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Graphic Echo's Sixth Month Jubilee

In celebration of Graphic Echo's six months of existence, I have compiled a number of quotes by famous artists that expose the true nature of being an artist, as well as create a light in which we can view them as real people. I believe that sometimes we create such a distance between ourselves and individuals who work on a different level, but we all essentially create art in the same manner, enduring the same hopes and frustrations. Additionally, I have included some awesome quotes from GE artists. Thank you to all of the artists I have interviewed; it means so much to me that everyone has been so honest and giving in sharing their thoughts. 

"The idea of getting out of the art world to make better art because you can reach people outside the class structures implied by the museum system is a dream that’s been embedded in many artists of my generation." -Tony Oursler

"If I knew what the picture was going to be like I wouldn’t make it. The challenge is more about trying to make what you can’t think of." -Cindy Sherman

"When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera." -Cindy Sherman

BAI: "What work of art do you wish you owned?"
JS: "The Sistine Chapel."
BAI: "What would you do to get it?"
JS: "Become Pope."

-Jim Shaw 

"When it is working, you completely go into another place, you're tapping into things that are totally universal, completely beyond your ego and your own self. That's what it's all about." -Keith Haring

"I think you have to control the materials to an extent, but it's important to let the materials have a kind of power for themselves; like the natural power of gravity, if you are painting on a wall, it makes the paint trickle and it drips; there is no reason to fight that." -Keith Haring

 "If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." 

-Andy Warhol

"I had a lot of dates but I decided to stay home and dye my eyebrows." 

-Andy Warhol

"The truly successful fine artist is willing to let go of many of the extra things in life to harness the skills to become a success." -Gill Eaton-Koch

"In my opinion, graffiti can be just as aesthetically valuable as any painting or sculpture. In terms of material worth in the art world, perhaps this doesn't hold true, but I believe different types of art influences people and society in different ways - you can't look at everything through the same lens." -Angie Carafas

"I want the world to see itself through my eyes." -Grace Camporeale

"When I started working with Ed Smith a couple years ago he had me work on paintings that were about 10' x 6'. I hadn’t had an extensive amount of experience with oil and I had never worked very big. When he showed me the wall he wanted me to work on, I thought to myself, "Yeah Ed, sick joke." Looking back, it was a way of learning how to swim by being tossed into the pool, and I am so grateful for that." -Mike O.

 

Emily Wist

"Looking back on all the work I've done in these two years, it seems crazy that I should end up with the body of work that I did. But once I look more closely, I can see that everything I did, good, bad, ugly, brilliant, or sucky, had something to contribute to what I showed in April."

Within the sculpture and drawings of Emily Wist, a single line is able to capture the attention of its viewer, leaving him spellbound as he follows it throughout the piece, tracing its seemingly never ending turns, twists, and alterations. The exposed details of the wrapping used in her standing sculpture provoke the idea of mummified aliens. In each of her pieces, the materials, colors, and shapes are morphed together in such a way it feels as if it happened organically, without the help of a human hand.

GE: Can you talk about the long-legged figure series: how was the concept conceived? What materials are involved?

EW: These pieces evolved from actively looking at how people walked and how they distribute their weight when standing.  I was curious to see if I could create works that stood on their own, literally, not just conceptually.  As for materials?  They have a skeleton of welded steel, "muscles" of brown packing paper bunched, rolled, and contained with masking tape, and "skin" of various materials like sewing thread, paint, polyurethane, yarn, rope, etc. 

GE: Some of your pieces similar to the figure series have a steel exterior – why the decision to expose metal in these particular works? (i.e. "Strain" & "Struggle")

EW: Actually, these works were the predecessors of some of the other pieces.  Each piece in this body of work started in all steel. I loved that process and the results I got, but I found it too be too slow for the rate of ideas I wanted to execute.  I also wanted to experiment with different surface techniques so I switched to welded skeletons instead of entire welded pieces.

GE: This series was created in 2012, in the final months of your graduate school experience. Is this where you hoped you would be by the time your completed your MFA program? Are you satisfied with this project being your final graduate work and how has your previous grad work led up to this series?

EW: I'm incredibly satisfied with where I am and the work I have made.  Looking back on all the work I've done in these two years, it seems crazy that I should end up with the body of work that I did. But once I look more closely, I can see that everything I did, good, bad, ugly, brilliant, or sucky, had something to contribute to what I showed in April [at the Boston University MFA exhibition].

GE: Do you consider your 2D work as artwork in itself, or primarily as preparatory studies for your sculpture?

EW: Both.  The prints and drawings are in direct conversation with my sculptures.  I needed printmaking as a way to explore colors but it's more than that.  Printmaking helps me develop my sense of composition as well and it also gives me a faster outlet for my ideas.  Drawing is a little different.  I draw A LOT - I have hundreds of drawings. I use them as ideas for new sculptures even if, at the end, the sculpture looks nothing like the drawing. Although, not all of my sculptures come from drawings.  Sometimes it's reversed and I make drawings after I made the sculpture.  But the drawings I have do serve as preparation.

GE: Your drawings on dictionary pages – was the imagery influenced by the text on the page?

EW: No, not really.  Sometimes, but I would have to say in 95% of the cases, no.  I like drawing on dictionary paper because of the two columned format it has and because of the quality of the paper.

GE: Do you think its important for an artist to work across a variety of media? That practice in one medium helps the other?

EW: Yes, absolutely!  How can you learn anything if you're not pushing your boundaries?  And that goes for more than just materials!

GE: What does the graduate school experience give you that undergraduate does not?

EW: The time to work.  I spent anywhere from 8 to 14 hours a day 6 or 7 days a week in my studio.  You just can't do that in undergrad.  Not only that, but you're surrounded by people who are doing the exact same thing!  It's a great environment for sharing ideas and working hard and I loved it!

 

GE: Would you ever consider becoming a professor of art yourself?

EW: Yes, but aside from perhaps teaching a course here and there, I'm not ready for that yet.  I'm too young, I have more to learn before I can turn around and say, "This is what I have to teach you." I want to know more so I can give my future students more. 

Check out more of Emily's work on her website here.

Anthony Figalora

"I still consider myself to be learning something new every time I start a project and I'm always striving to try something different."

It's easy to travel and snap a shot of the first pretty sight that crosses your path. Anthony Figalora distinguishes himself in his ability to capture the essence and the true, undisturbed nature of place. His images feel more like the photographer, and consequently the viewer, is actually part of the scene, rather than an outsider looking in. The light in his night photography is so lively, it reminds the viewer of the energy that is still present even in the middle of a deep, dark night.

 

GE: Although the subject matter of your photography covers landscape, architecture, and portraiture – do you have any preference towards one type of subject?

AF: Although I'll shoot anything and enjoy it, I will always love doing night photography the most, specifically architecture at night. There is just something about the colors you get at night - they are so deep and rich. Shooting at night also allows me to slow my shutter speed and really capture the movement of light and create some beautiful images.

GE: How important is photo editing software in the making of your images?

AF: As much as I try to get the best shot I can straight from the camera, most of the time some sort of editing is done. The things you can do with Photoshop are amazing and if you know what you're doing you can take a good photo and make it a great one. For example, my original shot of the carousel in Boston, “The Night Shift.” To start with, I was able to get a pretty good shot that didn't require a lot of correction, but there was a lamp post and building on the left that really took away from the focus of the image. With Photoshop, I was able to completely take the lamp and building out of the image and I think it really makes the image better.

 

GE: What things do you keep in mind when composing a good composition in a photograph?

AF: I always try to get the most interesting angles and colors when I take a photo. Anyone can take a good photo straight on but I think that its the angles that really add to a shot and the colors that really make a beautiful picture. When it comes to color, I love deep rich colors. Whether in black & white or in color, I think its the richness that really adds to it all.

GE: If you had the opportunity to put together a photography exhibition of two or more artists, who would you include and why?

AF: First would be Chase Jarvis, a commercial photographer based out in Seattle. He does anything from action to model shots and his work really motivates me to want to try new things. He also coined the phrase "The best camera is the one you have with you," which basically just means you don't need the best tech to take a good picture - he even produced a book of just his iPhone photography.

Second would be Michael Kenna. Kenna is a British photographer who focuses on long exposures and unusual landscapes. Even though he shoots in black & white, his night time images truly capture what is so amazing about shooting at night. All his images show incredible detail and beautiful use of light. 

GE: In what way, if any, do all of your art practices (photography, sculpture, web design) relate?

AF: I think the biggest way they relate at the moment is how I approach lines and shapes. Whether its in a photo, website, or a sculpture, I love finding the most interesting way to show a pattern or demonstrate how different lines and shapes can interact. On top of that, they all challenge me to try new things. I still consider myself to be learning something new every time I start a project and I'm always striving to try something different.

GE: In your academic career, you made trips to Japan and Italy. What did you take from each experience and where do you want to go next?

AF: I learned A LOT from these experiences. While abroad, I've learned things relating to both my personal life as well as my career. Being able to see the 2011 Venice Biennale, as well as all the other amazing galleries and museums that Japan and Italy had to offer, gave me so much inspiration as well as helped me to better understand which direction I want to go with my own work. Also, foreign cities offer amazing photo opportunities unlike anything you would see here in America.

Personally, I think it really helped me grow and mature. You have to learn, to adapt, and do things in a new way when you're abroad and many times you have to figure out that way for yourself. Its even harder when there's a huge language barrier like in Japan. I don’t think I would be the person I am today without these experiences.

As for where I want to go next, I would love to go to either Munich, Germany or Dublin, Ireland. Both cities look absolutely amazing and I know I would love them. I’m hoping to find a job that will let me travel a lot so I can see as much of the world as I can.

GE: The photograph of the little Asian school children in two lines is one of my favorites of your work. What was happening in this scene?

AF: This photo was taken at the Children's Peace Monument in Hiroshima, Japan. The monument was created in remembrance of one girl who was affected by nuclear disaster and in order to make herself better, she made 1000 paper cranes, which according to Japanese lore will make one wish come true. Unfortunately, she passed away. Today, children come with their own paper cranes and pray at the monument. It was a very moving sight.

GE: Is education something that you learn in school?

AF: I believe you can get an education from anywhere. In my four years at Marist College I learned a lot about photography, as well as many other subjects, and have built a really good foundation. After a certain point you can only learn so much at school and you need to start learning on your own. I’ve learned so much through hands-on experience, but with out that foundation I built with my classes, I don’t think I’d be able to teach myself as much as I have.

Jaclyn Vosburg

"I do primarily work with close up shots of one object and I do this because I love detail. I always have, and it's the aspect of my artistry that I pride myself on."

 

A 'Secret Garden' ambiance transcends through the variety of media in which Jaclyn Vosburg works, specifically digital photography and event invitation design. The swirls and curls that compromise the ephemeral subject matter within her images also make an appearance among the clean and elegant designs found in her invitation material. In viewing her work the audience quickly comes to understand the key elements important to the artist: romance and attention to detail.

 

GE: Would it be satisfying for you to be a commercial photographer? Or do you think you would feel limited?
JV: I think there can be limitation in any line of work I would choose, but I don't think that limitation is always a bad thing. I think I would enjoy the experience of working in a new mindset, especially one that is not entirely determined by myself. I find that sometimes when I'm working for myself I can lose direction, so commercial photography might give me some insight to a new subject area to explore on my own as well.

GE: Many of your images are up-close shots of the object you're capturing. What is it about highlighting the details that is important to you? What other elements do you look for to create a successful photo?

JV: When I'm shooting I look for subjects which have small areas of interest that might be overlooked upon first glance. I suppose I look for elements such as detail, line and texture to determine first, if it is a suitable subject and second, how I want to use it in my photograph. Composition is something that can always be rendered later on in the image correcting process but, it is something I try to master while I'm shooting and I'm meticulous about it. I have a hard time cropping my photographs to fit standard size mats and frames because of this, so sometimes I also take the same shot from farther away in case I see something later that I wanted to include. But I do primarily work with close up shots of one object and I do this because I love detail. I always have, and it's the aspect of my artistry that I pride myself on. I have always been a technical artist because of this and as such, abstraction has been my challenge. This is true of any work I create but I think it is easier for me to let go when working with graphic design. I'm still very particular about certain details, but not about everything. But in my photography I like to capture an object in such a way that will really make people look at it and see just how intricate a subject can be.

GE: Is there a time of day that you prefer to shoot?
JV: I shoot a lot of landscape and architecture, so the time of day matters depending on the kind of look I'm going for. I like night photography and the colors that are produced by the lack of light, but I prefer early morning and late day. The sun is in the perfect spot in the sky to produce the lighting I'm looking for. I love naturally backlit scenes in nature; the subject is so beautifully outlined in a halo of light and it gives the image an ethereal quality. I also enjoy these times of day because I feel like nature is wonderfully peaceful at dawn and sunset, whereas midday can seem a bit more hectic and midnight is almost too quiet. I guess I like the romantic quality that low lighting, or warm lighting, can create. 

GE: Considering you work in Fine Arts as well as in Graphic Design, do you believe there is a difference in definition between 'artist' and 'designer'?
JV: I do. I think the two can work in synergy of course, but there is a difference to me. When creating studio work I use a different mindset. In design I find that there are a lot of guidelines to follow, especially because the work being produced won't necessarily be for my personal use but it will be for a client who has specific wants and needs which differ from my own opinions. I do believe, however, that designers are artists and artists are designers, I just think that there is a very fine line that separates the two depending on the kind of work that is being produced. Sometimes I don't feel like a designer and sometimes I don't feel like an artist and I know it is because of what I have been working on.

GE: An observer can tell you have a passion for designing invitations and event associated material. What is it about this type of work that interests you?
JV: There is a need for it, which is appealing, but it's mostly because I like to please people. People put a lot of thought and effort into the kind of invitations and announcements they send out, to reflect their personal needs and interests. Similarly, I put a lot of thought and effort into creating them. On a more basic level, I enjoy designing space that is comprised of text and images, much like magazines and posters, but with stationary there is a simplicity to my designs that gives me endless possibilities to create. There is also the opportunity to make something really special for someone during an important time in their lives. It brings a personal level to the work I create that I really enjoy.

GE: Do you want to scream when you see a bad design?
JV: I definitely voice my opinion if anyone will listen, but I try not to be too harsh with my criticism because I always have that little voice in the back of mind asking me: how I would feel if it were my design? I try to remember that everyone has a different style and different interests. I put emphasis on 'try' because it's very easy to forget myself and let out my raw opinion without filtering it first.

Aithan Shapira

“I don't expect you to be interested in all the things that I'm interested in. But, what I need you to know …when you look at it, it looks like there's an urgency: it needed to be made, and it needed to be made right now. Today. By me” 

By using only red, yellow, black, and white – the limited color palette that Rembrant himself operated from – Aithan Shapira remains very conscious of referring back to the techniques of the Old Masters in his printmaking. While his work is understood as a reflection of the present, he is very much influenced by art history, as well as his own personal heritage and prior experiences. In this way, his work serves as a reminder that it is our pasts that have brought us to our present.

In this video interview, Aithan discusses his new studio in Portland, O.R., symbols within his work, and life as a traveling artist.

Danny Intro

"Graffiti and street art really don’t need to be defended much anymore. Besides some right-wing, waste-of-brain art critics, most progressive art collectors and galleries have been very welcoming to the new scene."

Danny Intro allows the essence of graffiti and street art to inform his design work. The explosions of color juxtaposed with a simple black image on a clean, white background is gives his work it's signature style.

GE: How did you first get into graffiti art?

DI: I first got into graffiti at a very young age. I grew up in NYC and was constantly surrounded by it. I remember trying to draw bubble letters as early as 6 or 7. I made my first tag at about 10. I started to get more serious with it, study techniques and eventually learned how to paint in about 1999-2000, at the age of 13. It may be cliche, but with graffiti art, the world is truly your canvas.

GE: As you go through your day, are you constantly considering new surfaces you encounter as possible canvases?
DI: I can’t go 5 minutes without looking at a spot on a highway, billboard, etc., and thinking about putting up some work. Although as of lately I haven’t done much illegal work, I still itch for it. It never leaves you. I just have different priorities than I did when I was 16 years old, mostly work and bills. That’s why I channeled a lot of my creative energy into gallery style pieces on canvas and wood panels. It’s just been a natural artistic progression for me - I never really plan anything.

GE: This idea of an explosion of color plays a big part in a lot of your work. Is there a significance behind this?
DI:The Controlled Explosions series was the first real cohesive series of gallery style artwork I put together. After years of doing letters and graffiti style artwork, I wanted to put a new twist on things. Besides being an artist, I work as a graphic designer and have a very clean style with a lot of white space. I’m a big fan of Paul Rand and his use of simplicity. Graffiti in essence is a very vibrant, explosive and colorful style of art and I wanted to capture that somehow without actually doing graffiti.

The paint splashes are the free flowing expression that comes from my graffiti background. The static monochromatic image juxtaposed to the loose and uncontrolled paint splashes it really what gives my work it’s character, in my own opinion.

There is some significance behind it, but every piece is different. I carefully pick my subject matter to be able to use the color as a catalyst for whatever expression or feeling I’m trying to relate. I never actually tell anyone what I was thinking or what it means to me. That would take away all the fun!

GE: In a public space, many times you see that a graffiti artist has painted over another artist’s work. Is this a justified action in the world of graffiti art?
DI: There are many unwritten ‘rules’ of graffiti etiquette. It’s so in depth and the terminology is so foreign to an outsider that its hard to explain. Basically, if you have a problem with someone, you cross them out. If you crossed someone out, then he has the right to go over your work, but you still have the right to come reclaim this spot. Also if you’re doing something more impressive its generally okay to go over someone's work. But there's problems with that logic too. Like I said its complicated…

GE: An admirer of your work can definitely see similarities to that of Banksy’s work. Do you appreciate that comparison?
DI: I don’t dislike it, but it sounds very elementary to me. Everyone knows Banksy because he’s sort of a pop culture icon for street art. Its like 'the cool thing to do', as compared to liking a popular band of sorts. His work is great but when I hear that from someone I know you don’t know much about the street art movement.
I’m much more in tuned with someone like Blek Le Rat, who is the pioneer of stencil art. Most people never heard of Blek because hes about 60 right now and isn’t as 'cool' as Banksy. But let me assure you, Banksy took tips from that guy too.

GE: How would you defend graffiti art to someone that might claim that it is not a form of fine art? Do you feel that you would even need to defend it?
DI: Graffiti and street art really don’t need to be defended much anymore. Besides some right-wing, waste-of-brain art critics, most progressive art collectors and galleries have been very welcoming to the new scene. They see the energy it emits and the response it evokes from people. It’s hard to deny.

Recently LA MOCA just held the first major U.S. Museum exhibition of the history of graffiti and street art, “Art in the Streets”. The show clearly legitimized the movement. It was supposed to come to the Brooklyn Museum, but right-wing lobbyists shot it down. In my opinion, it was because the artwork relates to more people - its not just for the elite to enjoy. They had an outpouring of kids visit the museum, which would generally never set foot in a museum. That’s the great positive impact which graffiti and street art can bring; it engages kids in a positive art form that they can relate too, unlike a lot of other ‘boring' art forms.

People's main claim is that it stemmed from illegal activity. I didn’t know the law was part of judging artist merit. It’s an ad Hominem argument: a strategy used when you don’t really have a legitimate point to make.

I don’t even consider myself a ‘graffiti’ artist either. I’m just an artist that does graffiti. Classifications drive me nuts because they’re limiting. Its hard to grow when your classified.
Right now the current graffiti/street/fine art movement is kind of in a hybrid evolution. Everyone pulling bits and pieces from all different facets of art and making a new evolving style. It’s been coined Hybridism and Graffuturism by prominent art bloggers, the reason being that most people started in the graffiti scene and evolved as they got older into something else.

Joseph Ventura

"Along with the study of anatomy, what better way to learn about the characteristics and capacity for expression of the human body than to engage my own?"
  
Joseph Ventura's methodical rendering capabilities allow him to materialize his curiosities with physical phenomena. His figures emit the energies of the body and reveal the mechanisms on which they function. By successfully capturing light, he is able to accurately translate the properties of material into an impressive 2-D state.

GE: What are the most important elements to keep in mind when painting in a hyper-realistic manner?

Anna, Oil on Panel. 2011

JV: The single most important thing one must keep in mind at all times is LIGHT. Light is largely the means by which we experience reality, so when creating a believable representation of reality understanding its behavior is essential. A painter must examine the subject and describe how it is receiving light (with value and color). Light follows the same laws everywhere in the universe, so if it is interpreted consistently then the painting will be consistent with reality. (An artist should constantly be curious about light in everyday life! Look at how objects reflect light, identify the light sources, cast shadows vs. form shadows, etc. Always ask yourself, “how would I paint that?” Also, the ability to create a realistic illusion from imagination can come only from this practice.) 

The next super-important thing is understanding your materials. It seems obvious but oil painting has a long and rich history, and there are tons of different types of paints, chemicals and brushes, many which did not exist before the last 100 years. I find that looking at technique and the proper use of materials from a historical point of view is extremely helpful when painting realistically. A fantastic book for this is The Materials of the Artist by Max Doerner. 

The point is: painting realistically is an intellectual endeavor. A painter is translating a 3-dimensional object or space into a 2-dimensional image. You wouldn't be a very good translator unless you are fluent in both of the languages you are working with, likewise a painter of realism must be fluent in the language of light and perspective, and the language of their own materials and execution.

GE: Can you explain some of the ideas behind the series “In-Phase Feedback Loop of Time, Space and the Probability Wavefunction of an Apparently Frustrated Human Subject”? Where are these men coming from and going? Are they fighting or holding onto each other? And what is the purpose of the black rope?

In-Phase Feedback Loop of Time, Space and the Probability 

Wavefunction of an Apparently Frustrated Human Subject, Part II

Oil on Canvas. 2011

JV: The ideas emerged from my obsession with theoretical physics. I was watching a ton of the Science Channel and reading books by Brian Greene, Stephen Hawking, and Michio Kaku. The strange phenomena of physical reality became my inspiration, and their philosophical implications became my imagery. 

A simpler idea exists in “Wavefunction Collapse”, which is the “wave-particle duality” of matter. Early in the 20^th century the “double-slit experiment” proved that particles exist not only as solid matter, but also as a mathematical wave of probability concerning their location, velocity, etc. Simply stated, particles can exist in multiple locations at the same time. The painting asks, if true for particles, what does that mean for sentient agglomerations of particles like human beings? 

The Feedback series adds to this another phenomenon. We know that feedback through a mic and speakers is the continuous amplification of a sound wave. So, what if there were such a loop in space-time through which a human might fall? Perhaps he would replicate physically, or his frustrated emotional state would be amplified.

And if you noticed, the Feedback series begins with part 2. In a part 1, which no longer exists, the figure was actually tripping over the cable connecting the two portals. It provided a graphic continuum to stand alongside the metaphor.

I know it's a lot and probably sounds crazy, but this is what goes through my head when I'm sketching.

In-Phase Feedback Loop of Time, Space and 

the Probability Wavefunction of an Apparently 

Frustrated Human Subject, Part IV

Oil on Canvas. 2011

GE: Is that a self-portrait in “In-Phase Feedback Loop of Time?” Are all the figures supposed to be you?
JV: Well the figures are certainly all the same individual and though that individual might be a representation of myself in an alternate reality, it is mostly just a human being as opposed to a portrait. Also, I am both the cheapest model I can get and the easiest to work with.

GE: I understand you have an interest in martial arts. Are there any aspects of martial arts and fine arts that relate?
JV: Absolutely. I'm a student of Jeet Kune Do which Bruce Lee developed. He said, “martial art is ultimately an athletic expression of the dynamic human body.” You could use those exact words to describe some of the greatest art; the Laocoon, anything by Michelangelo or Bernini, and someday as I endeavor, my own work.

Combat is the most primal, instinctive expression of the physical nature of living organisms; imagine any animal fighting for its own survival or to defend its young. It's like a super high-energy improvisational dance but with everything at stake. I would like to see Pollock or Rothko step inside the ring and truly express themselves...

Anatomical Study, Graphite on Paper. 2010

It helps me approach a composition with that mindset of dynamic expression, of powerful movement with emotional content. Along with the study of anatomy, what better way to learn about the characteristics and capacity for expression of the human body than to engage my own? 

“Art is the way to the absolute and to the essence of human life. The aim of art is... but the opening of all human capacities – thought, feeling, will- to the life rhythm of the world of nature.”

-Bruce Lee

Fruit of the Earth, Oil on Linen. 2012

GE: Is there any significance behind the small statue reoccuring in your still-lifes? How do you choose your imagery in your still-lifes?
JV: The human torso is a complex and beautiful result of natural evolution, so to me the statue functions as a celebration of that epic story. A still life set up has to flow with the things I tend to think about. “Still Life with Wine” might be about having a glass of wine over a philosophical discussion. “Fruit of the Earth” may suggest world view in which humans are a part of the Earth's natural ecosystem. Most importantly though, it has to be something I won't mind to sit and stare at for a few weeks.

I'm painting a skull right now, which sadly always has the connotation of death... I see it rather as an odd-looking structure that holds our faces together. It's a combination of choosing things that might interest me and drawing interest from the objects.

Still Life with Wine, Oil on Panel. 2011

GE: What is the most challenging material to paint realistically and why?
JV: This is going to sound ridiculous, but in all honesty the hardest thing for me to be paint is a solid wall. I find it more difficult to create a large, smooth and uniform gradation than to work in details. Also, painting a flat surface or drawing straight lines of architecture bore me to death. It's always the most challenging to paint something you don't really want to sit there and paint, even if it's supposed to be easy.

GE: How was the transformation from undergraduate studies to graduate school?
JV: The move into grad school was smooth for me. Over the four years at Marist pursuing digital media, I shifted heavily toward studio art my senior year after going abroad to Italy. While quickly becoming passionate about learning to paint and draw the figure, Professor Chris Seubert told me about the New York Academy of Art, where figure drawing and traditional techniques were the focus of the curriculum. I hastily got together a portfolio to apply, and was attending later that fall. I suppose I was a bit lucky, the Academy was a perfect fit, and I was able to continue seamlessly and develop rapidly as an artist in the short, two-year program. The difficult transformation is happening right now, going into the real world... I'll let you know how that goes.

Ribcage, Graphite on Paper. 2010

GE: Do you think its necessary for today's artists to keep up with the latest news and newest figures present in the art world or is it possible to be successful as an artist while being removed form everything that's going on?
JV: I'm really not a big fan of the art world but it's probably a bad idea to be totally removed. There's a lot of really, really terrible, shitty work everywhere you look, but once in a while there is an artist or a gallery that's really appealing. Subscribe to their newsletters, go to openings, etc. There's nothing quite like seeing up close the work of someone who does similar work to yours, only a million times better. I mean that in a good way, it's totally inspiring. 

I also made a lot of friends at the Academy and even went back to intern as a teaching assistant a few times. Keeping in touch with colleagues and faculty will probably prove important, especially when it comes time to invite people to your opening. Those connections are where many opportunities might come from, you may have friends organizing a show, curating, or just recommending your work to someone. Also, if you want people to show up to your openings, showing up to theirs is a good idea. And from what I hear, the most likely way to find a gallery is to know someone who already shows there and have them recommend you.

Grace Camporeale

"I have finally found something I could spend countless hours doing. Getting lost in my work and finally producing that perfect piece - there's no greater feeling."

Both Grace Camporeale's photographs and her drawings have a softness to them that resonates a certain degree of intimacy. It almost feels as if they are friendly to be around. Generally working small, but quick, you know that these pieces are sincere visions from her consciousness which have not been tainted with the effects of over-thinking.

GE: Your photography seems to freeze an intimate moment. What are you interested in capturing in a photograph?

GC: Basically just that - I want the world to see itself through my eyes. To me, the things I photograph are intimate moments in time, something my eyes alone see. To be able to capture that in a single image, and then display it for everyone else is what makes photography so important to me.

GE: What do you think are the advantages that black and white photography might have over color? What are the advantages film has over digital?
GC: I personally love the strong contrast you can get with black and white. I feel like if some of the pictures I took were to be left in color, only certain aspects of the picture would be noticed and when I photograph something I'm capturing the whole picture, not necessarily a certain fragment.

I have come to love working with film over digital photography. There is something about the process - from taking the picture, to developing the film, to printing - that feels so much more rewarding than digital. I enjoy working to get that perfect picture. I feel that the reward for when you finally print that picture and it comes out exactly how you imagined, it's more rewarding than manipulating your photograph with Photoshop to get what you want.

GE: What is the bridge between drawing and photography for you?
GC: Most of my past studio work has been based off my photography, but it has never just been about the way I use these two mediums together. Rather, it's about the different views I can show of the same thing. My photograph can show a landscape as it is, while my drawing can be very abstract. The biggest connection between these mediums is the strong contrast that I try to capture - that deep, strong black against a sharp white.

GE: How did spending time in Venice influence your work? What other places do you hope to visit for artistic inspiration?
GC: Venice was such an unbelievable experience, filled with new adventures, new people, and new learning experiences. I have never seen anything like the canals of Arsenale, where I lived, nor the blown glass of Murano, where I worked. Spending time in Venice, especially at the biennale, gave me a new direction in my work and allowed me to see my work in a different way. I became focused on the history involved behind a piece. I began thinking not only of the process behind creating a piece, but why I chose that certain picture, what relevance it played in my life, and how I could translate these new feelings into the pictures for others to see. It was an incredible experience, and I have definitely decided in 15-25 years to return back to Venice and experience it all over again. I would also like to travel to cities across the United States and see local museums, as well as South America to connect with my roots and see what inspiration I can draw from there.

GE: As a senior in college, on the brink of graduation, what advice would you give a student just starting her studies in art, or what advice do you wish somebody gave you when you were beginning as an art student?
GC: My favorite thing to tell people about myself is that I came to Marist as an Information Technology major with a minor in Criminal Justice. To go from something as set in their ways as IT to a Bachelor's in Studio Art with a minor in Photography is no small jump, but the real reason is because I finally found something I loved doing. I do love working with computers, but if I had to be stuck behind one for the rest of my life I would not feel as fulfilled as I do when my hands are covered in paint or charcoal. 

I have finally found something I could spend countless hours doing. Getting lost in my work and finally producing that perfect piece - there's no greater feeling. If I were to give advice to a beginning art student, I would say to try everything, and don't be afraid to fail, or use an eraser. You are definitely going to have days when your work is sub-par and you are going to have days when you bust out 20 great pieces, you just have to be patient. Don't be afraid to go looking for inspiration, sometimes it even comes to you in unlikely ways - embrace all of it. You will be criticized, but take all of it and learn from it. Do not be afraid to give someone your honest opinion or receive someone's honest opinion of your work. Enjoy what you're doing, don't complain, and have fun because at the end of the day you have to be happy with your own work before someone else can be. 

GE: Given the immense amount of contemporary art available today, what kind of contemporary artwork captures your attention? What does it need to have in order to stand out, in your eyes, among the rest?
GC: I've never been a big art history person, and even now I don't really have a favorite artist or photographer. I think if someone's work has that strong contrasting tone that I try to capture in my work, then I will stop and take the time to analyze the piece. Also, I love getting close to a piece like a painting and seeing an artist's brush stroke, the ways they applied paint and to what varying degrees in order to get that color or that shadow or tone, etc. It helps give me inspiration for future artwork I will produce, and provides a good foundation, something I can reference back to if ever the need arises.

GE: Is there any work of art that you've encountered in your life that's changed your perception of art?
GC: When I was in Venice, we had to make a presentation on some aspect of the biennale. While traveling to each country, I came across the Israel pavilion. The floor you walk in on was like being underground where all the pipes are exposed and you can even see the dirt underneath the pavilion. Making your way up to the second floor, you see a video playing on the floor below of three men using knives to draw lines in the sand. Continue up the stairs and there's another video. This video was what captured my attention the most and made me want to learn more about the pavilion. It's an almost 12 minute video of a pair of shoes sinking into ice. It doesn't sound like much, but upon further investigation, I found out that the shoes have been submerged in the Dead Sea, covered in the deadly salt, and are slowly sinking into a frozen lake in Gdansk. When you turn around, a third video is playing with three nude women raking their hands through wet sand and slowly melting into the sea, before running back to the top of the screen and starting over. Continuing down the stairs in front of this video, we find a table with laptops all around, a dialogue playing between a bunch of different people, a video playing at various intervals on each laptop depicting the underside of the table, and a little girl going to each person and tying their shoes together. Finally, when you leave the pavilion, there are the shoes from underneath the table arranged outside in a circle with the laces still tied together.

The night before visiting the pavilion, I had spoken with a student from another school about the history behind pieces of art - not just the process, but the actual historical relevance it holds to someone and how much meaning that encompasses underneath the surface. When I saw the Israel pavilion the next day, I fully grasped that concept and felt that the universe was trying to point me in a certain direction. I read more about the pavilion and the artist, Sigalit Landau, and the immense history lesson hidden behind each aspect of the pavilion. I learned about her struggle to bring Israel and its surrounding countries into a more unified pact and what historical prevalence each piece in the show had on her trying to enforce this idea. It was unbelievable to me how much thought and time and dedication went into this pavilion, and I was beyond impressed by her work. I was able to use all I had learned to begin working on my pieces as well, and at the perfect time as I had been having a hard time taking the next step. Sigalit's message, as well as my conversation with a new friend, are some of the memories I hold dear to me and I hope to continue using what I learned in future pieces.