Michael Shapcott – Interview

After a bit of a break, I am happy to return with an exciting interview I did with fellow artist Michael Shapcott. Michael’s just started a very successful project that I loved to hear more about, and so will you! Happy Easter!

KS: Michael, the first thing we should talk about is the success of the kickstarter project you came up with recently. Within only a couple of days, you reached your goal of $10,000 and now have a lot of portrait commissions to look forward to! Congratulations! Would you tell me how the project came together?

MS: Thanks Kaspian! I have a lot of work ahead of me and I can honestly say that I’ve never been so excited to create art in my life! And it’s all thanks to the wonderful support of those who enjoy and want to see more of what I do. I had been wanting to make a tutorial for a while now and when I found out about Kickstarter, I knew that this was my chance not only to do that but to give back to the fans that inspired me to want to do so in the first place. Since I don’t have the funds or resources for such a large-scale project, I decided to use Kickstarter and its brilliant use of crowd-funding as my platform. I figured if people truly wanted to see these portraits and tutorial video in the world, they would have the power to help bring it to life. The response has been overwhelming thus far and we still have 20 days to go! I’m so grateful for the support, encouragement, and genuine excitement backers have shown me. I can’t tell you how encouraging it is. This is quite the undertaking and I know it is going to improve my art and change my life. It already has! I am so grateful for the opportunity to learn and grow throughout this exciting process, and share my journey and the beautiful things that are sure to come out of it with those who are interested.

KS: I know it came as quite a surprise for you when you realised you had such a strong fan base behind you. I hear from a lot of artists that they still doubt themselves even at more advanced stages of their career. Do you feel like you’ve had your big breakthrough moment yet?

MS: To say that I was blown away by the response would be a complete understatement. When I started this project I had no idea how fans would react to my lofty ambition to take on 365 daily portraits, dozens of drawing/painting commissions, and a full-length tutorial all in the span of 1 short year! I am thrilled about its success and so grateful for how supportive everyone has been so far, but of course there were questions and uncertainty running through my mind before the launch… Who am I to want to create a tutorial? How many people actually like my work? What if this bombs? You and I have talked briefly about this before, but what surprises me more than anything else is that anyone would think I would be so sure of myself and therefore free of any doubt about my work. I am still in the early stages of my career but even if I were more well-known, doubt and all those other monsters kind of just come with being an artist. Really, they just come with being human! The way I see it is that I have two choices… I could let doubt overtake me and destroy everything in its path or I could use the gift of doubt to drive me to be better. I’ve explored both roads many times and can tell you from experience that the key to success is in the latter.
In regards to whether or not I feel I’ve had my big breakthrough moment yet, I don’t know. I was never really after a “big moment”. I’ve enjoyed the nice, steady incline in popularity and in the improvement of my work. I’ve learned a lot about myself and my art since graduating in 2007 and I’d like to think that has been reflected in the quality and level of my work.   

 

KS: Many of us probably came across the story of a school recently hosting a ‘Michael Shapcott Day’. That is so cool, you must have been really honoured! Kids painting in your style, eating the food you like!! How did you find out about the event?

MS: Yes, it felt great to be acknowledged in that way and I am truly touched by such an honor. The art students from MCHS in Kentucky and their teacher, Ms. Stewart, are absolutely incredible. Ms. Stewart contacted me a few months back explaining their plans for the semester-long project, ending the first of many emails back and forth with “What are your favorite foods?” Haha! From that point, I knew it was going to be a lot of fun and was thrilled that an art class halfway across the country would see my work online and like it as much as they do. I really enjoyed hearing about their experience and seeing all of the beautiful pictures they sent from the day. Those kids did an amazing job interpreting my work. There is a lot of young talent in that town so watch out!

KS: Now, you probably already know I’m your fan and that I really admire your painting technique! I was fascinated when I first saw one of your videos because it’s pretty similar to how I build up my own stuff. Always nice to watch a fellow artist work! Could you provide our readers a little insight into your ‘painting over a detailed drawing’ technique? Will there be more tutorials in the future?

MS: Thanks Kaspian! I’m a big fan of yours as well! When I first began painting directly over my drawings, I think I was simply trying to emphasis my strength and love for graphite. I knew I could draw and have always loved the feel of unfinished work, so my natural inclination was to find a way to allow the graphite to show through and work within the painting. I accomplished that by spraying my drawings with a fixatif and building up the paint in thin washes of color. Painting has always been intuitive for me so I experimented and played and let whatever emotion I felt come through in splashes and splatters. Over time, it developed into a ritual and style that I continue to build upon today. With every layer of color, I find I am adding another layer of emotion. I like to think about that when I complete a painting. I look closely at the lines and splashes and try to retrace the mosiac history of the piece. I think people find the technique appealing because it is less intimidating to paint when you have the drawing there to help guide your brush. I look forward to sharing what I’ve learned so far in the upcoming tutorial, but as far as future tutorials are concerned, we shall see. I don’t like to get too ahead of myself, so right now I’ll be dedicating myself to this one, doing everything I can to make it something people find helpful, fun, and inspiring.

 

KS: My last question (as usual) is, why did you decide to join an artist collective, and what are your hopes and expectations?

MS: How could I refuse? This collective is a totally bad ass group of artists. I honestly admire every single artist in this group and find it a real privilege to be among them. I feel supported and truly appreciate conversing with smart, kind, and talented individuals who can relate to what it means to be an artist. We are learning so much from one another and I feel a real trust here. There is strength in numbers and with the love and openness this group possesses, I feel like the sky’s the limit! I am so excited for the shows we have coming up and can’t wait to see what we are capable of accomplishing together.  

KS: Thanks a lot for the interview, Michael! I hope you enjoyed it! :)

MS: I always enjoy talking with you Kaspian! Thank you for the great questions! :)

 

Find out how you can take part in Michael’s exciting new kickstarter project at www.DrawingADrawing.com.

New look!

Hi everybody!

I’m sorry it’s been a little quiet lately but everyone’s busy working for our shows and individual projects. I can assure you there will be more interviews and updates soon, though, so be sure to check back regularly. We’ve also added some PRISMA badges to our shop in case you haven’t seen them yet!

Anyway, just thought I’d say hi and let you know the site’s got a bit of a new look. Lots of fresh greys, white, and pink. Looking forward to adding tons of content before our first mini show this summer. :)

 

We’ve also got a Tumblr that I update as often as I can.

Daria Hlazatova – Interview

Today, I’m talking with my lovely friend and ink magician, Daria Hlazatova. We’ve known each other way before PRISMA, and I’m honoured she became a part of our collective. Find out more about Daria’s life in Ukraine and her work in this interview!

KS: Daria, you are the member I have known longest in this collective, and I probably haven’t told you this yet but you are also one of the reasons I came up with this group in the first place because I believe that artists like you can benefit a lot from PRISMA. Would you tell our readers a little about your life in Ukraine and how difficult it is for you to continue making and promoting your art?

DH: Wow, Kaspian, that’s great to hear! I am extremely proud to be a part of PRISMA. I live in a city near the Carpathian mountains, very close to Romania. It is a cozy little place, but alas, it has no art scene of any kind. With one gallery, no printers or big enough scanners, and no art market, I must admit, it is difficult for me to make my drawings seen. I always have the Internet though, which has been of great help, serving as a portal to the world of art. It is my very own “room of (art) requirement”.

KS: I know you often work six days a week as a teacher and that your job is very stressful. How do you still find enough time and motivation to create new drawings, and when do you ever sleep?

DH: I lead a double life: working by day and drawing by night. I do interpreting and teaching (I’m Foreign Languages and Literature major). I sleep at work. I think I have mastered the skill of sleeping with my eyes wide open rather well. It’s very useful if you are a double agent like me and need to finish your artwork at night. I find magic in my magic wand, as well as in the wormwood drinks that boost your energy!

 

KS: It’s no secret that you love to travel! Would you like to share with us the places you have visited, and why the city of London is so dear to you?

DH: I adore travelling, you’re right! Kaspian, you know me well! Cities are like people to me, every one has its attitude, charm (or the absence of it) and of course confectioneries! I like to imagine that London is a young bearded man in a brown suit with a walking stick, very friendly, possibly with a little dog and with a bag full of fresh eclairs! London has everything I love, it’s like our world in miniature. Good things happen to me in London: once I met the author Neil Gaiman in the street at Halloween, got a free ticket to the music festival, read the last Harry Potter book (oh I cried!)… you get the idea. I’ve developed a warm feeling for this city. I just hope London loves me, too.

 

KS: There is so much detail in your works, your imagination is sheer endless, that it comes as no surprise you love stories about magic, sophisticated movies, and the theatre. Are those the sources you draw your inspiration from?

DH: You are right! As a teenager I also used to be an ardent music fan and this also had an influence on the world inside my head. I could listen to music for hours, imagine videos for them and make illustrations. I also try to add a little humour or nonsense to what I do. I am always inspired by the work of Mighty Boosh, Mervyn Peake and Lear.

KS: My last question is, why did you join an artist collective and what are your hopes and expectations?

DH: Firstly, this is not just any artist collective, there are people in it whom I seriously consider to be my…well.. idols! Creating work together and working for the same shows together gives me an uplifting and inspiring feeling. I expect the unexpected from PRISMA and I’m sure it will be good news! Pip-pip!

KS: Thank you so much for your time, Daria! I hope you enjoyed the interview!

1st PRISMA giveaway!

Hi everyone!

We’re starting our first PRISMA giveaway over on our Facebook page. There’s a beautiful package of three items by the wonderful Nicole Gustafsson for you to win! All you have to do is share our page and leave us a comment before Monday, February 20th!

And here are the details of Nicole’s generous gifts:

 

“Highwater Hammocks”
Etching & Aquatint on Rives BFK paper
Image Size: 2×3 inches |  Paper Size: 4×5 inches
Signed Nicole Gustafsson

4 Postcard Set
Treehouse
2.5 x 5 inch
Relief Print

Kit Lane – Interview

One of my favourite interviews so far is the one I did with my friend Kit Lane. Kit is the only non-painter in our collective, and she’s had a very eventful life that I loved to find out more about. Have a look at what Kit has to share with us!

KS: Your biography is probably about the most exciting one in our collective. You have lived in so many places, had so many different jobs. Are you a typical world traveller, or how did you end up in places like Mexico, Haiti, or New Zealand, not only as a tourist but a long-term resident?

KL: My dad was a student and then in the military when I was young. I started my life moving from place to place with my family including to your lovely country of Germany. He too held several jobs when he left the service including State Park Director of North Dakota, an administrator for an IT company which will not be named but who’s initials actually mean “I’ve Been Moved” and contract administrator with NASA. I just carried on as he did when I grew up.  I was a Drug and Alcohol Therapist between Aspen and Vail for 6 years by the time I burnt out. I was so toasty around the edges that I couldn’t bear to talk to anyone anymore, so tired of peoples problems and their recidivism that I could think of nothing more healing than to pack up and move to a country where I didn’t speak the language. Where no one could bother me with their problems even if they wanted to. So, I moved close to Puerto Vallarta, Mexico back in the days when it was a fairly sleepy little town. Sunshine, beaches and beautiful culture and people were my cure. However, I could only be idle so long before I needed something to do. If I was to live and work there then I’d certainly needs to speak. Food was the first motivator to learn Spanish for me and I’ve written a bit about it here. http://kitlane.blogspot.com/2010/08/search-for-eggs-and-meaning.html Mexico is still very close to my heart. Surely I’d bore you to death with all the little details about Haiti and New Zealand. Suffice to say that Haiti and my efforts there was a way for me to give back some of what I had gathered in my life and my New Zealand story has a man in the middle of it.

KS: At this point, you live a rather secluded life with a funny puppy (please provide funny photo) and your Bobbaloos in the cold and snowy wasteland of Minnesota. What made you become a hermit? Was it a natural step after an eventful or even unsteady life?

KL: My mother lives in this tiny town, a grease spot on the road really. It’s populated by government workers, big farmers and the elderly; none of whom I have much in common. It’s a typical expiring small town in the Midwest that dies a little every day as young people leave to go off to school, never to return. My daughter is one of those. The old ones die and their children sell off the farm. It’s a common story out here in the wastelands. It’s simply perfect for me at this time in my life. I enjoy my life for the most part out here free from distractions. As a child I had always envisioned my life as a maker and creative person and now I’m in a position to be and do just that. I can’t drive a tractor and I’m not fond of government administration so…tada!

 

KS: Do you still smile a lot even when you’re working on your 500th Bobbaloo? And are the Bobbaloos mainly a way to practice for your larger sculptures? And, has your dog ever eaten one of them?

KL: I still smile even now that I’m up to around 2000 of them. My smile is from knowing the happiness those little guys bring to many and from the gratitude I have for all of my patrons. Those wee Bobbaloos allow me to pay the bills and give me time to work on my larger sculpts. The doglet used to get quite excited about the wool and bones in my early days but now she leaves my side when I’m felting. I think the rhythmic poke poke poking drives her over the edge. Felting has sound of hamsters munching and the constant squitch squitch squitch of the needle in and out of the wool sends her to a more peaceful place in the house usually.

 

KS: Where do you acquire the teeth and bones you integrate into your more complex sculptures, and how long does it usually take you to finish such a large piece? Could you explain to me how difficult it is to work with felt and how you prepare it?

KL: The teeth and bones I acquire here and there, people give them to me or sometimes I visit the local taxidermist who has a box in the back room of assorted parts that he allows me to poke around in sometimes. Have you ever purchased a kit complete with all the parts to build a piece of furniture? If you’re anything like me you’ll inevitably have bits and pieces left over and wonder where they should have gone in your build. That taxidermists box is a bit like that. Sometimes I do commissions too. I’m working on a small cats head that was found in an old abandoned shed. A tragic tale of a forgotten little soul perhaps lulled into the lip curling frozen death as she climbed under the woodpile to escape the desolate icy night far from home. I hope to honor her life in some small way.

KS: What kind of art and music do you enjoy?

KL: I like all sorts of music, new and old. It depends entirely on my mood and what I’m doing. I also enjoy most any ethnic and folk music from many countries and am especially enamored with Nueva Cancion and South American Folk. When I’m working I enjoy silence for the most part or acoustic music both electronic and strings from Germany to Japan. Words are a distraction for me when I’m working. Likewise, I appreciate all sorts of art. I had the opportunity this sumer to travel to Spain, France and Italy and was able to view with my own eyeballs so many works I had only seen in books or the internet. It’s all quite different face-to-face. I saw everything from all the old masters to contemporaries like Dino Valls. I’m sure I swooned every time I turned a corner both on the street and in galleries. The Uffizi and the Accademy were a dream too and at times some pieces even made me weepy. Seeing all those works not only inspired me to go on and learn more but also to lossen and lighten up; not take myself so seriously, not be too pretencious about what I do.

 

KS: My last question is, why did you decide to join an artist collective? Any hopes and/or expectations?

KL: I didn’t decide to join an artist collective but rather THIS artist collective. Many in this group I had already put on the proverbial pedestal of goodness and have met some new ones too that fill me with awe. I was chuffed and honestly a bit bewildered to be asked to join such talent. Participation in this group fills me with happiness….and sheer terror. Ha!

KS: Thank you very much for the interview, Kit! I hope you enjoyed it!

Nicole Gustafsson – In the Woodland Shade exhibit

PRISMA artist Nicole Gustafsson recently had a solo show “In the Woodland Shade” in Lincoln, Nebraska.

In the Woodland Shade - Work by Nicole Gustafsson
Opening Reception February 3, 5 – 8pm
Show runs February 3 – March 31st
Lux Center for the Arts, Lincoln, Nebraska

The main feature of the show was 50 mini (3.25 x 3.25 inch) original paintings depicting the lives of woodland creatures. These little works are glimpses into the adventures and friendships had by cats, badgers, foxes, rabbits, and more. Searching for treasure, playing in the rain, and stargazing are just a few favorite activities of these friends. Each is painted using gouache and ink on Rives BFK paper.

 

The show will be up at the Lux Center for the Arts thru March 31st, and works will be available for purchase online next week at www.luxcenter.org

Check out Nicole’s blog for progress photos and stay up-to-date on her latest works.

 

Jen Mann – Interview

I’m happy to share a little interview I did with Canadian painter Jen Mann. I hope that you enjoy the softness and subtlety of her work as much as I do!

KS: I notice the excessive use of white in your recent works. It is something I’ve been trying to figure out for myself for a while now, getting through to this very calm, very quiet place, the purity and loneliness of the soul, but I just can’t seem to reach it yet. How did you get there, and has your recent body of work changed you as a person?

JM: I think as I change my work changes. I have always been introspective, exploring existential and spiritual ideas. I am always trying to find ways to incorporate the way I see the world into my work, although I think a part of you ends up in your work, whether you mean it to or not.

KS: You seem to be spending a lot of time with your family, and you’re actually still living with them. How important are family ties to you, and are they proud and supportive of your work?

JM: Family is the most important thing to me. I love my family, and I am so lucky to have such an awesome supportive one. My mom is a shameless Facebook follower of my work. Trust that if you make a comment, she will know before I do. Living at home is just a product, for me, of being an artist. I need a certain amount of space for art + living space, and it just makes good sense to stay for the time being.

 

KS: You mentioned that your father is already 70, while you are still in your twenties. Do you think that your dad’s life experience made it easier for him to accept or appreciate the fact that his daughter’s become an artist?

JM: I hope my dad does not see this, I will shroud it from him. My dad is a super awesome human being, with crazy life experience, he is a huge hero of mine. I think his accepting of me being an artist has more to do with his own artistic background though. He owns a graphic design company, which I work for when I am not painting. He also gave me sunday morning art classes when i was little (5-10yrs old) with my brother where he taught us things like perspective color wheels and stuff like that. I laugh because they teach you that in first year university.

KS: You’re very much into sports, which I suppose is rather uncommon among artists. ^_^ Is it something that you need for yourself to find your way back into “the real world” after a long hard day of painting?

JM: I think for me its animal nature. I like to be physically active, it makes me feel healthy, which effects the way I work. Healthy body = healthy mind. I was more into typical team sports as a teenager but once you get to a certain age, its not the same anymore. I have really gotten into rock climbing / bouldering recently, which is a lot of fun.

KS: Why did you choose oils as your medium, and what brand of paints do you usually work with?

JM: When I was doing printmaking I fell in love with oil based mediums. They are just so much more ‘authentic’ to me. I love that they are toxic, it makes them real, and makes me feel ‘dangerous’ haha jk. I do like the texture of oils, and the time window you are given to work them, I never really got into acrylics, they didn’t click with me the same way oil did.

 

KS: My last question is, why did you decide to join an artist collective, and what are your hopes and expectations?

JM: When you emailed me, I was like ‘yes’ immediately… all the artist in this collective are awesome. The collective really gives you a chance to connect with other artists on a common ground, and feel supported, corroborate stories, and inspire each other. I am looking forward to some sweet collabs, and shows in the near future.

KS: Thank you very much for your time, Jen! I hope you enjoyed the interview.

JM: Loved it :)

 

Here’s a beautiful little video Jen made about herself. It’s worth checking out!

 

ArtSeen interview

I did a little interview for ArtSeen. You can check it out here.

 

New Painting From Kelly McKernan

PRISMA artist, Kelly McKernan, has completed a new painting titled “Predicate.” It measures 24″ x 16″ and it was painted in watercolor on Fabriano 300gsm hot press watercolor paper. It will be included in the “Nude” exhibition at Kibbee Gallery in Atlanta, Georgia, opening February 4th. She will also have recent work in two other exhibitions that evening at Young Blood Gallery and Beep Beep Gallery, also in Atlanta.

The golden color has a shimmery, gold leaf-like effect in the light. Here’s a detail image to give you an idea!

Kelly has several process images on her blog, which you can visit at this link. She will also have a limited edition print of this piece available soon at her shop.

Lady Orlando – Interview

Today, I’m chatting with my dear friend and worst enemy, Yoda Navarette aka Lady Orlando. I’ve killed her a dozen times in our wizarding duels but she always comes back to life. Just like the Cullens.

KS: Hi Yoda! The first thing I just HAVE to ask you is, why on earth did you come up with the name Lady Orlando? You’re the un-ladylikest lady I’ve ever met!

LA: In my late teens, I started to read Virginia Woolf’s Orlando and it became one of my favourite books. The idea of Lord Orlando got stuck in my mind for a very long time, so when I was to create my Flickr account I needed a name, something simple that people could remember easily; I remembered the novel and thought “Lady Orlando” would make a great name. I thought I was being really clever, but over the years I’ve got messages from others telling me they intended to use the exact same name and came across—ta-dah!—me. But yes, I truly am un-lady-like once you get to know me. Maybe it’s because one day I’d really like to be one… or maybe not. We’ll see.

KS: Another thing I wonder about is, why do we battle so much? I like you, you like me, and still we Avada Kedavra each other every other day. And, who’s your favourite Harry Potter character, and why?

LA:  I battle you because I like you. If I didn’t I would let you be, carry on with a non-battle days. The best of all is that we know many tricks and it doesn’t matter how much we Avada Kedavra us, we manage to survive, and that makes you a fine opponent. I think, if we were real wizards I would battle you, but never kill you, how boring, unless we had loads of Horcruxes.

My favourite H.P. character is Hermione Granger. She’s the brain of the trio, always in control and serious, which is the opposite of me. I also loved Snape. I think he is a well written character, very complex and strong.

 

KS: I love the way you handle black ink. Do you work with an ink pen or a nib? I suppose it’s a pen, considering how fine and accurate your dots look. A piece like “Bearspirit” (one of my favourites), how long does it take you to finish it?

LA: I use a technical pen. Because of the use of computers and its programs, some supplies are no longer being produced, like the technical pens I used to work with. Those were items used by architects but now they don’t need it anymore. They don’t, but I do!  I found another brand but it is very expensive, so when one of mine dies it’s pretty stressing. I use nibs every now and then, still it is always a mess since I don’t know how to use them properly.

Bearspirit took me about two weeks to complete, since it is quite big (9.84” x 13.78” aprox.). I work on small formats because they’re easier to work with, but now that I think about it, some of them took me a long time to finish… so I guess, at times, size doesn’t matter but the level of details in the works.

KS: Tell me more about your life in Mexico. Is there an art scene? Do you feel accepted as an artist?

LA: We do have an art scene but I don’t know much about it. Of course, there is always gossip, but I’m not patient enough for it. My life is more quiet. I draw all day and that’s it. My life changed loads when my father passed away, from a fast life, going out much and traveling, to a “I don’t move” one. Now it is starting to change again and things are moving. I think that’s exciting.

At times I don’t [feel accepted as an artist] because I stopped painting some time ago and only make drawings. Sadly, to draw seems too be solely under the “illustrator” category; I say this because I don’t see many popular drawers out there. I really don’t know if I should feel like an artist, an illustrator or a lion tamer. I could be all and none and it wouldn’t make a difference. If the media wants me to be an artist or a fluffy bunny, it wouldn’t matter much how I feel at the end, would it?

KS: You are one of the funniest people I have met on the internet. Are you just as outgoing in real life?

LA: Well, thank you. I am, when I feel comfortable enough to. I don’t like to be rude and treat people badly, I leave that to when I get to know them better. Ha! Joking. I have changed loads in the last two years. I was diagnosed with chronic depression that started when I was a child, that made me a strange dark character. After the treatment I started to be more outgoing and especially more patient with others and with myself. I think now I’m funny because I feel good and relaxed.

KS: My last question is, why did you join an artist collective? What are your hopes/expectations?

LA: I joined because it is something I’ve never done before. I’ve never come across a collective that caught my attention, though I’ve been invited to some, but they didn’t seem like the thing I was looking for, not only as an artist but as a person.

My hopes and expectations as a group are to make the best we can and more. Just for me, to get my work out there for more people to see. World domination!

KS: Thank you so much for this interview, Yoda! And last but not least… AVADA KEDAVRA!!!!!

LA: Wait! Not fair! You didn’t even give me the chance to reply, but hey! What’s this? It’s one of my many Horcruxes! Ha! CRUCIO!!!

Collaboration: Kaspian Shore/Nom Kinnear King – first look

This is a very first look at the drawing for my collaboration with Nom Kinnear King for our show “The animal in me”. Since Nom paints in oils on panel and I work in acrylic washes and coloured pencil on paper, we figured it would be best to create two pieces instead of trying to paint one. What we’re doing now is that each of us starts with a drawing (I have sent Nom a sheet of my Fabriano paper, and she’s sent me a panel of the same size) that the other one is going to paint.

I’ve started with a drawing on paper that I will have to transfer to Nom’s panel, then I’ll mail both the drawing and the panel over to her and let the magic happen! Nom’s then sending me back my paper with her drawing and I’ll fill it with colour. So excited!

 

Allison Sommers – Interview

It’s no secret I’m a huge fan of Allison Sommers. Not only is she one of the most talented gouache painters on this planet but Allison’s also smart, funny, and pretty damn cool, and she teaches me a lot about the art world. You better check out this interview I did with her today!

 

KS: Hi Allison! First of all, I would like to know if there is a link between you being a vegetarian and the large amounts of meat you tend to display in your works? I’m a vegan and it never occurred to me to paint meat because I think it’s kinda gross. You, however, seem to be a bit of a meat worshipper, so I’m wondering if there’s an underlying message, or if you just find hidden beauty in meat?

AS: I AM a meat worshipper. I think it’s beautiful. It also inhabits a space that combines repulsion and attraction, which is something I like to explore in my work– I do want it to look disgusting at the same time it’s delicious. I came to vegetarianism after I had been painting meat for a while, due to ethical reasons, not any actual disinterest in meat products– I miss sausage something fierce.

KS: You’re keeping an extremely cute and photogenic hedgehog by the name of Ludwig as a pet. I find that pretty uncommon! How long has she been living with you and where did you find her? Are there professional hedgehog breeders in New York? Does she wear different outfits for summer and winter?

AS: Miss Ludwig was born in Virginia and yes, there are hedgehog breeders, although the critters are technically illegal in the 5 boros (go figure. Ludi wouldn’t last a day out there, much less start breeding rat-hedgehog super hybrids). She’s not terribly interested in clothing, but there was one Cinco de Mayo….

 

 

KS: You’ve recently travelled to Germany where you’ve eaten a lot of cake. No matter how much you ate, though, you always had paper and a pen on the table. Is there ever a moment that you don’t draw? You seem to have so much inspiration in you, you never stop. Does it bother you if you’re surrounded by people when you’re at work, or do you just mentally wander off into your own world?

AS: I think it started early for me– my parents realized I would keep immediately quiet when handed drawing supplies, so it’s been the way I cope with my extreme fidgety-ness since then. I’m very fiddly, squirmy in my seat, bored easily if I don’t have a pencil to let me into that world. I used to be bothered by people looming over, but it seems that now I’m an adult most people feel awkward watching me work for very long, and I get too engrossed to notice them, anyway.

KS: What are your favourite colours?

AS: I’m always in search of a good punchy red, and I think sepias are my favorite by virtue of how useful they are for building colors. Yellowy sepias are workhorses.

KS: What brand of paints and paper/board do you use, and what makes them so good? And, what makes gouache YOUR medium?

AS: Almost all Winsor-Newton gouache. I have some Holbein, which I know many people prefer, but it has a different texture that I’m not partial to. WN gouache has a lot of pigment, and is the chalky sort of gouache that I love. As for papers, I almost always use 20-ply Strathmore illustration boards. That stuff can take a serious beating. And gouache is my medium because we found each other and it clicked like a cheesy romantic movie. Once I learned how to use it I couldn’t believe the things I could do with it. I love oil paints, too, (that glorious smell!) but I feel like I can’t do nearly as many things with oil paint (at the size at which I want to do it) as I can with gouache.

KS: My last question is, why did you decide to join an artist collective? What are your hopes/expectations?

AS: There’s a big, scary, sometimes counter-productive Art Market out there, and the only way to counter its power is to pool the talent and work and voice of the people who actually create the work and the culture.

KS: Thank you very much for the interview, Allison! I hope you enjoyed it.

AS: And THAT was the most effortless interview ever, I think.