Archive for the ‘art fridays’ Category

Vallauris - 1956 Exposition Contest


Win an original, signed linocut entitled Vallauris - 1956 Exposition by Pablo Picasso. Vallauris is a linocut printed in five colours, each made from a separate block.

The organization 10:10 is raising money to fight climate change and so to win the artwork, entrants buy tickets priced at 10.10 GBP and answer a question about Picasso’s work. Correct entries will be drawn from a proverbial hat on 31 January next year and all proceeds go to the 10:10 campaign.

Enter here.


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Posted: November 6th, 2009
at 4:46pm by Koookiecrumbles

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Categories: art,art fridays,competitions

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A Dozen : Tristan Henry-Wilson

This week for A Dozen we talk with Tristan Henry-Wilson hailing from Brooklyn, NY. He is an illustrator that works with oil paint. He specializes in editorial, portraits, realism and a touch of the surreal.


Seal Our Fate: an illustration of a short story for a current project. Also featured in Faesthetic #8.

14 x 18, oil on panel

Please describe your professional and creative aspirations.

As an illustrator I try to tell stories with my oil paintings. One of the best ways of getting those stories out to the world is print. I’d love to see my work on the cover of magazines and books. I’m working on a long term project with a partner right now. I’m illustrating all the short stories of their book. It’s pretty labour intensive but once complete it will be my proudest achievement to date.

What styles would you say that you prescribe to?

I’m a realistic and figurative illustrator that works in oil paint. Other than that I couldn’t put a finger on a proper description of my style. I’m drawn to beautiful colour and atmosphere with the occasional touch of the surreal. I guess that’s the sci-fi/fantasy nerd in me though, haha.


A Taste of the Space Race: an illustration about companies racing to give families the chance at space flight

9x 12, oil on panel

Where do you see the limitations of art in terms of what it can effect?

I think art is only limited to or by the efforts of its creator. As long as sincere passion and hard work goes into the creation of the artwork time will look favourably on the artist’s intentions.

How do you think your art changes the perceptions of people around you?

I don’t know what people think of me before I tell them I’m an artist or show them my work. I often I see a light bulb go off in people’s heads, "Oh he’s an artist, well that makes sense!"

When people tell me I create beautiful artwork or when any artist is being complimented for their creation it’s important to be humbled. We live in a culture that bombards us with imagery all day long. Everything is trying very hard to get our attention. It’s easy to be numb to the visuals. When you’re being complimented for your art you’re really being thanked for creating something that isn’t insipid.

It’s an honour to break the banality.


Head Above Water: an album cover for the band, Gravehaven.

14 x 18, oil on panel

Where do you believe has the best new art?

In the dew drop of every rose, in the laughter of every child! Haha! I have no idea. I’m inspired by old art. I try to stay away from words like "best", it’s a promise I can’t keep.

Are you a soldier or a general in the art world?

Mercenary in training.


DisInfoNation: an album cover for the band, Feeding The Fire.

11 x 14, Oil on board

Do you feel, that "there is a war out there, that no one is safe from?"

This wouldn’t be a good time to drop a Pat Benatar quote would it?

Are you a fan of the "online" art gallery?

I’m a fan of online illustration directories and artist portfolios. Art galleries in the traditional sense kind of weird me out. The whole scene just isn’t where I am right now.


We Are Fragile: a wrap around album cover for the band, Isle Of Thieves.

14 x 20, Oil on Strathmore 500 series illustration board

What avenues have proven to be the most effective for you in selling your art?


Do you think the an artist should be able to represent themselves on their own (or do they need an agent)?

I’ve never had an agent and there was a time when I was gunning really hard for one. I once heard an agent say they like to deal with artists that have learned the game on their own for a while. After years of trying to establish myself I’m just now beginning to see what I don’t know and how much I need to learn.

I think if I had acquired an agent years ago I would have embarrassed myself; I was too green. I’ve heard great things about reps and I hope to have one someday but for now I need to sharpen my skills and turnaround times.


Dirtys Girl In Her Dirty World: an illustration of Sarah Silverman. The painting contrasts her cute clean look with her racy comedy.

9 x 12, oil on panel

People say that the markets are saturated with new art, do you believe this?

I haven’t scoured all the markets so I can’t say if they’re saturated. I believe there will always be room for artwork that’s professional and inspirational.

When is a piece of work finished?

When it gets the thumbs up from my mentors.

::All images courtesy of Tristan Henry-Wilson

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Posted: November 5th, 2009
at 1:56pm by Koookiecrumbles

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A Dozen : ABOVE

Continuing with our efforts to connect with contemporary artists around the world for the feature A Dozen, this week we would like to re-expose the work of ABOVE. You can see two of his excellent videos, "Bridge the Divide" in the Column and "When in Rome" here. Like last week we are going to start things off with a couple of videos from the artist’s Vimeo Channel and the follow with our Interview.

Where are you from and who are you?

I’m from earth and I’m human.

You got your start in graffiti, what does your name Above signify?

Many things I believe, mostly challenges, rising to the occasion, and acknowledging that we all fall down and need to get back up…I mean above.


250+ free cans of spray paint to crazy with, it was like being a kid in a candy store! A big thank you to Montana Colors from Barcelona for the Paint!

Sao Paulo, Brazil, 2007

Getting your start with the "arrows" in 2002, how have you seen its direction evolve?

I have been aware that my style of artworks really relate the the environment and travel plan. If I’m doing a large tour the works might be more based in quantity rather than quality. If I have more time to observe a location and create a more in-depth piece then I’ll strive to do this. I don’t like to pigeon hole myself into just 1 style of artworks. I like to explore and challenge myself with learning new styles and ways to make artworks. Having said that my works change from doing an iconic "Arrow logo" to large mural style "Word/Play" paintings to stenciled figurative imagery. I think all my works however have a big relationship with their site specific location and positioning.

From Estonia to Brazil, you have traveled widely- where would you like to go next?

The world is a big place. There are many tempting locations I am focused on touring these next years. S.E. Asia, Africa, Moscow to Beijing, Australia, Middle east, north and south poles, on and on and on.


A Dyslexic is able to find Amor in Roma without much effort! Many people associate Roma with being Romantic. I personally associate Roma with sore abdominal muscles due to leaning over and hanging upside down while painting backwards from a rooftop all night.

Ailati, Amor, 5002

What has been your favorite work of art?

None and all of them at different times. I like the works of art that make me get an adrenaline rush from executing them in the street. The one’s that give me a nice feeling of accomplishment.

Your wordplay pieces have been executed throughout South America, how do you choose a proper location?

I walk around a lot just observing and seeing what presents itself.



Being on Capital Hill in Seattle reminded me of being on Haight Street in San Francisco because of all of the open and visible drug use. The exception was that on Haight street people smoke weed, while Capital Hill there were shooting Heroin.

"It’s all fun and games until you step on a dirty needle."
- Junkie Proverb.

Seattle Washington, U.S.A. 2004

How do you use video to better expose your art?

I like documenting my artworks because the majority of the time I use the site specific location incorporated into my artworks (see previous answer). A photo is just 1 angle and I like to strive to have many different angles and timing in my artworks. Thanks Vimeo!

In your video, "Bridge the Divide," that wall is monstrous, what inspired you to make this piece?

Pink Floyd’s song as well as the fact that I was painting on a large brick wall. I kept whistling that song while I was painting that letterstyle. …All and all, you just another brick in the wall…


It was a calm Sunday afternoon and I was leaving for Mexico the next morning. I had some left over paint and some time on my hands. 2 hours later and a few beers with some friends, this piece was completed.

Guatemala City, Guatemala, 2008

What tips can you give to people that want to travel around the world on a shoestring budget?

Pack your backpack with what your taking, Then unpack it and throw out 1/2 of the shit you packed and thought you needed. Passing off counterfeit money is best when buying more than 50% the price of something so you don’t get too much suspecting as to why you gave 100 Euro bill for a pack of gum? Tie your shoes in double knots so when your running you don’t trip on loose laces. Have fun and keep your head up.

It seems like you know people in "high and low" places, how do you make so many connections?

Hanging around the right places at the wrong times.


"Dejando lo mejor para el final"(Save the Best for Last)

Many/All of the Buildings in this Industrial Zone in Bogota were being torn down and re-built. I can only assume that this building was soon to be demolished, and chances are by now it already is!

Bogota, Colombia

What inspired you to give away 100% of your profits from the "Giving to the Poor" print to charity?

The fact that I didn’t want to exploit the homeless woman in the photo to my financial advantage. I wanted to make a comment and show how sick as people we can become not taking care of our fellow humans. It felt great to have sold out and donated a large chunk of cash to 2 selected homeless shelters.

Can you please in detail describe your alchemical practices that help achieve a levitated state of existence?

It’s all broken down on my website in the Frequently Asked Questions.


Ri >> Chpoor (Stealing from the rich and giving to the Poor)

The good intention excuses the bad action- Portuguese Proverb

Lisbon, Portugal, 2008

When will your world domination be complete?

When the aliens come to earth and get me out of here. Then its another story.


The relationship and co-dependency of both characters in need of
the others interaction to find happiness is both sensual and vulnerable.

Madrid, Spain, June 2009

::All images courtesy of Above ::

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Posted: October 22nd, 2009
at 2:22pm by Koookiecrumbles

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Categories: contemporary,a dozen

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A Dozen : Tim Lee

Welcome back to another edition of A Dozen. This week we’re going to do something a little different and introduce our featured artist, Tim Lee out of the UK with a short documentary about his life and work to jump off things. So first his documentary, and then our interview- sit back and relax!

YouTube Preview Image

"I am never looking for perfection in my work; I like the near misses much more"

"I hope people can see beauty in the simplicity of my acts; that they can admire my attempt to decorate and celebrate what it is to be human"


"Ashes Between You and Me"
Ink on calligraphy paper
35cm x 39cm

Please explain your beginnings and how you got started with art.

It’s all I have ever known. It began from when I was a child, as soon as I was able to pick up a pen; I was drawing.

What’s your earliest memory involving art or creating art?

I was pretty young in a classroom and it was my first art lesson. I drew a cartoon of a naked male urinating. All that sticks with me was the teacher erasing his genitals and me redrawing it, this went back and forth all lesson.


"Love Must Die Young (Never Old Enough)" Diptych
Ink Drawing on Chinese Rice Paper
(30cm x 45cm) x2

What is your education or training in art?

I’ve graduated from university with a fine arts degree. I didn’t use my time wisely, the work I made as a student is unrecognizable to what I do now.

There’s no real training involved in my work, I feel self taught in many ways.

I just had to realize my voice and that took some time.

How do you pay the bills to enable and unleash your creative energy?

Bottom line is I don’t! I get the odd bit off illustration work through and that helps a little, but I don’t like to think about outgoings, If you really want something you have to sacrifice certain things.

"I’ll never be your Roman Candle"
Ink on Calligraphy paper
50cm x 35cm

How have your surroundings or environment influenced your evolution?

It has shaped me hugely. My family heritage is from Hong Kong and I was born in the UK and have lived here all my life. There are identity issues that arise from this culture clash but I’ve learnt to accept them as I’ve grown. It’s important to try to keep your culture alive in you.

Who are some of your major influences?

My Uncle (Lee Man Sang) he is also an artist and I look up to him and his work a lot. The level of craft is his works that is quite rare in today’s art world.

But aside from my biased opinion I’m a fan of Francis Bacon, Damien Hirst, Maurizio Cattelan, Nick Cave, Joel Peter Witkin, Bjork, Haruki Murakami, David Lynch, Wong Kar Wai etc Im influenced by very visual and visceral art.


"Why do I, Still water flowers"
Ink on Calligraphy paper
36cm x 55cm

Do you work alone or are you open to collaboration?

The illustration work I take on is kind of collaboration in itself, where ideas go back and forth but generally speaking I prefer to work independently. That way if anything goes wrong I can take responsibility. But it really depends on what’s proposed and if I see any potential in the project.

What methods of exposure have proven to be the most effective for getting the word out about your work?

The Internet has been my most successful route. Without the Internet I have no idea how I would have found some of the people I know now and vice versa.


"Don’t Let the Light In, or You’ll Kill Us All"
Ink on calligraphy paper
30cm x 35cm

When are you most productive or when do you normally work on art?

The best time for me to work is when most people are sleeping. Anytime past midnight and I get more done. I work throughout the day too but I feel I make much better decisions and ideas flow more easily at night.

What do you consider your biggest overall influence (music, artists, food, etc)?

Everything, I can’t highlight one. Life is the influence, there’s no other explanation. I can be doing nothing and nothing running through my head and suddenly I know what work I want to make. No reason or rationale so I think that comes from a culmination of things I’ve seen consciously or otherwise. Since you have mention food, I think it’s overlooked in many ways. Food and Drink is what brings people together, breaks barriers and without it, we’d be nothing.


"In & Out of Love with You"
Ink on Calligraphy paper
54cm x 33cm

Where would you like to travel to and expose your work?

I’ve always wanted to visit New York. I’ve only ever heard good things about the place. My dad lived there for a while so maybe I’d like to tread his path for a while.

I’d like to have a show in Hong Kong too, that way my family could attend and see what I’ve been up to.

China would also be somewhere that would be interesting to visit. I’d like to see how my work would be received there too. I’ve never been across to China and seems like a lot is happening there culturally and artistically, I’d like to see how and if my work would fit in context there.

To be honest the I’d love to travel and take my work anywhere.

What is something about you that nobody would ever guess?

I voted for Leona Lewis to win the X factor, I voted 3 times.

What do you have coming down the line in terms of shows/ projects/ etc?

I’m showing some work at the affordable art fair in Amsterdam later this month, I have a few more shows lined up but until I’ll announce those once I know for sure they’re happening.

I’ll be painting more in the future. I don’t want to be one of those artists that never steps outside their comfort zone. I want to try everything. Maybe I’ll eventually end up in film or photography. All i know is that I have a bank of backed up ideas that need to come out.

::all images courtesy of Tim Lee ::

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Posted: October 16th, 2009
at 12:34pm by Koookiecrumbles

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A Dozen : Brett Amory

This week for A Dozen we talk with Brett Amory out of San Francisco. Uniquely combining images in Photoshop and painting, his work is amazing. He has been published in Convergence in 2005 and Twenty2wo Magazine and Pages Magazine in 2009. Definitely look out for his art in times to come. If you’re in the LA area this weekend be sure and check out the New Contemporary Art Fair at the LA Municipal Art Gallery at Barnsdall Park, running October 9th, 10th and 11th.


Waiting # 28
oil on wood panel 48″ x 96″

Where and how did you get your start in art?

I moved to San Francisco when I was 21 to study motion pictures at the Academy of Arts University. I was skateboarding and playing a lot of music at the time. I really didn’t have any direction. The first person I met in San Francisco was a painter and I just sort of fell into the arts.

After a couple years of playing around with art I switched my major to fine art. Before I started painting I was really into Photoshop. I would make these wacky montages from my shitty drawings. At the time I thought they were really cool but looking back on it they were pretty messed up. When I started painting I kept using Photoshop and eventually I combined painting with Photoshop.

What separates your work from others?

I usually start off taking pictures of people waiting for stuff, and then I go through the pictures and start montaging them together in Photoshop. After I come up with something I like I’ll do a really loose five-minute painting with a big brush. I take a picture of the painting and add the picture to the Photoshop file changing the original image. I repeat the process of going back and forth between the image and the painting until I have something that works. The painting changes the image the image changes the painting. This process was developed over ten years of experimenting. My work is the end product of this process.


Waiting #39
oil on wood panel 24″ x 36″

How do you view the recent movement of "crowd sourcing" to fund new art projects?

I have never heard of "crowd sourcing."

Sure sounds like a good way to fund new art projects.

What problems do you see in the art world and how would you fix them?

Art trends seem to be dictated by curators. They seem to have the control of deciding what art is important. These trends influence emerging artist to make art in order to fit a market.

Emerging artist should focus on the work and not on showing in the beginning. Give your work some time to develop before building the hype. When the work is there the hype follows.


Waiting #31
oil on wood panel 24″ x 36″

How do you use the online universe to your advantage?

Where to begin. The online universe is awesome! I use it for everything. Online submitting has made getting your work out there so much easier. I submit to galleries, online galleries, blogs, websites, magazines, online publications the possibilities are endless. I love the Internet

What was your first big break in the art world?

I’m still waiting.

When I was asked to be in Convergence that was pretty awesome.


Waiting # 34
oil on wood panel 24″ x 36″

How would you characterize your work stylistically?

That’s a good question.

I really don’t know. If I were to label my work I would probably categorize it as modern painting.

Who are some of the major influences in shaping your personal and artistic evolution?

I have so many influences but my biggest influences have to be my uncle Ed and my closest friends. My first experience with art was from Ed. His work always made me want to do art.

I started painting pretty late but I was lucky to be surrounded by great artist. While I was in school I met Gage Opdenbrouw, Kim Cogan, David Choong Lee, MARs 1 and Jerome Opena. Hanging out and watching these guys grow really helped me develop my own work.


Waiting #40
oil on wood panel 24″ x 36″

What mediums do you constrain yourself too?

I’m an oilman.

What advice can you give to emerging talent trying to get more exposure?

Make sure your confident with your work then make sure your website accurately portrays your work. Start submitting your site to online publications, magazines, blogs and other websites. Be clickable, build online presence and start generating hype. The galleries will follow. Work hard and never give up.


Waiting #20
oil on wood panel 24″ x 36″

Where would you like to see your work displayed in the future?

London, Berlin, and Rome, Japan places I haven’t been to yet.

Which contemporary artists do you think are having the greatest impact in the art world?

I have a lot of respect for graffiti and street art. It’s the next thing. The underdog is coming up and it’s going to take us all by surprise.


Waiting #44
oil on wood panel 9.5″ x 48″

::all images courtesy of Brett Amory ::

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Posted: October 9th, 2009
at 10:17am by Koookiecrumbles

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Categories: contemporary,a dozen

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A Dozen : James Roper

After a weeks hiatus, A Dozen is back with a talented artist from the UK, James Roper. Enjoy the interview.


The Ecstasy of Catalina Cruz
mixed media on paper
29.5cm x 42cm

What led you to become an artist?

A drive to express myself and communicate ideas that I couldn’t do through any other means.

How were you educated in your field?

Even though I’ve studied art since high school I still feel like I’m self taught but with a certain amount of guidance along the way via teachers and especially listening to other artists.

The Divining Censer

The Divining Censer
acrylic on canvas
95cm x 100cm

What differentiates your work from the next artist?

The varying interests of every artist combine together to make their work unique. I am interested in a variety of subjects some having very opposing themes such as religion and pornography or Zen philosophy and material excess.

Where have you seen the best emerging art scenes transform?

I’m very wary of art scenes. I seem to get grouped in with street/urban art a lot which doesn’t make much sense to me, it just highlights peoples need to define parameters around vague aesthetic similarities so they can try and understand them (or market them). I also seem to be placed within an art scene which is more prominent in the U.S. which exists between ‘low brow’ and ‘high brow’ art. I guess you could call it ‘middle brow’, it seems a lot more in tune with aesthetic pleasure without being throw away as with low brow advertising or getting lost in convoluted intellectualising as you get in high brow art.


Exit vehicle 1
mixed media on paper
42cm x 29.5cm

Would you rather be part of a revolutionary movement or an evolutionary movement?

I don’t like the idea that if you revolt against something you define yourself and your actions around the very thing you dislike, but although evolution on the whole seems more natural and steady sometimes there is a need to change things drastically.

Who have been some of your major influences?

There are to many to mention, here’s a few in no particular order: Gian Lorenzo Bernini, Katsushiro Otomo, Shintaro Kago, Francis Bacon, Jeff Koons, Jake and Dinos Chapman, Hans Bellmer, Takashi Murakami, J.G. Ballard, Slavoj Zizek, David Lynch, Andy Warhol, Brett Easton Ellis, Derren Brown, V.S. Ramachandran, Matthew Collings, Gilles Deleuze, Matthew Ritchie, Matthew Barney, Inka Essenhigh, Francesca Lowe…..

Push the pull

Push the pull
acrylic on canvas
170cm x 180cm

What makes art collectives so successful these days?

I’ve always worked alone so have no real knowledge of how a collective works. In a way I guess it’s like having a brand name, something people can more easily identify you with and build up a certain aura around a number of artists who would otherwise be less successful working on their own.

What advice can you give to the next emerging artist?

Be original. Be your own worst critic and listen to others criticism, you don’t learn if you think you’re doing everything right. Dedicate yourself fully to your art, don’t take up valuable studio space if you intend on doing it half-heartedly. Don’t be part of the art school fashion parade, the ones who succeed spend their time being artists not trying to look or talk like one. Don’t self indulge but try and truly affect people (there’s nothing worst than passive art), but don’t use cheap shocks or cliched attempts at beauty to achieve it. Look at as much art as possible, and don’t ignore the old masters. As an artist living today you have via the internet the most expansive database ever on which to discover new art and ideas, use it. And, just because Francis Bacon was a drunk doesn’t mean drinking will make you paint like Francis Bacon. He was a painting genius, you’re not.

Inverse excess 2

Inverse excess 2
acrylic on canvas
40cm x 40cm

Would you say that creating art is in your DNA?

Partly, but looking back I’d say there were many outside factors that pushed me into becoming an artist as well.

What other styles have proven to be the most therapeutic in collaborating with your own unique styles?

I recently co-wrote and worked on the production design for a short film which was very different to how I normally work. Painting is a very solitary activity where I make every decision myself, where as film making is very collaborative and relies on a lot of people. The ideas and visuals I want to express through film are very different to what I put in my work, it allows me to bring out other aspects of my work.


‘Into the Fold’ installation

How do you feel about the current recession that has been happening in the art world (or do you think that the contemporary art industry is recession proof)?

I’ve heard it said that it will allow artists to take more risks with their art because the creative process will be less defined by how sellable the work is. Personally I’ve always wanted to make work that sells, I don’t do work for the sake of it and although it is self expression I’m not sure I’d have the drive to make so much were I not selling. I want my work to be desired, and the ultimate complement is someone wanting to own it.

Where do you see your work progressing in the next ten years?

I want to work more in other mediums like sculpture and film. I tend to get bored of working in one particular way quite quickly so I wouldn’t be surprised if my work isn’t drastically different from how it is now.

Collapse Inversion 3

Collapse Inversion 3
acrylic on canvas
55cm x 33cm

::images courtesy of James Roper ::

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Posted: September 24th, 2009
at 12:59pm by Koookiecrumbles

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New Work from Luis Fernando Uribe



Be sure to check out new work by Luis Fernando Uribe at the Aldo Castillo Gallery in Chicago- opening today! Like my ninja orangemenace stated we’ll see you there, us ninjas may or may not be seen…

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Posted: September 11th, 2009
at 5:05pm by Koookiecrumbles

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Categories: contemporary,art fridays,events

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A Dozen: Gregory Euclide

Gregory Euclide is an artist who "explores the way we experience nature and how this is tied to the cultural practice of constructing landscapes as idealized images." Currently living in the twin cities of Minnesota, he has been awarded two Minnesota State Arts Board Artist Initiative grants and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. Now, the interview:


Capture 1

What is your definition of family (do you come from a family of artists)?

I don’t have a definition of family. I know what our culture says a family is. I guess I think it is more of a network of people in a symbiosis and less of a blood line. Both of my parents are artistic/creative people. My mother gardens and creates stained glass windows. She can draw really well. My father is an art teacher. He’s more of a critical thinker than he is a fine artist. He builds houses, designs solar collectors, and landscapes. He is a good reference, because he literally knows a little bit about everything and a lot about many things.

Did you always know you wanted to be an artist?

I never thought of it as art, I just thought of it as play. I never decided to be an artist. I always enjoyed making things and I always enjoyed drawing. That enjoyment evolved to the present day. It’s an economic system that requires that what I do be called "art" and at an early age I learned that my work could be sold if it were displayed. In high school and college I started to display the work I was doing and was able to make money doing that instead of working at a gas station or factory.

Something Similar to Waves Inside but Lower than Breaking

What is your style or aesthetic base that you work from?
I’m interested in how my experiences in land can be translated into objects that possibly comment on the nature of that translation. Influences include graphic depictions from textbooks, the history of landscape painting and nature itself.

What mediums to you prefer to work with?

I try to develop a relationship between traditional art supplies and found objects. Increasingly I find myself drawn to materials that allow me to assemble them into larger constructions. This includes natural materials such moss and wood as well as synthetic materials like foam and paint. I am constantly looking around me for new materials that might be able to express something new in the work.

If I was the river I was only projecting

If I was the River I was only Projecting

Is there anything left inside after your create on the outside with your art?

Yes, I would say that there is something left. There’s a desire to approach the problem in a new way, which results in the drive to work again.

What artists move you to create new art?

The work I make comes as a direct result from being alive in the world today. I’m not so much inspired by other artists as I am by living in this culture. Seeing Coke bottles in the most remote corners of the world. Seeing water towers with idealized nature scenes. This makes me curious.

From This Distance Contained Gifts RAW

From This Distance Contained Gifts

What are your relationships with other artists like?

I am pretty isolated when it comes to contact with other artists. I am much more interested in music and nature than I am in art. I think it has something to do with being inside the art world that turns me off to it or demystifies it. Other things seem much more unknown to me, and therefore more interesting.

What problems have you encountered in publicizing your work?

It is hard to capture a sound bite of these works. The new work is deliberately not graphic. The photos never amount to the same experience as being present in front of the actual works. The works are meant to be experienced with the physical body. This type of work is inherently at a disadvantage in a marketplace that is driven by print media and still images.


Development Lines 1

How do you view the traditional relationship that galleries have with artists?

If art is not going to be a commodity, then who is going to make sure that those who create these things will have food. Art is a commodity and therefore requires some sort of system of distribution. Galleries, museums and fairs all have a vested interest in keeping art as something we buy. Some galleries work for you & some galleries work for money. I like to work with galleries that are first and foremost concerned with my work and my ideas. David Smith of the David B. Smith Gallery has always been supportive of my intentions as an artist. I feel like we have a symbiosis.

What avenues apart from selling your work have proven to be effective in monetizing your creativity?

I am not that concerned with money. I just want to be able to eat food that is produced in a respectful way. I want to be able to walk outside and feel safe. I don’t think about money until I have to pay for the supplies and the electricity. Thankfully I have teaching jobs that pay the bills and I am somewhat free to create what I like.


Dispersed on Shelves

What first hand advice would you give to an upcoming artist?

I can’t imagine giving any other advice than to do what you do, and to know whom you are doing it for. Personal happiness is much more interesting than fame or money.

How do you see your work evolving in the future?

If I knew, I would be doing it now. I suppose I will continue to explore the relationship between the cultural construction of landscape and my personal experience in nature. And the trend seems to be to swing back and forth between the flat work and the relief work, combining them and making the distinctions between the two more subtle.

walking-away-on-the-build-upafternoon at mvnwr

Walking Away on the Build Up Afternoon at MVNWR

::all images courtesy of Gregory Euclide ::

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Posted: September 11th, 2009
at 10:47am by Koookiecrumbles

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Categories: contemporary,a dozen

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A Dozen: Henrique Oliveira

Welcome back to another edition of A Dozen. Welcome to Henrique Oliveira as well. The show Tapumes, which is featured below was on display from March 26th - August 11th, 2009 at the Rice Gallery in Houston, Texas. Oliveira uses salvaged wood collected from the streets of Sao Paulo to create large scale installations. And now here is the interview…


Tapumes 2006 Site specific installation

Fiat Mostra Brasil, Pavilh o da Bienal, Sao Paulo. Wood.

4m x 18,4m x 1,2m; (13,15ft x 60,5ft x 3,9 ft). photo: Mauro Restiffe

Please describe your mission as an artist.

I don’t see my work as a mission, but just as something that can create a situation of interest for the viewer. I try to do something I like and it will be excellent if someone else can experiment a similar feeling more or less a kind of emotion that some art works, movies or music can bring.

What separates your work from others?

Usually a peace of wall is enough to do it, but to be sure I try to do something different than what I have seen, something that can only be reached out of a constant work towards the development of language.

How have you been influenced by your travels?

Traveling is the time of observing things, cultures, people and their ways of living. The influence of such experiences, usually, takes a long time to show up in an art work. Except when you intentionally take some element from a trip, it all comes slowly to form a background. Influence doesn’t respect hierarchies, I can have a very strong impression of a banal happening when I’m flicking a magazine in a waiting room, and can travel around Asia for two months and don’t get a moment that keeps my thoughts so attached to it.


Tapumes Gallerie Vallois

Paris - 2008 wood and PVC

3,2m x 6,2m x 0,9m; (8,42ft x 16,3ft x 2,36ft)

Which places have inspired you the most?

The streets of Sao Paulo have inspired me to the aspects most disgusting of my work; but I think that, creating interesting things out of only one source of influence doesn’t happen very often. I see my work as a crossover of this urban experience which happened more recently in my life, with the earlier way of life that I had in the interior of Brazil, in contact with nature.

In a work like Tapumes, how did you achieve the desired effect?

It was a long process that started when I decided to use plywood as a support for painting. Then I noticed the surfaces were very rich in textures and, the laminates, when broken, suggested me a brushstroke shape. At this moment I started to use old plywoods on collages to suggest big paintings relating to architectonic sites, which I explored in tension against the building walls. I wanted to bend the plywood boards.

As I started to exploit the flexible properties of this material, I felt it necessary to use something more plastic. Them I started to build them using PVC tubes first, (Tapumes Paralela 2006), and next another kind of wood that we call bend board (Tapumes Fiat Mostra Brasil 2006). In some cases I use only the last, in others I combine it with the tubes, screwing it to a kind of wire structure. It provides a first surface and the used plywood is used like a skin, covering it.

The used plywood is collected from the streets. I take them to my studio and pile off the layers, separating them by color, size, etc. In some works I control the color pouring diluted paint on the wood, getting them moist in order to make it easier to be manipulated.

CentroBrit mau2

Whirlwind for Turner 2007

Site specific installation created after the painting Snow Storm by William Turner.

11 English Culture Festival, British Council, Sao Paulo.

Wood. 4,35m x 6,92m x 2m; (14,3ft x 22,76ft x 6,57ft). photo: Mauro Restiffe

How do you view painting in terms of its relationship with other mediums?

I think painting is a medium that has its own logic. It is a language capable of re-inventing itself, but it can also be seen as concept that goes beyond its medium condition and can be applied in order to organize other kinds of more physical realities.

What is the difference between the second and third dimension in your eyes?

I think the difference is in the window that frames the images in my paintings. More than any other quality, this device is what makes things be seen as bi-dimensional. This is the reason why my paintings don’t function so fine in photographs as my installations. The physical dimension of my paintings are part and parcel of the process of comprehension of it. They are the tracks to the process of construction that unfolds the sense of the work.

What materials do you find yourself using?

Basically woods for tri-dimensionals and acrylic on canvas for paintings. But I have tried other types of woods, metal, bee wax, cement, polyurethane and found objects in my sculptures.


Tunnel 2007

Instituto Ita Cultural, Sao Paulo.

Site specific installation Wood, PVC and bee wax. 2m x 30m x 3m; (6,57ft x 98,68ft x 9,86ft).

Created for the exhibition Future of the Present, this work was an environment where the visitors could walk through and feel the smell of the materials. The instability of the wooden floor that moved slightly, provoked a sound. Tunnel had an entrance (left part of the image) that led to ramifications (right) which conducted the spectator to a small room covered with bee wax, or to a close space, or to a narrow passage to the other side of the museum room.

What artist or work would you compare yourself to (if you had to do it)?

Alberto Burri, Anish Kapoor and Frank Stella. In Brazil, Nuno Ramos, Ernesto Neto and Adriana Varejao.

What challenges face the emerging artist?

Many, but the most import I believe, is to reach a situation of economic independence to permit you dedicate exclusively to your work and do whatever you want.


Untitled 2008

Acrylic on canvas.

1,9m x 1,7m; (6,25ft x 5,59ft).

What defines the audience or rather who would you like to see your art?

I don’t have much idea of how my audience looks like, but I wish my work could be appreciated by as many people as popular music is.

Where would you like to see your work displayed?

At home. But I don’t have enough room yet.

::all images courtesy of Henrique Oliveira ::

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Posted: September 4th, 2009
at 12:01pm by Koookiecrumbles

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Categories: contemporary,a dozen

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