abstract my whole career. I’m a humble student of both styles and I never stay happy with what I’ve learned for long. I constantly strive for new knowledge. With time, I learned to be more gentle, not so wild with my strokes all the time. In general, I learned to have more patience with the whole painting process.

Why did you choose your medium and what do you wish you knew about it before you got started?

I paint on a canvas with acrylic paint because I work quite fast and it suits me that it dries out quickly. It also offers a lot of freedom if I want to add other materials to the painting. It’s practical to use and the quality is great. Looking back, I wish I knew I could also just paint on a canvas without putting it on a frame first. It comes handy in certain cases.

Are you experimenting with anything new at the moment?

Not so much with the material as with the technique and style. If I feel I’m becoming too comfortable I start using techniques that put me on the edge again. If I’m not a little bit nervous while I’m painting I think the work might become boring.

What are you trying to communicate with your work?

The importance of mental health for a better life, better society, better future. To share awareness of how important it is to use our human potential and spread love and compassion around the world starting with ourselves. To turn inwards first and clean our mess so we can contribute to the wellbeing of others. To accept ourselves and stop worrying about what others think of us. To embrace the nature which is engraved inside of us. I would like to be a role model in this, as a person and as an artist.

What role do you believe art plays in society?

It reminds people of our humanity, vulnerability, and importance of accepting our inner world. It connect us together and shows how under the skin we’re all the same. I see it as some sort of coping mechanism of our society’s way of life that tries to strip us of our souls… they teach us in schools that art is less important than other subjects by hardly giving it any hours to the school plan. But look around there’s art everywhere! It’s in our clothes, in the model of our car, on our playlist, in a book on our night stand, in the design of our sofa and our website. I’m not saying all art is the same quality, I’m just saying it’s a big part of our lives and it makes our lives better. Art is engraved in our DNA and we can’t escape it.

How has the internet influenced the way you market yourself?

It liberated me and gave me hope! It offered me the opportunity to make a statement with my work and show it to many people who would otherwise not have seen it. It gives a fair chance to everyone, I love it.

In the age of internet, do you think galleries are still relevant to artists?

Not nearly as much as they used to be. I think this is good because democratization of art representation brings a lot of freedom into our field. Artists can reach their audience without dealing with harsh and competitive practices. But galleries can also be very helpful to some artists and art collectors. They can help with communication and make things easier for both sides. Also, there’s nothing like a live experience and some galleries offer events, workshops, and children programs. So, galleries can certainly bring art and artists closer to people. I find this very positive.

What business advice do you have for young and aspiring creative professionals?

Get help from a professional who understands business, internet and social media. You can be a terrific artist but your work will stay hidden and overlooked if you don’t show it to the world in as many ways as possible. If you’re anything like me you can’t be good in all of them, so find help. I am lucky to have a husband who can drive this part for me.

Which creative blogs, publications, influencers, and events do you enjoy?

I’m doing research all the time and I read a lot. I find something helpful in almost everything I read and see. Artsy, Outsider, ARTnews Magazine, and Psychology Today are just some of them. For young aspiring artists I recommend a wonderful article from Olga Uzun of Admind Branding & Communications: The courage to be an imperfect artist or how not to get stuck on your way to perfection. I love Arnold Schwarzenegger’s “I hate plan B!” motivational video. I enjoy art fairs and open ateliers because of their richness of art and possibilities to talk face to face to fellow artists and collectors.

Which creative medium would you love to pursue but haven’t yet?

I would like to make a movie, lol. Something with the theater, with acting and scenes. I would love that!

What’s the best piece of advice you’ve been given?

To be as authentic as possible. To give all my might into pursuing my Plan A. To constantly learn. To have a state of the art website and to go wide on social media. To grow and learn from every little step I make and celebrate small wins.

To see more of Spela’s work or follow her latest, visit her website (Eero theme) or connect on social media:

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Artist Interview: Chelsea Michal Garter

Our interview series continues this week with artist, Chelsea Michal Garter. Enjoy the Q & A along with a selection of Chelsea’s work.

How do you think your upbringing played a role in developing your creative point of view?

I spent most of my upbringing inside my home and in the fields and woods surrounding it. My parents didn’t really let us watch TV, so because of that we spent a lot of our time out in nature. I can see now how much that influenced me.

Also, we were homeschooled the entire way through our schooling and I tell a lot of people that is largely why I became an artist. I had time for it.

Because I grew up in a small sphere of people, I always got a lot of acknowledgment for my art, which gave me a ton of confidence and really propelled me forward. You would think that when I got into the “real world” I would have felt differently, but I still felt comfortable in my ability once I was in college and got a lot of encouragement there as well.

My worldview was so small growing up, I remember when my parents took us on a trip out West and I got to see the world — this changed everything. I remember feeling something new come alive in me. Travel has inspired me ever since.

When did you become serious about your work?

I became serious about my work in college. I had a teacher that really inspired me and made me feel like I had something to offer. This made all the difference. Your family and small community has to tell you you’re amazing, right? So, to have a teacher who wanted to put my work up for the outside world to see really meant something.

I remember sitting in a coffee shop and hearing someone in line talk about a piece I had recently displayed — they were so enthusiastic about how it spoke to them. They had no idea it was mine. I remember I felt something inside of me shift, “I could do this,” I thought. So I did.

What most often inspires your creativity?

I think my personality type feasts on experiences. I’m always inspired. I’m inspired during church by looking at the curve of someone’s jaw line (haha), or the texture of leaves on a hike, or color combinations I see in a landscape on a trip to a new place. Abstract paintings literally come to me now, maybe like a foreign language eventually does in people’s dreams when they’ve studied it for a long time. Color combinations pop into my mind so sometimes I don’t have to take hours to think through each step because of that.

Thanks to my husband, he really fosters my desire to travel for inspiration. Travel and seeing the world that is not close to me gives me new ideas for lines and color combinations. I need stimulation from new experiences.

What kind of creative patterns, routines or rituals do you have?

In the past year I have started off most of my mornings by making coffee and reading and writing near a window that overlooks our river. I go over my goals and dreams and sort of brain dump, so I have creative space in there. I usually do a little drawing in the morning to get the creativity flowing. I have drawn portraits since I was seven years old, so that is what I have been abstracting and using to start the creative process lately.

My husband has really encouraged me in my adult years to keep time and space blocked off to create and I really try to protect it now. When I don’t get time alone to paint I feel like life is chaotic. I need time to create now, just like I need food … almost as bad anyway.

How has your style and technique evolved? Are you experimenting with anything new?

When I started my career as an artist I created a body of work that was large with chunky, messy abstract colors of animals. Somehow these started selling like crazy and it was the majority of my work for a few years. Though I do still work this way sometimes because it brings me joy, I have moved into a lot more abstract work. I love making large bright abstract pieces on canvas. This has also evolved, and I have toned down my color palette a lot as I’ve discovered that I really love neutrals as well.

There are a lot of people who don’t have space or walls for such large pieces so my work tends to be more for people with large homes and eclectic styles. I tried to make small work that felt the same way. This has been difficult. It doesn’t bring me the same kind of joy. In the same way, I love to draw abstracted portraits small scale, and it has been hard to find a way that is satisfactory large scale, besides in mural form.

I am sort of a perfectionist. I make a lot of mistakes and waste a lot of time and surfaces because of new ideas I try to get out. I hate wasting, so I always want whatever I make to be perfect. My husband is always telling me to “just have fun.” He will text me on paint days and ask, “are you having fun?” As if that is all that matters. And I guess it is all that matters, really. Usually I am having fun.

What are you trying to communicate with your work?

I am a very emotional person. I want this to come out in my work. I want my love for nature to show up. I love being outside, and I am always drawn to the temporary things — plants that are plucked from the earth, flowers in season that quickly die. Emotions are like this—they come and go. I sort of get to freeze them along with different seasons of life in a painting. Does that make sense? I always think of my paintings like chapters in the book of my life.

What business advice do you have for young and aspiring creative professionals?

START NOW. Things take a long time to grow. Creativity is like a tree, if you water it consistently it grows.

It takes a long time to grow your name and your niche and your style … you gotta put a lot of practice in. I’d say, copy everything you can from work that is inspiring to you, but do not show work that looks like other peoples to anyone. Do it for yourself until you develop your own style. When you’re dabbling you will find out what you love and don’t love and hopefully a mixture of whatever you try out will become your own and end up looking nothing like the people who first inspired you.

If you’re copying someone’s work or creating something that looks just like it just use it to drive you until you can develop your own style. Don’t reveal work until it is completely your own. People can tell if it’s not authentic or driven from within.

I know this from experience. I’ve been inspired by other artists but when I try to make work even close to theirs it’s a flop because it’s not my own. It has to come from within. It is invasive to use someone else’s art to make your own. That artist spent lot of time and energy building their idea, so you need to respect that. Art is not just putting paint on paper, it is putting your person on paper, and that shouldn’t be copied or sold by anyone but you.

Put those baby seeds in the ground for a few years and work work work until one day you’ll be working on something and you’ll love a little portion of your painting/drawing and say “wow, that was new.” And then you’ll keep trying that over and over until you find a lot of those things and you’ll put them all together until you have your own style.

Don’t be afraid to make stuff that is stupid. Make a lot of stupid stuff. Throw a lot of stuff away. It’s okay. You’re just working something that is inside of you out and you will find your way.

Once you find it, you’ll know. Start letting other people see it. Let people like it or not like it. If you love it, that is what matters, because it is yours. It came from you. I have been scared almost every time I post something. It gets easier. Let the rejection in and shrug it off.

Ask people if you can put your work up in their space … restaurants, coffee shops, galleries, stores. They might tell you no, so just ask other places. What you make is beautiful. I’d also suggest taking classes or studying design and art. There are a lot of rules that can be broken but sort of need to be followed first as you begin.

It has taken me years to find and develop my niche. If it doesn’t take you years you haven’t found it yet.

Which creative medium would you love to pursue but haven’t yet?

Ha, I think I have tried them all. But I have a ton of ideas I want to dabble with someday. I’m trying to learn to focus and stay content instead of all over the place and trying it all at once. This is also important if you want to develop a brand.

Do you have any upcoming shows or workshops?

I hope to teach a watercolor workshop soon. I’m just trying to carve out the time to be able to commit! This year has been more about large projects for different companies hiring me rather than having shows. I am going to start to display work in a few stores and restaurants this year. I do hope to work on a solo show and have it ready for this summer or fall. The best way to stay updated on new stuff is to keep up with my Instragram!

To see more of Chelsea’s work or follow her latest, visit her website (Made theme) or connect on social media:

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Artist Interview: Christoph Papsch

Our interview series continues this week with commercial photographer, Christoph Papsch. Enjoy the Q & A along with a selection of Christoph’s work.

Where are you located?

I’m located in Bonn, Germany, where I live with my family. Within 200 kilometers there are cities like Frankfurt, Cologne, Dusseldorf, Brussels, Luxembourg etc. with more than 15 million people living here.

Tell us a bit about your background as a photographer?

After an apprenticeship as a photographer 20 years ago I started working as a freelance photo designer. My first two or three years in the field consisted of smaller projects as I was still developing client relationships and building trust. Eventually, clients started entrusting me with their large budget productions and giving me an opportunity to take on greater responsibility.

What are you working on right now?

Over the past few months I have been working on various projects for logistics and transport companies. These include global companies such as DHL, Schaeffler, MAN, Georg Fischer and different container shipping companies based in Germany. Currently, I’m working on a project for a company in the field of beverage logistics.

What work do you most enjoying doing?

In recent years I have specialized as a photographer in the fields of industry and logistics. I love the smell of metal cutting, heavy oil and kerosene, the hiss of hydraulics, the rattling of equipment and the rumble of machinery and engines. I am fascinated by large and noisy industrial halls, technical equipment, huge machines and the finest industrial manufacturing – but above all, I truly enjoy the interaction of people and technology.

What do you believe is a key element in creating a good composition?

My most basic understanding of composition is that I can only take photographs of processes, things or people that I know and understand. Before I take pictures I like to learn about why something was made, how it works and how it is being used.

How has the internet influenced the way you market yourself?

Previously, I had to make appointments and move from client to client to showcase my printed portfolio. That was exhausting and took a lot of time. Now, I hardly do that anymore. A good presentation of my work on my website is much more important and efficient. I can add new work at any time and draw a client’s attention through newsletters or mailings. But most importantly – my online portfolio is available at any time, worldwide.

How did you decide how to price your work/services?

The more you specialize in a photographic field the more qualified you are for specific jobs and clients, which makes it possible to charge a good fee for your work. I can understand that not every potential client can or wants to pay such a fee, so I consider myself fortunate to have had clients who value my work and are willing to pay for my services. Being valued and sought after in the marketplace has always incentivized me to continue improving and developing throughout the course of my professional career.

What’s the best piece of professional advice you’ve been given?

Respect the people you photograph.

To see more of Christoph’s work or follow his latest, visit his website or connect on social media:

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Artist Interview: Michael Wayne Plant

Our interview series continues this week with London based street photographer, Michael Wayne Plant. Enjoy the Q & A along with a selection of Michael’s work.

Where are you located?

I currently reside in London.

What is your educational background?

I began working as a photographer at 28 and started my MA in Photography and Urban Cultures at 42 as a mature age special entry student at Goldsmiths College, University of London. I then completed a PGCE in 2010 at Canterbury Christchurch University. Before that I worked in a convenience store till I was about 24, then I got a job in a mini lab because I wanted to be a photographer and I couldn’t get into art school to study photography without a job in the industry. I went to the Queensland College of Art for one year, part-time.

How has your life experience has played a role in developing your creative point of view?

My journey in photography has been quite different as I started in Brisbane, Australia as a commercial photographer doing regional advertising work. I then wanted to make fashion images so I moved to London. In 1999, I moved again to Paris, but for some reason ended up squatting before eventually falling though a few cracks and becoming really ill. I decided to return to London where I had access to nationalised healthcare to get well and have friends around me. I then found, because of my life experiences, that my ideas about what and how I wanted to do photography had changed. I found, as far as I know, the only photography degree in a sociology department in the world to study in. I wanted to learn about how the world actually works.

Which artists, past or present, influence your work most?

My initial influences when I started reading about photography were Robert Frank and Henri Cartier Bresson. When I was a fashion photographer my influences were Peter Lindberg, Steven Meisel, and Arthor Elgort.

Once I began down the road of social documentary photography I developed a passion for the work of Garry Winogrand and more recently Alex Webb among others.

What are you working on right now?

I am currently photographing the city of London and developing my photography services to the financial services sector. I have spent the past two years working on a street photography based social documentary project on the city of London exploring traces of the financial world on the streets of London. I’m looking for opportunities to exhibit and also find a publisher to create a book of this work.

What work do you most enjoying doing?

I have a passion for street photography because it is inherently freeform and the unexpected can make or break a photograph. I never know what I am going to get when leave in the morning and that is both liberating and scary.

What most often inspires your creativity?

Just being out with a camera and observing the flow of life as it is ever changing. I am curious about so many things. Using my camera allows me to be nosy, and ask questions, to have random conversations with strangers — I always find that inspirational.

What is your creative process?

I am a social documentary photographer who uses street photography to document the social landscape of contemporary society. I like to make images that show people within the spaces we inhabit — candid and unposed images that describe a moment in time. I often use multiple images to build the story into a narrative structure.

What do you believe is a key element in creating a good composition?

I believe in making my main subjects clearly resolved from the background. It’s something that comes from painting. Learn to see your figure, to ground relationships, and you will make your images in ways that enable your subjects to be clearly described within the frame.

How has your style and technique evolved over time?

I have really become more confident to not be prescribed in what I’m photographing. To have the confidence that life will provide me with the raw material of an image and that I can juggle all the elements to make them coalesce into a meaningful whole.

What do you wish you knew before you got started?

Just how dammed expensive it would be, and what it would cost me to become a photographer.

Are you experimenting with anything new at the moment?

As far as I am concerned all of life is one great big experiment. Every time I go out with my camera I am experimenting — testing myself — attempting to grow as both a photographer and a person.

What are your tools/equipment of choice?

I chose to use digital cameras when they came out because they liberated me from the ongoing monthly costs of a expensive lab bill. I used to regularly spend over a £1000 a month on processing and proofing… and that was doing it myself. I would get the colour negative film process only and rent a colour darkroom to make my own proofs. So, while digital equipment is expensive to buy it is still less expensive for me than film. This freed me to be far more experimental when I am working.

For my street and social documentary photography I prefer one of two focal lengths. Either a 28mm, which gives me good depth of field and little distortion or a 35mm. I think I have gradually become attuned to these two focal lengths because they allow me be in amidst the action, which hopefully translates into the image viewer feeling like they are more connected to the experience itself. For portraits, I prefer to use a focal length of 100mm or 105mm as I find that with 85mm I am in too close on my subjects and with 135mm I am too distant.

What are you trying to communicate with your work?

I am fascinated by power and money and how our society functions as a capitalist system. I am interested in how capitalism creates the social landscape that dictates our life choices.

I have both a commercial practice that addresses this from the perspective of the client (financial services companies) and a social documentary photography practice.

What role do you believe art plays in society?

To me, art is important as it makes us feel human and enables us to see differences. Art allows us to experience something other than our own narrow perspectives.

How has the internet influenced the way you market yourself?

Prior to the internet, most photographers would try to dominate their city or region, working as broadly as they needed to, so they could earn enough from their photography to sustain themselves. In other words, photographers did a range of things to prosper and survive.

With the internet, the cost of reaching a global audience is comparable to the cost of reaching a local audience. This has allowed photographers to think about becoming an expert in a specific space and/or subject.

I believe a photographer’s website should be the center of their marketing — the sun for their solar system of marketing efforts. This leads to building a brand which allows you to become master of your own area of expertise and to have your own space that you control. Today, photo editors are so pressured in their working lives that they would prefer to see a website that conveys your style, personality and work, than to take the time to make an appointment to meet you and see your portfolio.

Social media should be thought of as a funnel that directs traffic to your own space on the web (i.e., your website). Again, by owning your own space you get to make it work for you. If done well, I think this can give you an edge.

How did you decide how to price your work/services?

This is complex for editorial work. Magazines generally have rates that they have decided they can afford to pay. For advertising work, this is negotiable depending on usage and rights needed.

Galleries, however, want to create limited editions which I do not agree with. I really like the idea put forward by Lenswork (proposed by Brooks Jensen) for creating editions that can be based on different printings (more).

In the age of internet, do you think galleries are still relevant to artists?

For good or bad they are still arbiters of taste, gatekeepers to the acceptance of various artists/photographers into the canon of what is considered to be good photography. It is important to have gallery representation and I do not at the moment have such. So, if anyone is interested please take note and get in touch.

What business advice do you have for young and aspiring creative professionals?

Develop an interest outside of photography and build that into your photography practice. This will be something that you know a lot about and can use to enhance your photography work. For example, I do not do sports photography because I do not really follow sports. Now, if I was really into football (soccer) I would know how each player is liable to react to a situation and be able to anticipate where to place myself relative to the action, thereby enabling me to get images that have impact. Personally, I cannot currently do that because it is not what I am interested in.

For a long time I have encouraged aspiring photographers to find their passion, no matter how obscure. With the internet you will undoubtedly find an audience that shares your passion and within that audience you will find someone making things for it. That is where you will find a market for your photography services.

Which creative medium would you love to pursue but haven’t yet?

I am doing what I love and because of that I do not have the energy to do other creative things. I do sometimes experiment with video, but it is not a medium that I love so it is never going to be something that I do seriously.

What’s the best piece of advice you’ve been given?

From Joel Meyerowitz, I meet him outside the Photographer Gallery here in London and he had two pieces of advice: ‘Make as much money as you can from whatever you do so you can do the photography that really matters to you’ and ‘be curious, follow that curiosity with questions, and attempt to answer them with your camera’.

Do you have any upcoming shows or workshops?

I am working on a project using street photography to document the traces of finance on the social landscape of the city of London. I have been working on this for about 2 years and part way through I realized that Brexit has become the mood music of our times (here in London). At the moment, the project finishes when Brexit is completed or is cancelled. This project, I am aiming to exhibit in the city where the work has been made and I am also looking for a publisher to make a book of the work.

I also have another project that has been 10 years in the making: One or two days a year I get to go to Henley Royal Regatta and make images of this social event on the English calendar. I have begun to edit this work, it is about the social side of a rowing event so you see a little of the river and a lot of the English class system. It is something that I would also like to see become a published work some day.

To see more of Michael’s work or follow his latest, visit his website or connect on social media:

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Artist Interview: Michael Kuby

Our interview series continues this week with photographer, Michael Kuby. Enjoy the Q & A along with a selection of Michael’s work.

Where are you located?

I was born, raised, and currently still reside in Edmonton, Alberta, CA.

What is your educational background?

I meandered my way through a Bachelor of Commerce degree here in Edmonton, and I’m currently completing a diploma program in Photography from the School of Photographic Arts: Ottawa (SPAO). Since I’m in Edmonton, and the school is in Ottawa (over 3,000 kilometers away), I have had to travel back and forth a few times.

How do you think your upbringing played a role in developing your creative point of view?

As a child, I was tremendously athletic, and excelled at sports. Whether it was hockey, basketball, soccer, baseball, snowboarding, or skateboarding, I was always competing, sometimes with others but always with myself, to push the limits of what I could do. In some ways this meant I wasn’t a great team player, and I eventually found myself participating in sports that allowed for an immense amount of creative freedom and individuality, namely snowboarding and skateboarding. I also dabbled with music at this time, picking up guitar and drums for a few years, but I always focused on the technical aspects of play, and never really developed these skills into a form of art where I could express myself. Unfortunately, in my late teens I experienced a string of accidents – a snowboard injury, and a car accident – that left me unable to participate in my athletic endeavours at the level that I was accustomed to, so I needed a new creative outlet. I found photography somewhat by accident, and it seemed a natural fit. It’s a very technical medium, an aspect I enjoy, that can be harnessed for self expression.

Which artists, past or present, influence your work most?

When I first got started with photography FlickR was thriving, and that’s where I was first introduced to work that really spoke to me. I was captivated by work that had a strong aesthetic sense. I enjoyed the works of photographers like Tamara Lichtenstein, CoolHandLuke, Theo Gosselin, and a host of others. More recently, and since studying the history of the medium, I’ve become attached to a wide range of artists that span past and present, including Joel Meyerowitz, Helmut Newton, Stephen Shore, Juergen Teller, Mark Peckmezian, Martin Parr, and Alec Soth. I tend to find Instagram and Flickr to be rather bad sources of inspiration now, as they are saturated with users with no visual literacy. More and more I find myself digging through books.

When did you become serious about your work?

Even before I knew the motto “a job worth doing is worth doing well,” I lived my life with this approach, so there’s an argument to be made that I’ve always taken my work seriously. But it wasn’t until I started creating “To Be Young” sometime in my early 20’s when my work first started speaking to me in a language that I liked and recognized. Then in 2015 when I embarked on the program at SPAO I began to realize where photography could take me. It was then, at age 27, that I became fully committed to being a photographer. I’m now 29, so it hasn’t been long.

What are you working on right now?

In the coming months I’ll be working on a portraiture project with a group of Syrian Refugee women that will explore themes of self identity and self expression. I’m also interested in exploring the topic of teen fashion, and have sketched out the beginnings of a project in that regard.

Have you had any breaks in your career that have been a catalyst?

Without a doubt the support of my family, namely my father, has helped me get to where I am today. He has supported my endeavors at all turns, from finances to my emotional roller-coasters, and was the willing subject of my project “Tongue Cancer”, which documented his experience with the disease.

What kind of creative patterns, routines or rituals do you have?

When I was younger I was photographing just about everything around me, and I wasn’t sure why. I was simply compelled to document my life, and alcohol and drugs played a large role in that. Nowadays I don’t create nearly as much work when socializing so my approach to working and creating art has become more methodical. When working in a studio I like to clean the entire space and create an absolutely blank canvas, and then begin to build, whether that be a set, or a lighting design. I can now recognize how spacial organization and organization in general play a huge role in my life, and how I struggle to focus amidst chaos.

What work do you most enjoying doing?

I quite enjoy taking portraits of people, but more recently my favourite work has been of dogs, where I photograph them in studio like humans. There is a beauty in photographing animals, and dogs in particular, in that they are completely candid at all times.

How has your style and technique evolved over time?

So much of my early work was created on 35mm film, and a large chunk of that with point and shoot cameras. There is this craze over the snapshot aesthetic that cameras like the Olympus Stylus Epic can easily attain. And truly it is so convenient to put a camera in your pocket and be able to capture intimate moments on a whim. But I realized there were limits to that work, namely with regards to quality. When I went to SPAO, they had all of their students purchase medium format film cameras, and that was when everything changed. My work became quite intentional, I slowed down, and I started to consider everything included in the frame. Working slowly taught me the impact of light on my subjects, eventually leading me to desire it’s control. Taking the camera out of my hands also encouraged me to direct my subjects more. I think all of these things started to make my work my own.

I should also mention that over the years I’ve taken up the challenge of developing my own black and white, as well as c-41 film. So I now develop all of my own film, as well as scan and produce the negatives digitally.

Why did you choose your medium and what do you wish you knew before you got started?

My older brother took a trip with a digital camera when he was quite young, and I remember being fascinated by what he had captured with it when he returned home. Not long after that I bought my own small point and shoot digital camera and began to play around. I’m not sure I consciously chose the medium at that point, but ultimately it has been a good fit. I love learning and teaching myself how to do things, and with photography there is literally an endless pit to fall into.

If there was something I wish I’d have known about photography before I got started it would be a) how expensive it can be, and b) how little people expect it to cost. With regards to the former, photography at the highest level begins to be a game for the rich. From the $4K camera in your hands, and $3K lights, and $1K lighting modifiers, and $1K lenses, to the $3K computer you edit on, there’s not a lot of money left over to eat sometimes. And what tends to not be reflected in the cost to produce good work is the value the market places on it. It’s hard to see a viable way of making a living off of photography if you don’t do either commercial or wedding photography, and commercial photography, in my experience, is a hard nut to crack. Now outside of those two venue’s I’m not sure I see a financially viable path. Think of it this way: If you want to make $50K a year you have to make somewhere in the neighbourhood of $1K a week. Even busy commercial photographers should bank on shooting on average two gigs a week. That means you have to charge $500/shoot to hit your mark and, I hate to break it to you, not only are you not going to make that kind of money off of friends and family (unless you have really rich friends and family, in which case I’m jealous), but you probably just don’t have enough of them to sustain it. My view may in some respects be tainted by the fact that I live in a relatively small city with a limited amount of work and a highly skilled and saturated photography market, but the numbers still don’t lie.

Are you experimenting with anything new at the moment?

Teaching myself to develop black and white, and then colour film, along with teaching myself how to scan and produce negative film has been an endless source of experimentation in which I finally have settled. I think this is the first time in my ten or so years of photography that I’ve quit experimenting, because I’ve found a workflow and process that gives me consistent, desirable results. That said, I’m currently learning about colour theory and I’m always interested in learning new lighting approaches and techniques.

What are your tools/equipment of choice?

My favourite camera right now is my Mamiya RZ67proii, but I also use a Hasselblad 500cm. For 35mm work I switch between a Nikon F2 and my Leica m6. For digital work I use a Nikon D810. For lights I have a Profoto Acute2R 1200 pack with two heads, alongside a Nikon sb-900 speedlight that I use when I want to be more mobile.

For those who might be interested in my developing and post production process: to develop black and white film I use standard patterson tanks; to develop colour film I use a jobo cpp2 processor; and to scan film I use a Hasselblad Flextight X1. I would not be able to do what I do quite as effectively or efficiently without these last two tools.

What are you trying to communicate with your work?

I tend to look back on my early work and see how it highlighted the insanity of the world, or at least of youth culture. With regards to my portraiture I like to think that I’m an advocate for seeing beauty in authenticity and originality. I think that our society and our culture is so confused by what it is and means to be beautiful, and I’m trying to challenge those assumptions. One of my favourite quotes is from Alec Soth where he states, “The most beautiful thing, to me, is vulnerability.” This resonates with me. And from here I think we can extrapolate and say that if vulnerability is a state of being, then beauty doesn’t have to be this singular set of parameters that exist with regards to a persons features or appearance, but should be thought of as a way of being or existing in the world. If we could change our dialect, for example, we might say that one isn’t beautiful, but one has beauty. I should add here that, with regards to my future projects, I intend to explore themes of identity and perception.

What role do you believe art plays in society?

There’s a quote by artist Miranda July where she states, “the role of the artist is to point at things.” While this is a bit of a simplification of the matter, I do believe that art should highlight and make some sort of commentary on society, presumably in a way that attempts to make the world a better place.

How did you decide how to price your work/services?

For me, as I think for most artists, this is an ongoing consideration. When starting out it was not a major one, because I was more concerned with producing work that the client was happy with as opposed to being compensated well; And to be fair, this concern still stands. That being said, I like sleeping indoors. Initially my approach was to talk to other photographers and to assess what others in the market were charging for certain services, and this is still a decent way of estimating. But it’s also not always feasible or realistic to know those figures. As time has moved on I now use a program called FotoQuote Pro to help me figure out a good benchmark to work off of and then I adjust somewhat with regards to my personal feel of the market, and also with regards to my skill in the service.

In the age of internet, do you think galleries are still relevant to artists?

Absolutely. One of my biggest issues with screens and phones is that they are extremely poor ways of properly assessing images. Some photographs present extremely well when small, especially those that demand intimacy from it’s viewer. Other images demand the command that a large print allows it, yet fails miserably when looked at small. Now that so much of our consumption of imagery and art takes place on our phones and on screens we have lost the dynamism that seeing work live and in galleries allows. I think we should pause and think about the absurdity of the world if in each and every home the walls were covered with digital screens projecting images or “paintings.” What a sad state of affairs that would be – and yet the reality is that it’s often cheaper to buy a digital screen than it is to print and frame a print. I have to admit that I’m a bit concerned about our current state of affairs and also what the future might hold (or drop, for that matter).

What business advice do you have for young and aspiring creative professionals?

To be honest, I still think of myself as one so I would take some advice if anyone has any. That said… I’m 29 now, and if I could look at my 21 year old self and give him some advice I would have told him first to focus and then to commit. I knew I had talent and I knew people believed in me, but it took me a while to find it in myself. Screwing around with drugs and alcohol is so easy and appealing when you’re young, but it sucks away valuable time that you can seriously apply to your development. And for some, as it has been for me, it’s incredibly hard to get away from. I can’t help but wonder how much further ahead I would be at this point had I taken photography as a career seriously back then.

Which creative medium would you love to pursue but haven’t yet?

If you haven’t figured it out from my lack of brevity, I’m quite interested in writing. I’ve always felt I had a knack for expressing myself and my ideas, and I enjoy the english language. Writing may be something that I explore in the future.

What’s the best piece of advice you’ve been given as it relates to your work?

Create the kind of work that you want to look at.

Do you have any upcoming shows or workshops?

As I’m in my last year of school, I’ll have my year end show taking place on April 20th at SPAO in Ottawa, Ontario, CA.

To see more of Michael’s work or follow his latest, visit his website or connect on social media:

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Artist Interview: Daniele de Lorenzo

Our interview series continues this week with artist, Daniele de Lorenzo. Enjoy the Q & A along with a selection of Daniele’s work.

Where are you located?

I come from Milan (Italy), but I have been living in Assisi for the last 7 years.

What is your educational background?

I began drawing as a child, self-taught, and for much of my adolescence I did portrait work. Then I studied at the Art Institute of Monza, near Milano.

Which artists, past or present, influence your work most?

The artists who influenced my work at the end of the 80’s and beginning of the 90’s were Italo Calvino and Lucio Battisti. The former is a writer who always fascinated me by the methodology he used. In one period of his life he wrote a series of stories and novels using a combinatory method. In 1985, he was invited to hold 6 lessons at the University of Harvard, but due to his death a posthumous book was produced with the title “American Lessons – six proposals for the next millennium”. In the States perhaps it is translated as “Six Memos for the Next Millennium”. In this book he describes the values that he wishes literature to incarnate in the next millennium, such a Lightness, Speed, Exactness, Visibility, Multiplicity, Coherence. I took from this the basic ideas from which I created my personal method of work.
 The second artist is Lucio Battisti, the Italian singer-songwriter, who I imagine isn’t so well-known to you as he didn’t have an international impact, probably mostly due to his Italian lyrics. However, in an interview in 1997, David Bowie defined him, together with Lou Reed, as the best singer in the world. In his last artistic period Battisti created 5 albums of experimental music which had little commercial success even in Italy.

Italo Calvino and Lucio Battisti are artists who taught me to focus on the “way” of working and not only on “what” to do, to comprehend the need to have a method, which is more than a tool, a technique or a style. A method is able to incarnate the meaning of your research through its working modalities.

I am very interested in the research of artists such as Brian Eno, Gerhard Richter, Tim Hecker, Jon Hassell and Robert Fripp. There is also an Australian guy, Sam Songailo, who I discovered by accident and whose work I like a lot.

When did you become serious about your work?

In 1992, when I began systematically writing notes about my artistic research, which I then continued to do for about 20 years.

Have you had any breaks in your career that have been a catalyst?

I had a break from 2001 to 2013, a period in which I suspended my artistic activity to dedicate myself to other work. Part of my research was at a dead-end, I remember that I even threw away some of my paintings, then I decided to research in other directions. It was a crucial incubation-period and allowed me to return to my art a few years ago with a new awareness.

What kind of creative patterns, routines or rituals do you have?

The ritual that I almost always use is to enter into a state, and I do this through music, sometimes I use music of Brian Eno and Robert Fripp, or Tim Hecker. When I feel that I have reached the state I can start working.

What is your creative process?

After entering into a state that I call “syntonization” I can begin. I am currently working with the square format. I divide it into 108 units per side, in this way creating a finite number of elements: 11,664. Using computer software created by a programmer friend of mine, I put into motion a process within the square in which numerical sequences flow in the space, creating structures and forms. The process, therefore, begins from a programmed calculation using numbers and simple algorithmic calculations. In this phase I am part spectator of the creation, like anyone else. Then I paint on canvas the structures that have been created, and in this phase I alter the sense of order and linearity using random actions such as passing a spatula over the newly-painted surface.

I also produce videos from the software which I add sounds and noises to, creating installations. It is a rather articulated process through which I work within opposing but also complementary worlds, such as chaos and calculation, the unlimited and limited.

Triptych, 2017. from Daniele de Lorenzo on Vimeo.

What do you believe is a key element in creating a good composition?

Mathematics. There are relationships that are objective between form, space, empty and full spaces. Artists have access to these laws without using the “instruction manual”. It is not necessary because they feel it. It is connected to a dimension that is not purely subjective. Indeed, Taste is something objective and not subjective.

How has your style and technique evolved over time?

I began working as a portrait artist, doing life drawing, then when I was very young I was often commissioned portraits from photographs. Then I used tempera and acrylic, but what really excited me, in the 90’s, was xerography. I manipulated images using photocopiers, the first modern technological means that I had available to me, and then I added colour to them. Then I moved to computer work, elaborating the images with photo-retouch software. Today, I use acrylic on canvas and computers to create not only images by also videos.

What are you trying to communicate with your work?

That the artist is just a means, and that it is necessary to enter into this dimension in order to do something useful not only for oneself, but also for the world. I don’t find it useful to project one’s inner impulses onto canvas or onto any other support that is used. So, I’m trying not to pour out myself in my work but to by-pass myself. This requires a certain level of self-regulation, discipline and the awareness that we are not as interesting and original as we imagined we were. We are extraordinary, not in our small-mindedness, but rather in searching for something Else, for example, for the laws that govern ourselves and the reality in which we live and above all that mysterious realm that is everywhere. We must resist our need to be recognized and adulated, which is really something worth very little. This doesn’t mean we can’t wish for success and that I don’t get pleasure from exhibiting my work and from communicating with people. On the contrary, it is even more interesting. Our egocentrism and our vanity can only be justified for a time and only if they bring with them something else, and here I’m not referring once again to ourselves.

In my work there is the idea of the unlimited; a continual recombination of a series of elements, which are always the same, that create an infinite variety of forms for which an entire lifetime wouldn’t be sufficient for me to create all of the possible paintings. I work on a borderline between calculation and chance, mathematics and the mystical world.

What role do you believe art plays in society?

This is a difficult question. Let’s start with the opposite question, “what role does Art not play in society.” I think that Art is not the simple dimension of transferring an idea, of communicating knowledge and above all of simply catalyzing the pain and suffering of the society we live in.  Therefore, an artist is not simply someone who provokes and is anti-conformist. It is necessary for the artist to shift their centre of gravity from the need for confirmation and recognition to service of the True, as I mentioned before.

In my opinion, Art, the true kind of Art is a sort of bridge between different dimensions with the aim of showing to the world the Principles that can be generative for those who use them. I don’t want to sound too philosophical, for me it’s actually a very practical question. If I cannot nourish myself from Art at a level that makes me generate a new possibility to define myself and the world, I cannot act in the world in a new way and therefore I cannot be useful to society.

How has the internet influenced the way you market yourself?

Being able to reach anyone directly through their smartphone was something unthinkable until a few years ago. On the one hand this facilitates things, and on the other it requires us to fully understand the language of the different social media in order to communicate effectively through them. Today, I’m working on a series of videos as a way of marketing my work, but everything changes so quickly.

In the age of internet, do you think galleries are still relevant to artists?

Internet has revolutionized many things including the way of marketing art. Internet gives the opportunity to everyone to express themselves. This hyper-connection hasn’t produced the world we hoped for; it has become worse and not better. Andy Warhol said that one day everyone would have 15 minutes of fame. Today, we have arrived at the situation where we have it 24 hours a day, but in this way everything is flat, there is lots of noise, too much noise. This doesn’t mean we should demonize internet, but use it well as a vehicle for the better.
 Galleries today no longer carry out the role they did in the past. And yet they have a fundamental role to give value to artistic work  distinguishing it from amateur work. Today, however, I think that business and the art market have partly deformed their function. Many galleries have become shops because their artistic product has just become merchandise.

Galleries should return to searching for Art, to being a vehicle for Art, exploring in the world. Like many other artists I am constantly invaded by requests to participate in art competitions, where in many cases it is just a way of making money and offering a poor location.

Today, if we use internet well we can also sell by-passing the galleries, and in some ways I find this very interesting. On the other hand I would also like galleries to be able to become, once again, places where competency acts as a filter in order to present quality and innovation within their walls. Furthermore, the artistic dimension must also be experienced by spectators immersing themselves entirely in a place that allows the meeting and the relationship, also the physical relationship, to take place.

Which creative medium would you love to pursue but haven’t yet?

I haven’t studied music and I would certainly like to very much seeing as it is a form of language that I use a lot, despite not knowing it, as a form of inspiration. Indeed, many of the artists that have influenced me, and that I love, are musicians. Since I was a young child it came naturally to me to “see” music, it’s structure and rhythm. It is as though I see the musical modularity translated into forms.

What’s the best piece of advice you’ve been given as it relates to your work?

Someone told me that in order to go forwards it was necessary to go backwards. This was not only true, but also crucial for my work. I “went back” to painting, to getting my hands dirty, to using “old” modalities. However, by using old methods that I had seemingly already gone beyond in my artistic path with a new awareness it made it possible to redefine everything in a new way.

Do you have any upcoming shows or workshops?

I am currently working on two projects, one titled Square and the other is an exhibition in a music school… perhaps chance doesn’t exist, I always find myself in the musical world…

I would like to offer my sincere gratitude to Daniele for generously sharing his thoughts and perspective with us. To see more of Daniele’s work or follow his latest, visit his website or connect on social media:

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Artist Interview: Marcy Baker

Our interview series continues this week with artist, Marcy Baker. Enjoy the Q & A along with a selection of Marcy’s work.

Where are you located?

I’ve lived in Portland, Oregon for 16 years.

How do you think your upbringing played a role in developing your creative point of view?

I grew up in a small town in the Finger Lakes region of central New York State. The intimate landscape and warm, earthy color palette of those surroundings certainly played a role in shaping my aesthetic sensibility.

When did you become serious about your work?

Shortly after moving to Santa Fe, New Mexico in 1991 I was introduced to monotype printmaking and knew I’d found my creative focus. It was an ideal starting point, and Santa Fe was a vibrant environment for a young artist. While in New Mexico my work progressed from printmaking to include mixed media collage, and not long before moving to Oregon I began painting in acrylic.

For those of us who are uninitiated, will you please provide a brief explanation of monotyping?

A monotype is a single print created by applying ink to a smooth plate surface and transferring the image to paper with a press. I’ve taught the process for twelve years; it’s rewarding to teach because it is both experimental and accessible, and the results are fairly immediate.

What are you working on right now?

I am continuing with a series of paintings inspired by trees in my southeast Portland neighborhood, particularly the structure of trees as they lose their leaves.

What kind of creative patterns, routines or rituals do you have?

A favorite ritual is walking through the neighborhood collecting leaves and pods and bringing them back to the studio for inspiration.

What work do you most enjoying doing?

I most enjoy being able to move back and forth between painting and printmaking and allowing the conversation between those processes to feed my technique.

What most often inspires your creativity?

It would have to be the change of seasons  I love the Pacific Northwest for such distinct and refreshing changes. I enjoy them all, though autumn has been my favorite season since childhood in New York.

What is your creative process?

My process begins with observing seasonal changes in my surroundings, including color palette and cycles of decay and renewal. I mentioned gathering pods and leaves  these are inspiration for the drawings that are used to create stencils, printing blocks and relief plates, which are the tools I use to build layers of paint and ink. I create collage papers through hand printing and acrylic glazing techniques, as well as utilizing repurposed papers such as sewing patterns, sheet music and maps. For me, collage is a process of uncovering unexpected relationships and exploring tension through play with pattern, line and color. I tend to work in series because I like how the dialog that develops between the pieces keeps my process moving forward.

What do you believe is a key element in creating a good composition?

Balance is definitely an important one. Balance between areas of movement and areas for the eye to rest, balance between control and unpredictability.

Are you experimenting with anything new at the moment?

Recently, I’ve wanted to work larger with monotype than my press will accommodate. So, I started printing directly on large sheets of paper, rather than creating the image on a plate and transferring to paper with the press. This has been freeing because there is little risk, and as a result I tend to push the colors and layering to see what happens. The hand printed papers are adhered to wood panel and additional collage elements are added.

What are you trying to communicate with your work?

I hope to convey a sense of how I feel about my surroundings, ideally with an emotional response from the viewer.

What role do you believe art plays in society?

Art is a place of entry; a way to begin a conversation.

How has the internet influenced the way you market yourself?

The internet has put me in control of marketing my own work, and of course with that comes the responsibility of getting it done. I appreciate marketing as another creative outlet. I think of my website as an online portfolio and enjoy being in control of how my artwork is presented. When searching for a template, I knew right away when I saw Minimal that it was what I’d been looking for  the clean presentation reflects something integral to my work. I also have a Facebook studio page and that’s been an effective tool for spreading the word about workshops and exhibitions, as well as for gathering feedback on new work.

How did you decide how to price your work/services?

I was fortunate to have access to marketing workshops in Santa Fe once I was ready to sell my artwork. I was taught to keep my pricing consistent with artists working in a similar style, showing at similar venues and at the same place in their career. I use a formula based on size for a starting point and then do my research to confirm I’m in line with other artists’ pricing.

What’s the best piece of advice you’ve been given as it relates to your work?

My early monotypes tended to be repeat pattern oriented, very colorful and without much contrast or variation in scale. At some point an acquaintance casually suggested I might tear the elements apart and rearrange them, and her advice planted a seed.

Do you have any upcoming shows or workshops?

Next summer I will offer a watercolor monotype workshop at Sitka Center for Art and Ecology on the Oregon coast. The process feels familiar in that it’s monotype, and unfamiliar in that I have always used oil based ink in my own printmaking. I’ve been experimenting with watercolor and am struck by how working with new materials can lead us to explore imagery in new ways. I’m excited about the possibilities.

To see more of Marcy’s work or follow her latest, visit her website or connect on social media:

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Artist Interview: Darren Menezes

Our interview series continues this week with artist, Darren Menezes. Enjoy the Q & A along with a selection of Darren’s work.

Where are you located?

I’m located in Brighton on the South Coast of England. It’s now a City but I still think of it as a town. It’s a hub for creatives of all types. It’s known as the Silicon beach of the UK.

What is your educational background?

I didn’t complete my formal education (creativity wasn’t encouraged). My School was engineered towards white collar work due it’s close proximity to London (this was the mid 80s). So, I left school at 16 with minimal qualifications and drifted through the next 10 years with casual work. In my early 30s I enrolled into college studying illustration, journaling and mural painting.

How do you think your upbringing played a role in developing your creative point of view?

My parents allowed me a lot of freedom growing up, creatively speaking, to explore my immediate environment, unaccompanied for the most part. Nature was my favourite teacher then, nourished by living next to a forest.

Parallel to this my grandparents worked in London so there were lots of opportunities for me to freely wander around the city, in its own way another kind of forest/jungle to young eyes. To this day this is why architecture features heavily in my work.

I like to give a nod to nature when appropriate, with skies and trees, sometimes adorning my architectural drawings.

Which artists, past or present, influence your work most?

The artists that most influence my work tend to change, as I change, but there are two that have stayed with me. First, Eric Ravilious an early 20th Century English artist who painted in the area I live in. His watercolour illustrations of the landscape around Sussex never cease to amaze me.

My other big influence is the American artist Andrew Wyeth; all his working life he basically just painted in the area that he lived in (Chadds Ford, Pennsylvania). I feel I know his part of America through his paintings even though I have never been there.

When did you become serious about your work?

About 2 years ago, with a redundancy package I embarked on building myself a web presence and involving myself in projects related to the arts.

What are you working on right now?

Right now I am working as a Mentor for 2 learning disabled artists in Brighton. Over the summer we have been working hard on setting up their first exhibition, which has been a big success and a great experience for me, as I have been pushed into directions I don’t normally go.

Can you please describe what your creative process is like?

I like to work in silence (no music), at least to begin with, when I’m trying to get my initial ideas and sketches onto paper. When I’m satisfied with the groundwork, it’s an espresso and away we go!

Executing the final details of a painting or illustration gives me the most pleasure; by that point in the painting I’m totally relaxed and absorbed. Ambient sound by then is no longer a distraction.

Seeing other people painting and drawing totally inspires me. Long walks in nature inspire me, spring and autumn being my favourite seasons to get the creative juices flowing.

Over time I have moved away from painting with vibrant colours as I feel the mood I’m trying to convey is best expressed in tones with hints of colour. I love the quality of ink and watercolour; this is the medium I’m most happy with.

Balancing the light and shadow are key elements for me in composition, too much of either and it loses its punch.

The Japanese pointed bamboo brushes are a favourite of mine. They are very versatile all around, especially with watercolour.

Can you elaborate on your philosophy as it relates to being creative?

For me creating is a temporal escape from a pressured world. In the midst of doing something creative time disappears along with any negative feeling. Painting connects you to your core and you try to hold onto that as long as you can until inevitably the day to day things dilute it. But this is fine as you are only as good as your last painting and new ideas only begin flowing again once you move on from your last piece of work. It’s also great for keeping you mentally healthy, as with any creative pursuit (even just tending a vegetable patch). Viewing art rather than a facsimile has the same effect — you’re viewing a physical imprint— a feeling; sometimes from long ago. It’s timeless.

In the age of internet, do you think galleries are still relevant to artists?

Galleries have their place as there’s no comparison to seeing the real thing. It’s visceral. Walking around it, standing back from it, side on to it. Smelling it, clearly seeing the brushstrokes, the overheard conversations and so on. None of this the internet can do as efficiently.

What business advice do you have for young and aspiring creative professionals?

Don’t wait, just do it! For money, not for money and keep sketchbooks. Talent alone isn’t enough to help you be magically ‘discovered.’ You’ve got to be in the marketplace, on and offline. It’s mysterious how things always work out with persistence to a craft.

Which creative medium would you love to pursue but haven’t yet?

Printing, linocuts and silk screen printing are mediums I would love to try. I feel they would really suit my style of work.

What’s the best piece of advice you’ve been given as it relates to your work?

Don’t be afraid to make mistakes. Your mistakes make you great and breakthroughs happen because of them!

To see more of Darren’s work or follow his latest, visit his website or connect on social media:

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Artist Interview: Thomas Thorstensson

Our interview series launches this week with photographer, Thomas Thorstensson. Enjoy the Q & A along with a small selection of Thomas’s work.

Where are you located?

I’m located in London, where I’ve lived for over ten years now. I’m originally from Tanzania and Sweden.

What are you working on right now?

At the moment my ambition is to finish a modest photography book based on my documentation of the Alfama district in Lisbon. I’m planning to start a workshop in southern Europe that will run over a weekend every other month, and doing some work on that, but since my day job is still that of a Freelancing web developer, it is a slow process. I’m also doing some research for future projects during 2018.

What is your creative process?

I am mainly focused on feeling relaxed when I take photos. It is important to me that I am not too aware of the camera or lens or technique, but more aware of the people around me. I also try to stay focused on my own perception, and to raise it qualitatively, either by finding people that communicate some story, or by finding situations that do the same. These stories can be good, bad, sad, alienating, or whatever they may be — but there must be some content that speaks to me. And, absolutely, I must never hide from the people I photograph.

Other than that it is purely technical process and down to post processing, which I do in Lightroom and Silver Efex (or Color Efex), based on the settings I have.

How has your style and technique evolved over time?

When I started doing Photography five years ago, I became quite obsessed with composition; Bresson therefore became an obvious source of inspiration since in his work you can often find compositional ideas such as gestalt, rhythm, triangles, dynamic tension, leading lines, the golden measure, and so on. (But he was also a great documentary photographer.)

Since then I think I found a more natural language — in relation to myself — in the work of for example Robert Frank, Anders Petersen, and Vivian Maier, to mention a few: an approach to photography (and people) where people are less placed within a frame, if you so will. I love Robert Frank’s imperfect compositions, his insistence on being just about anywhere to tell the story he sees.

I would like to strike some medium between a compositional and a humanist / documentary focused kind of photography.

Why did you choose your medium and what do you wish you knew about it before you got started?

I can honestly say that Photography chose me, not the other way around. I still don’t know how that came about; I just started shooting one day, and then from there on it continued. I’ve been a searching humanist for most of my life. I have a postgraduate degree in philosophy, and I read a lot, especially novels. I also tried my hand at writing several years ago.

The important thing that happened when I took up photography is that I felt, unlike in any other creative discipline, that I had found my voice; the discipline of photography instantly resounded deep within me and I knew there was no going back.

As for the second part of the question: the question never occurred to my mind, sorry.

Are you experimenting with anything new at the moment?

Not at the moment. I tend to go in circles and come back to the same topics, and I don’t know that something is new until I see it. But let me say that ethos, history, and social conflict interest me a lot as a human being and I would like to reflect these aspects of human life more than I have in my work so far during 2018. I am sketching on a few ideas and locations…

What are you trying to communicate with your work?

In any creative discipline you have to insist on your own voice. As you get older I think this gets easier: because the wealth of past experiences will have formed your personality, for better or worse. As a result you will become more immutable in your beliefs, more stubborn — and hopefully also more respectful of other people. Respect is very important in my work.

How has the internet influenced the way you market yourself?

The Internet can be a great tool for marketing oneself. But my view of Facebook, Instagram, and Flickr and so on is quite cynical: I use these services, but I don’t let them consume me. With that I mean: I spend very little time online on social media. I use various tools to market myself on social media sites so that I can spend my time elsewhere.

I think the great part of the internet for photographers is not the big social media giants, but rather the creative communities and possibilities opening up around online photo blogs, online book publishers, online travel funding for photographic projects, online print sales, and so on. The other day I visited the web page of daylightbooks.org, a non-profit publisher of photography books. Very inspirational!

In the age of internet, do you think galleries are still relevant to artists?

Of course they are. I had an exhibition last year with a photography friend of mine in London. There is nothing like sitting in a gallery and meeting people who come to see your work. You end up having conversations about photography you could not foresee. One guy that came to visit my exhibition showed me his own photography from Mumbai, his home town. It was very inspirational.

What’s the best piece of advice you’ve been given as it relates to your work?

“A photographer must always work with the greatest respect for his subject and in terms of his own point of view.” – Henri Cartier-Bresson

Do you have any upcoming shows or workshops?

Not at the moment. I have kept a medium to slow pace during 2017, and enjoyed that. I try to not keep a London pace in London. But as outlined vaguely above, I will be launching some workshops in Southern Europe in 2018. Then we have the book about Alfama. And obviously the new ideas I have for 2018 … I look forward to the challenge!

To see more of Thomas’s work or follow his latest, visit his website or connect on social media:

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