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.

Neon at the Armory

Graphic Echo's regularly scheduled interviews will be back shortly... but for now, a brief discourse on the brightest trend in the art market.

1. “ready-made” by Peter Liversidge
photo: Sean Kelly Gallery

The 2012 Armory Show at 
Pier 94 seemed to be lit by neon lights. As a rough guesstimate, at least one out of every ten gallery booths featured neon art. The alternative medium isn't new to the market (Bruce Nauman first grabbed the glow back in the 60's), but this past week demonstrated how it has been taken upwind by more and more contemporary artists. What is it about neon that has hooked onto the art world and taken hold of dealers and collectors? Have we become the moths to the neon flame?

2. “What Makes Me Understand What I Know? N°1” by He An
photo: Galerie Daniel Templon

3. Drum with neon light and mirror, by Iván Navarro
photo: ArtObserver.com

Bred to capture the attention of the general public, the principle purpose of the neon sign is to attract potential customers and draw in the numbers. The ever-monotonous light of the neon confronts the viewer with a constant source of energy, mesmerizing us as this is phenomena that the human body is physically incapable of achieving. Neon artists could be criticized for using this basic principle of nature against us. Is it just a cheap measure to get our attention? Well, maybe for some.

4. “Fucking Beautiful” by Tim Noble and Sue Webster
photo: Blain Southern

What should be unplugged:

1. “ready-made” by Peter Liversidge at Sean Kelly Gallery
   Under-thought; how many times can you really poke fun at the ready-made? The properties of neon were not used to its advantage here.

What's worth blowing a fuse:

2. “What Makes Me Understand What I Know? N°1” by He An at Galerie Daniel Templon
   Ornate in the traditional Eastern sense, a successful fusion of decorative Chinese art, modern technology and a commentary on contemporary regional culture.
3. Drum with neon light and mirror, by Iván Navarro at Baró Galeria
   The mirror makes this piece appear as if the artist unveiled the bottomless hole that must exist in this spot. Transcendent and enjoyable, something everyone can appreciate.
4. “Fucking Beautiful” by Tim Noble and Sue Webster at Blain Southern
   The aesthetic is simple, each colorful letter works with the whole in the same way each flower belongs in its bouquet. The words are presented like authentic handwriting, as if they were plucked right. from. a diary.

Joan Moffitt [Update]

 

I have to say, I'm really impressed by the quality and quantity of Joan's new work. I believe the words "she's on fire" would be appropriate to use in this case. Joan has taken a totally different direction with her work, while still utilizing the principles established in her past work [ check out Joan's interview from January 2012, http://graphicechoes.blogspot.com/2012/01/joan-moffitt.html ]. The palette is fresh and unexpected, the lines are energetic, and the movements performed by the figures render their agonizing sensations. These prints were made by translating a 2-D image of her sculptures into a linocut, cutting up the plate, and using them to create these spiny figures, which she will then in turn create sculptures from.

 

 

 

 

 

 

 

Mike Ozolnieks

"When I'm working I have to constantly take a step back and look at it from far way. I'll occasionally walk away and do something else because sometimes that first glance when walking back into the studio will tell you everything you need to know about your painting. "

In his paintings, Mike O. provides a variety of contrasting elements that require the viewer to take time with the work and establish their own ideas of where and why connections take place within the piece. The sheer size of the work and the layers of information that are discovered in each painting provoke a real cerebral and emotional experience.

GE: Most of your imagery is very interpretive - why do you feel this is important to your work?

Oil on Canvas. 2011

MO: I used to always have the problem of being too literal with the message I was trying to convey to the viewer. In my more recent paintings, I have tried to become more suggestive and only put things in that are essential to what I’m trying to say. I like to think of interpretation as a way for the artist to let the viewer in on a story about them, it’s humbling. It’s not always easy for me to openly tell everyone about what I am painting about. It also becomes more than just looking at a painting and seeing it for a piece of canvas with paint on it. It’s about stepping into the work and creating an individual interpretation of what it’s about. It makes the painting different to everyone who looks at it; in that sense it is really never just one painting about one thing.

GE: Given the size that you work on, what do you feel is the most challenging thing about working on such a large-scale painting?

MO: 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. It has helped me so much because now large-scale paintings don’t seem very big at all in comparison to those first canvases. I have grown to love working on a big scale, but with it I’'ve had to learn how to create a relationship with the space. The hardest part in the beginning was always keeping composition in mind no matter what I wanted to include in the painting. It's like getting a new room and trying to figure out the best place for everything. I've also learned by looking at other work that every inch of the canvas doesn'’t need to be highly worked over, as long as it all works together. When I'm working I have to constantly take a step back and look at it from far way. One area could look great until I step back and see it just doesn't fit at all. I'll occasionally walk away and do something else because sometimes that first glance when walking back into the studio will tell you everything you need to know about your painting. Shooting pictures while I work on a painting has always been helpful for me too.

GE: Considering you are presently working on multiple pieces, what about working on a number of pieces at the same time do you like as opposed to the cycle of finishing one work and beginning the next?

MO: I never used to work on multiple pieces even though professors had always told me to. I'd get so wrapped up in one work that it was hard to think beyond it until I was finished. I have learned that working on several pieces can help open up a door to one of them that I wouldn’t have seen otherwise. I used to work on a painting until I would go crazy and never want to look at it again. Having multiple pieces lets me take a break from one and sometimes just vent onto another piece of canvas - oddly enough sometimes that becomes my best work. It has become so beneficial for me because I always like to be working and now I can do that without getting stuck at a dead end on just one of them. I am at my best when I can get momentum and always come into the studio with something I'm excited to work on. It’s so important to me to always make my next painting better than my last and have that outlet to just keep pushing forward.

GE: Which artists are you inspired by?

Oil on Canvas. 2011

MO: This has always been a tough question for me because I tend to find specific pieces from varying artists that I fall in love with, but it's not always about one specific artist; I am the same with my music. Although, ever since I have seen one of J.M.W. Turner'’s paintings in person I have become a huge fan. He has the ability to create beautiful suggestive landscapes with large strokes and flowing colors, but then he'll have detailed areas of the painting that are so developed and intricate. I have always wanted to be able to do that in my work, so it is only natural that his paintings have become inspiration for me. Recently, I have tried to use a more textured style of painting that mirrors the work of Jasper Johns. He fills the space in such an interesting way that he really has no need for imagery in his work at all, his textures are just incredibly successful. I have started to also check out a lot of work by Robert Longo and Anselm Kiefer. I find artwork in all different kind of styles appealing, and I think that’s the beauty of art. I'll always try to take something away from a painting even if I don't like it - there’s always something to learn, even if it’s what not to do. In general, when looking at master painters throughout history, I tend to enjoy the early work they did before they became the well-known artists we know them as today.

GE: How are you hoping to incorporate art into your life after college?

MO: The million dollar question. I think every artist has been asked the wonderful question, "So what do you wanna do?" The real answer is attend graduate school, that's at least what I tell my parents to keep them off my back for now. In looking at it as a general question I honestly see myself working in the world of branding or some form of graphic design. In high school, we were able to design the logo for the school play, after that I was hooked. My work has been very involved in both digital media and studio art. The day will come when I have to probably choose one and I am not excited for that. In a perfect world I would love to paint just because it has become such a part of my life and I don't know how I will do without it. Art will always be a part of my life, just as it has been for as long as I can remember.  It is something I cannot get away from even if I wanted to. If I don't end up having a career in the art field, the foundation that art has given me will always be a part of my work. To be honest, I love not knowing what I’ll be doing after I graduate, all the doors are open for me.

Oil on Canvas. 2011

GE: What do you think it takes to become a successful contemporary artist in today's art world?

MO: I always feel so grateful for the kind of work environment that our studio [Marist College Steel Plant] has. This place has become a home because of the people that have been here to help me get to where I am today. This studio has prepared me for working in the real world, but I won't have those people to tell me why my painting looks so bad and how I can fix it. I think that always being a student of the arts in order to gain knowledge and use that knowledge to help progress your work is extremely important to becoming a successful artist. I like how Pam Avril mentioned in her Graphic Echo interview about creating a personal vocabulary and history to support you. I have a lot of sketchbooks that have filled up over the years and they are the heart and soul of what I do. They are there to always remind me what my work is about and where I've come from.

GE: Given that we live in an era where the definition of art has become utterly ambiguous, do you think that for an object to be considered art it needs to be aesthetically pleasing?

MO: I think the role of an artist is to make something that is visually strong. It is important that when making a piece of art, the intention is to make something that people want to look at. It is always important to provoke an emotional response from the artwork, but I still believe it has to be aesthetically pleasing because you have to see it to feel it. I have always had a struggle between conveying the message I want to get across to the viewer while still thinking about creating a painting that is visually pleasing. Artists that blur the line of what is art, or make something that isn’'t aesthetically pleasing just to say they can isn’t something I am a huge fan of. Being an artist does include sometimes pushing the boundaries and doing something no one has done before. However, there are fundamentals of art that need to considered. I think it goes back to the respect for the arts and being able to still consider something's composition, use of color, technique, etc. If someone doesn'’t take the time to consider all of those things then they are not making a piece of art.  

Oil on Canvas. 2011

GE: Because we are all influenced by other artists and acquire ideas from other artwork, some say that unadultered originality in art is dead. Do you believe this to be true?

MO: I refuse to believe that is true. If it is then we should all close up shop and become art historians. Most, if not all, artists reference past work and use it to help improve their own work. I think that is so important, but it’s about reflecting your own style off of what has been done before. When artists put their own twist on past work there is an infinite amount of possibility for originality. Everyone has a story to tell, and everyone has a different way of telling it. A lot of my work is based off of family and my own experiences. I am not the first to paint about family and personal experiences, nor will I be the last. At the same time, no one will ever have the same relationship with them that I have; the same goes for any other relationship someone has with another person that has impacted their life. My work is a way for me to show how grateful I am for what they have given me. Art gives me that outlet to show what is important to me. Work that is a personal passion will always be original, and no one can take that away from artwork with meaning and heart as its inspiration.