Artist Interview: Gus Harper
Colorado ArtSeen, a wonderful new art/gallery guide, interviewed artist Gus Harper at the opening reception of “Fade to White” exhibit this past Thursday. Here’s a snippet of what they had to say:
Los Angeles artist Gus Harper
“For many artists, the idea of selling your pieces in LA galleries with great exposure means they have indeed finally arrived. Asking the person who is buying your painting, “Is it okay if it isn’t delivered for another three weeks? A national network wants to use it on the set of a popular TV series for a few episodes,” would be considered a dream come true. The next logical step in the journey to fame would naturally be jet-setting your way to New York, then Paris, and so on, right? Nope. It’s Denver, Colorado. By way of rented U-Haul through Park City, UT and glamorous Wyoming.”
Be sure to snag a copy of their debut print issue (out next month) for the whole interview!
Read more, plus see a video clip from the interview.
Artist Interview: Nish Nalbandian
This month’s featured artist is photographer Nish Nalbandian, who creates dreamy HDR photographs. As soon as he joined Artwork Network, we were eager to pick his brain about his creative process and inspirations. Here are ten questions we asked:
Introduce yourself in a single sentence.
Nish Nalbandian: I’m Nish Nalbandian, a Denver-based photographer specializing in HDR urban and natural landscapes.
Nishan Nalbandian, photographer
A lot of your photographs feature water – why this subject matter?
Nish Nalbandian: I am drawn to making images of water and clouds. I love the way that light glitters and plays dramatically off the clouds and reflects off the water. I also love how the light reflects the greater weather and mood of the moment. I love the drama!
In the case of timing, I’m curious how you go about it. Do you scout a location first? Do you go back multiple times to get the one shot you’re hoping for? Or is it simply a case of being in the right place at the right time?
Nish Nalbandian: I spent a long time learning how to make my images by returning to the same spots again and again until I was able to get the shots I wanted. I’m glad I took the time to do that so that when I travel I can get the shot I want when I may not have the opportunity to return, when I may only get one shot to capture a wonderful sunset or dramatic weather. So in some ways it’s right place, right time, but being prepared with the right equipment and experience lets me take advantage of the opportunities that are presented. You also have to put yourself out there in the world to find new locations to photograph.
Which of your photographs is your favorite?
Nish Nalbandian: My favorite photograph is ‘Panama City Panorama’. I scouted that location for a few days, and was hoping to get a dramatic sunset. Instead the clouds came in and it rained on my assistant and I. The image is a composite of 21 separate images stitched together to create the panorama. I’d say it’s my most technical and dramatic image, and when I view it I am transported back to that time and place. I had tried several other locations first and had not gotten the image I wanted. I got this image on the last day of my stay in Panama City.
What’s the first photograph you remember taking? Was there one defining photo that made you realize your passion for photography?
Nish Nalbandian: I did not grow up as a photographer, or think I would end up being one. I came to it fairly recently, about 6 years ago. I had tried film photography back in the 90’s, but with the advent of digital photography I tried it again and really came to love it and discover a talent and passion for it. It wasn’t one photo that turned me onto it, I realized I was passionate about it when I found myself carrying my new camera everywhere with me and learning as much as I could about it.
"San Juan Sunset" by Nish Nalbandian
How would you describe your photographic style?
Nish Nalbandian: My most recognizable images are my HDR urban and natural landscapes. Others have described them as surreal or hyper-real. I’d say that I try to recreate in the image the mood or feeling that I experience at a location and time. I guess I’d describe my style as ‘Dramatic’.
What is typically in your camera bag?
Nish Nalbandian: Tripod, Camera, Spider Holster and belt. Spare cards and batteries. Remote trigger. Intervalometer. I try to have two bodies with me in case one dies, and I carry a small selection of lenses. I also carry a waterproof sleeve for the camera and lens, and a plastic poncho for me.
Has photography ever gotten you in trouble?
Nish Nalbandian: I can’t remember a time that photography has gotten me in trouble. Generally if you’re in a place you shouldn’t be, someone will just ask you to stop.
What do you think your work says about you? Do your photographs offer insight into you as person?
Nish Nalbandian: I’d say that my images reflect the range of emotions that I experience. Drama to me simply means moving between different moods. I might be in a location and feel a bit lonely, or awed about being there, or overjoyed. I think the photos have a depth that shows this emotional depth that we all carry. I hope others have some feelings when they look at the images!
What project are you currently working on?
Nish Nalbandian: I’m currently working on putting together a gallery show and a book about my recent ‘Ride to the End of the World’. Me, my brother, and a friend rode our motorcycles from Denver to Tierra Del Fuego, over 19,000 miles and 6 months. I’ve been working on an appropriate presentation for the images I made during the trip.
View photographs by Nish Nalbandian
Read more about the Artist
Artist Interview: Tadashi Hayakawa
Writer Felipe Diaz, of 303 Magazine, stopped by in the final days of the “By Way of LA” exhibit to interview artist Tadashi Hayakawa.
“Everything about Tadashi Hayakawa radiates wisdom.
His thin, long white hair, tied casually in the back, hangs lightly over shoulders that slouch slightly as he walks. His face, hardened by time, wrinkles faintly around the corners of his mouth and eyes whenever he smiles. Now in his early-seventies, he walks and talks with the patience of an older generation.
Between his early years as a child actor in Japan to graduating from the Otis Art Institute in Los Angeles and becoming the internationally-recognized artist that he is today, it’s needless to say Tadashi has seen and been through a lot before moving to Denver…”
Click here to see the Full Interview
… and don’t forget to check out the exhibit, yourself! “By Way of LA” will be on display through August 31st.
Artist Interview: David R. Stanford
Artist David R. Stanford is one of the newest additions to the Artwork Network roster, hailing from Fort Worth, Texas. His piece “Blue Grotto” was last week’s “Friday Favorite”, and he’s this month’s featured artist. I’m sure you can quickly tell why – these colorful abstracts pack a powerful punch! I was really excited to pick his brain about his creative process and how living in Texas affects his artwork.
David R. Stanford, artist
Introduce yourself in a single sentence.
David R. Stanford: I am someone whose visual senses are very intrigued by what I see, whether it is in architecture, my primary profession, art, or sculpture, and the textures, patterns, sequences, volumes and complexities that exist or can exist within them.
What is your favorite piece of artwork from your own body of work?
David R. Stanford: This is a difficult question, because I like several of my recent pieces, which are in a different style than I usually paint in. I like “Target” and “Grotto”, which are recent efforts, but then I look back at a piece like “Zeppelin” that I painted several years ago and the styles are very similar, but my knowledge of painting has evolved immensely.
How do you start a new piece? Do you know how it will look beforehand?
David R. Stanford: I seldom start with a definitive idea of what the painting will look like, and when I do, I usually change it before I am finished with it because I get bored with the original idea. I want each piece to be fun, challenging, and a learning experience to see how the painting will evolve and how over a period of sessions the layers that are added will impact the previous levels to create new tensions and conversations that interest me and others that view them.
When you’re done with a piece how do you know?
David R. Stanford: Sometimes it takes years to finish and sometimes the painting will be finished in a couple of hours. I often paint some on the painting and then let the painting be on display for weeks while look at it, sometimes rotating it to see if I see something different from a different angle. Recently, I have started to take a photo of the painting with my phone and then make studies on my phone of what I might do for the next step. These are usually just quick ideas that may lead to something I might add to the painting. Ultimately, you just sense when a painting is finished and I call it done. Then I proceed to the hardest part of the process, naming the painting!
"Target" by David R. Stanford
You often favor vibrant orange and red in your paintings. What emotions or responses are you trying to trigger with these colors?
David R. Stanford: I like these colors because they are rich in color. Blue is probably my least favorite color, but I still use it. I like contrasting colors to draw out the best in each color. I actually like using white and black in my compositions, but often don’t get the same response I feel from those who usually see them.
People love to ask abstract artists about what their art “means” – how do you answer? And how much do you hate being asked this question?
David R. Stanford: For me, my art usually doesn’t have an intended meaning, but instead is about life’s struggles, harmonies, collaborations and resolutions. I enjoy seeing how the layers of the painting communicate with each other.
Artistically how does Texas nurture you? How do you think your environment affects your paintings?
David R. Stanford: I like the laid back environment in Texas, and I think this allows me to explore more options. I am also appreciative of the tremendous collection of art museums in the Dallas-Fort Worth region that allow me to see innovative works by other artists from around the world.
What do you think your work says about you? Do your paintings offer insight into you as person?
David R. Stanford: I hope my artwork shows that I like multi-dimensional thoughts and nothing is only black and white. I like to look at things from multiple viewpoints and see how the views influence the way something is perceived.
"Zeppelin" by David R. Stanford
Has anyone ever had an unusual interpretation of your work?
David R. Stanford: I don’t know of any unusual interpretations of my work, but I do like to hear what people think. One of the things I hate most about painting is coming up with a title for the picture. Sometimes it is very obvious and easy to select, but other times it is very difficult. I like to ask people what name they would use for the picture. The titles they give me are often unique and something I had not thought of, but definitely give me an idea of what the piece says to them. I often use the title given to me.
What are you working on right now? What’s in the pipeline for you?
David R. Stanford: As I have throughout my career, I am experimenting with alternative ways of expressing myself. I am continuing to paint in the same format I have used in “Target” and “Grotto”, but I am also studying what you can do with acrylics. I have also started to explore mixed media pieces with the introduction of layering. This has been fun so far and I look forward to seeing what comes from this.
Maxwellvision Comes to Colorado
Born and raised in California, maxwellvision is both an artist and a professional recording and touring drummer. His work was recently on view at “Crave”, and beginning July 5th, you can see more in the By Way of L.A. exhibit at Artwork Network. The opening reception is 6-9pm (once again, on July 5th) – so be there or be square! (You can also check out a preview of maxwell’s work at Colorado Creates.)
"Family" by maxwellvision
Here’s a snippet from the artist on his process:
“The works exhibited for the By Way of L.A. where created with charcoal, pastel and paper. These materials are pure and natural earth elements, burnt wood on re-purposed paper from trees. This method is both humbling and empowering to me. I enjoy touching my work, rubbing and pushing the charcoal with my fingertips into the paper. This feels primal and I work intuitively, quickly and with sincere honesty. No corrections, no change of direction. Like pages in a diary, this work is a reflection of my immediate state of mind.”
Artist Interview: Curt Fowler
It’s no secret I am a huge fan of artist Curt Fowler – one of his paintings hangs in my living room. His new body of work, entitled ‘Conscious Chaos’, exhibits this month at Artwork Network in a dual show with Phil Bender (read more about that here). I was incredibly excited to sit down with him and ask a few questions that have been on my mind.
You work mostly in abstract – do these pieces have any hidden meanings?
Curt Fowler: There are no intentional meanings or symbols in my paintings. For me it is, most of the time, an experience of the moment. Usually the choice of color is random.
Curt Fowler, Artist
How do you choose the titles of your work?
Curt Fowler: I am reluctant to give my paintings names, but it seems desirable to the buyers. Titles to me can influence how the art is viewed. Sometimes I will make up a name that in no way pertains to the painting. For instance the last painting I sold, of a tree, was named “At the Mall”.
Do you have a favorite contemporary artist?
Curt Fowler: I do not have one favorite artist. I try to be observant and see the best in another artist’s work.
Do you have a favorite color you like to work with?
Curt Fowler: Three colors for me: red, yellow, blue. In that order.
A side by side view of paintings by Curt Fowler.
I’ve noticed you sometimes paint over pieces – why?
Curt Fowler: I don’t think of it so much painting over as picking up and beginning again. The one you own “32 Red Lines” was over a year in the making. I have come to think of this technique as excavation, paint is layered on then I begin to remove it to see how the lower layers reveal themselves.
What do you want people to walk away with when they see your work?
Curt Fowler: One thing is for them to feel the love the painting was created out of, to take it into their lives because they want to feel all the painting has to offer.
Organized Chaos: June Exhibition
Phil Bender & Curt Fowler Exhibit at Artwork Network June 1st – 30th
Organization and abstraction come together for a month long exhibit at Artwork Network during June 2012. Colorado artists Phil Bender and Curt Fowler display their newest works.
Is it raining Phil Bender? Bender’s second show this month (his other exhibit, “Games People Play” runs at Pirate Gallery from June 1st – 17th) features an array of wooden objects collected by Denver’s friendliest hoarder. This display of ordinary items arranged into simple repeating patterns force the viewer to examine the everyday in an uncommon light.
Also on exhibit are works by self proclaimed ‘painter chaotica’, Curt Fowler. “I see chaos as a constant in life, coming to sometimes appreciate it. The paintings are an expression of how a chaotic endeavor can sometimes appear harmonious.” Fowler’s colorful abstracts create an interesting juxtaposition with Bender’s organized objects.
Catch this month-long exhibition beginning on the First Friday Artwalk, June 1st, and afterwards during Artwork Network Gallery & Event Center’s normal business hours of Monday-Friday 10am-5pm, and Saturdays 12-4pm.
For more information, call 303.388.7420!
Artist Interview: Silvana LaCreta Ravena
Artist Member Silvana LaCreta Ravena was recently featured on Minnesota’s MN Original, a series featuring the state’s creative community. “Originally a clinical psychologist in Brazil,” the intro describes, “artist Silvana LaCreta Ravena uses encaustics as a medium to explore memory. By combining bee’s wax, resin and dried pigment, she creates custom colors that reflect what she is seeing in her mind’s eye.” The five-minute feature is a wonderful peek into her creative process and inspiration. Check out the link below and let us know what you think!
Artist Interview: Roger Rapp
During May 2012, Artwork Network is exhibiting “Memento” - a thoughtful compilation of imagery based on memories. Denver artist Roger Rapp, half of this two man show, sat down to give us a little more thoughtful insight into the man behind the art.
Feel free to comment and add your own questions for the artist!
Artist Roger Rapp in his Denver studio.
Where do you get the inspiration for your artwork?
Roger Rapp: I read almost exclusively in the sciences. They all interest me, because they give me insight into how everything works. I guess that might seen as very distant from art, but they have a lot in common. Both require a concentration on observation and opening the mind to new things. When new discoveries arise, all things previously known are brought into question and you have to be willing to accept a new paradigm.
What was the first piece of artwork that turned your attention toward art?
Roger Rapp: When in my teens, my parents took me to the Albright-Knox Art Gallery in Buffalo, New York where I saw the painting, Orange Crush, by Larry Poons. It was something I had never considered before. It was not a depiction of anything we could see in the every day experience, like a landscape, a portrait or a still life. The subject was about how we see, the mechanism of sight itself.
Are there personal experiences of that sort that come up in your work?
Roger Rapp: The obscuring pattern that I refer to as ‘Noise’ represents the conflict of information that gets in the way of seeing things clearly. I experience a lot of visual dissonance like after images or floaters in my vision and I sometimes see multiple images in one of my eyes. Although I never have done peyote, when I shut my eyes and meditate I do see something similar to the things that practitioners of that drug describe. Geometric patterns, in various degrees of complexity swirl or diminish or burst into color. Although I may not be aware of it at the time, I have to believe that this experience is in the background of everything I look at. Perhaps everyone has this capacity and we just learn to ignore it because it gets in the way.
Do you visualize your Art before creating? Do you know what it will look like before you begin?
Roger Rapp: I don’t. I usually start with an idea or a phrase or a pair of images that I might have found in a book or on the internet and just put that down on the canvas, adding color and some compositional breakdown. Presently, this resolves itself, at which point I paint some noise over it, obscuring part of what was accomplished. I repeat this process of creating and destroying, each time trying to restore order to the painting.
What helps create a suitable environment for making art (aside from tools)?
Roger Rapp: I like to have lots of items of reference around me. I attach them to the walls in my studio, so that ideas I have found to be important are documented in objects and sketches and notes that are ever present. I also have files of images that I have collected that I can easily refer to. If I need a model of a molecule or a map or a poem to insert into a painting, I just sort through that file until I find the right one. I use it and move on.
"Mostly Nothing" by Roger Rapp.
What do you want people to walk away with when they see your work?
Roger Rapp: I would hope that they have an experience similar to when I find a new bit of information and then try to balance that with what I already know. This new bit might be in agreement with previous experience or it may be in conflict. Some of my paintings have presented very specific points of view and others quite open-ended. I don’t want them to seem like puzzles to figure out or impenetrable mysteries either; just something that spikes curiosity.
How important do you think it is for artists to know about art history, and why?
Roger Rapp: It is always important to know as much as you can about whatever field you work in. Everything accomplished by previous generations of artists can be stepping stones for your own development. Why reinvent the wheel? If you must, then you had better know how your wheel is different from those already in existence.
What gem of advice for the creative person has someone given you?
Roger Rapp: I once asked my sculpture instructor, Duayne Hatchett what was the most important thing to learn if I wanted to pursue a life as an artist. He simply said, “Learn to do something else.”
See more artwork by Roger Rapp.
Read more about this artist.
Artist Interview: Pat Isaacs
This April Artwork Network has been exhibiting what we consider to be the prettiest artwork ever inspired by a rusty bucket (check out this video interview for more about that). We chatted with Denver collage artist Pat Isaacs about her artwork and her creative process. Be sure to visit the gallery to see the exhibit, which runs through the end of April.
"Criss Cross" by Pat Isaacs
How did you get started in art? How does it fit into your life?
Pat Isaacs: Two passions have guided my life, visual arts and healing arts. With my background in massage and acupuncture, tactile awareness always presents itself in the layers of my mixed media artwork. In this way each canvas and each client is an energetic puzzle in need of creative problem-solving.
My art studies in college were primarily photography and printmaking. Since 2002 I have studied with the professional community at the Arts Students League of Denver. The skillful mentoring of Homare Ikeda has encouraged me to find the voice of each abstract painting in color, form, and meaning.
Tell us a little bit about your process. What kind of techniques do you use?
Pat Isaacs: My mixed media techniques have been mostly self-taught. Happy accidents are a frequent occurrence. The color of one paper may bleed into the next and in doing so alter how a work matures. Pulling off paper, when directed by informed intuition, partially reveals what is underneath and keeps subtraction part of the process.
I am a tireless collector of unusual paper, fiber, metal, found objects, and other wrappings of daily life. These materials appear in my mixed media collage paintings whether heavily layered upon or barely veiled by paint. I usually work in series using a limited palette and similar materials.
My process begins with pre-painting mulberry and watercolor papers. I tear some, cut others, and combine them with colors and materials that intrigue me. From here an organic unfolding happens: the paper, metallic paint, metal flakes, and patina solutions play off each other to create texture.
Experimentation with materials and a spontaneous process are the high points in my creative cycle. I run my hand over the artwork for somatic feedback and watch how its color and form add a sense of motion. The result is a compelling tactile quality both free-spirited and deliberate, with layers of meaning.
