Anthony in his Brooklyn studio.
C & P: You live and work in Brooklyn, NY. How long have you been in the city and what brought you to New York?
Anthony: I’ve been in NY for 10 years now. New York brought me to New York, grad school paved a way for me to arrive here and stay for a bit.
C & P: Can you imagine leaving NY for another place at this point in your life? What might tempt you away? Do you feel inspired by New York City itself?
Anthony: I always want to get away, but just for a bit. Wouldn’t most of us be tempted away to a Mediterranean climate if we didn’t still need to stay in closer physical contact with this place for many reasons?
In terms of feeling inspired, I’ve never believed much in inspiration. Not sure why, but I suspect that notion is on some other side of a luxury of boredom.
C & P: Have the places that you grew up (Toledo, Ohio and Adrian, Michigan) influenced your decision to become an artist and/or your work? Did you know that you would be involved in the arts from an early age?
Anthony: I don’t think so, and no.
Maybe the isolation felt in those places effected the person, which in turn must effect the social and political positions. At an early age I didn’t know what was what. I drew a lot because I loved it. I didn’t know what an artist was. I’d like to think some of that can be preserved, doing the thing because one loves it, and so far it seems possible.
C & P: You have an amazing studio in Bushwick/Ridgewood and have been there since 2011, have you witnessed a drastic change in the neighborhood over the past few years?
Anthony: The first year was pretty desolate, which I loved. Gradually it’s been getting busier, more art kids seem to be moving in. Last year it must have doubled. And now a new studio building is opening on my block. Hmmm…
C & P: Do you predict that more NYC galleries will move out of Chelsea and the Lower East Side to Brooklyn? Can you envision the NY art world being centered in Brooklyn eventually?
Anthony: I think galleries that aren’t centered in blue-chip work will have to move out of Chelsea eventually. The rent must be going crazy. I heard the Luncheonette is closing, which is sad. But I don’t see Brooklyn becoming a center. Sadly, it looks like permanent physical space may be less important for staging exhibitions, as fairs and online platforms keep growing at the present rate. Maybe a rigorous approach to pop-ups could be interesting, if done well. I think Brooklyn will keep growing as a place to spend time and money on good food, despite the gross over-proliferation of mediocre ‘approved’ murals…
C & P: The work I saw in your studio consists of a mixture of figurative oil paintings—ranging in size from very large, over 10 feet in height, to much smaller in scale—drawings (lots and lots of them!), and some mixed media works. Has the figure always been the main subject matter in your work?
Anthony: Not always directly. But in some way perhaps the figure has always indirectly been involved. Over a decade ago I was making these minimal, fluid, process based paintings with biting conceptual attitudes about them. These were very much oriented around and involved the body, both in how the fetish object oriented itself to the viewer, and in how they were made. So, body/figure even in its literal absence… These days it is more of a pictorial use.
C & P: Could you describe your process when beginning a new work on canvas? How do you decide at which size you will work? What are the different stages you go through before you know a painting is complete? How many pieces might you be working on simultaneously?
Anthony: I don’t know where to begin here. Which may be similar to the process, so I just begin. Using whatever resources are there. I don’t predetermine rhyme or reason. In fact I go out of my way to avoid pre-emptive controls too rigidly described in textual language. Although it’s still important that I’m aware of much of what is operating functionally or materially in overarching ways, things that I’ve agreed upon with the work.
C & P: When starting a new painting do you reference your drawings or do you begin working directly on the canvas without any reference point? Does it vary from piece to piece?
Anthony: This varies. And the success of it varies as well. I like to live with things for a long time. This way you see it like someone else who will live with it. You see it in so many different mind states, and it has to be able to stand up to these different states. As far as sketching before hand, it’s becoming more and more part of my process, but I still keep it at arms length in different ways, because the images must be alive, there cannot be a feeling of stasis from copying. Collage has become for me a form of planning shapes and lines that often end up being attached instead of re-drawn.
C & P: You sometimes work on the floor (and maybe move the piece onto the wall at some point or vice versa) and you do not mind your work “getting dirty” by being walked across by humans (and kitties), whereas many artists treat their art as if it is very precious and have a “no touch” rule in place for others besides themselves. Are you making a statement about process and/or the art world by treating your canvases in this manner?
Anthony: Yes, I’m consciously aware there are many things in operation here. I’m glad some of these are noticeable. These are the very things that are precious, no?
C & P: Your work combines abstract forms with expressionistic, child-like, sometimes cartoonish, painting/drawing of the figure and of faces, with a gritty application of a variety of mediums. The energy you expel while creating the work shows through in the aggressive scribbles and gestural brushstrokes, which combine to form your subject matter. It seems that you are very active while creating, many of your canvases look as though they have been assaulted. I don’t imagine you sitting still, painting in small details with tiny brushes. Is this a realistic description of how you work? Do you consider the creation of a work a performative action?
Anthony: It’s a pretty accurate description of process. I might slightly disagree with certain aspects of the visual description.
And at times I definitely do my share of sitting. As a counter-narrative—I remember recently contemplating covering just a square inch on one part of a painting. This contemplation went on for a few days and then finally on the 4th or 5th day I applied the mark with the drying brush that still lay on the floor from a painting session days before. It took maybe 10 seconds, but those ten seconds changed everything, at least to me. Those 10 seconds, though hardly an assault, embodied all the fulfillment of a successful day of painting. It was a feeling of solving something. But yes, usually it’s much more active. I think in dedicated consistent practice, action can reveal a different and in some ways more poignant intelligence, with cautionary layers peeled back or abandoned altogether.
C & P: Your works range from extremely colorful to monochromatic. A lot of the larger canvases currently in your studio are black and white. Do you go through phases where work tends to stay within a particular color palette or does your use (or non-use) of color depend on your mood on a particular day?
Anthony: I don’t know about mood. I think reasoning is faceted, sort of knit like a fabric through and through. It must be, no? I remember times when I worked mainly in black and white because of monetary cost, on both sides—having no money for paint and the also having plenty of paint so wanting to abandon the obvious.
C & P: What helps you to develop your ideas?
Anthony: Working, looking.
C & P: Do you feel more influenced by looking at the work of other painters and artists or do you feel that you are more stimulated by the massive amount of visual information you are exposed to on a daily basis, through advertising, the internet, television, etc?
Anthony: More influenced or more stimulated. I’m not sure, and I’m not sure it’s the same question. I actually don’t feel like I have a massive amount of stimulation from media. Its presence is there, sure, looming almost in threat, as an option, but I spend a lot of time alone, or away from it as well. I spend more time watching the sky than I do videos, ads, social media etc. This choice makes me happy.
C & P: Who are the characters that appear in your paintings/drawings? Are they your friends, lovers? Are they self-portraits? Are these characters based on strangers you might have seen in the street? Do the figures mostly come from your imagination? Or some combination of all of the above?
Anthony: Lovers are, at times, a large part, and are the only way I can make any sense of the word ‘inspiration’. Rarely friends. Never strangers. Never monsters. Never aliens. I’m firmly engaged with humans. I’m firmly engaged in making paintings. Not interested in fantasy. But most often these characters are simply made through the circumstance of shapes. No matter what the figure is, even if it’s clearly an animal, such as a dog or horse, I think they exhibit emotions that are clearly human. Sometimes almost apologetically so…
C & P: Many of the figures also possess both male and female sexual characteristics (a figure might have breasts and a penis with long hair). Do you consider the gender of your subject or are the figures assigned sexual “parts” randomly?
Anthony: Not random.
C & P: Is there a narrative running through your work?
Anthony: Some individual images can be narrative-like in ways, and as a side, I am cultivating a visual language over time, which then has aspects of visual vocabulary so could in various ways construct narratives and meta-narratives, but this isn’t a primary focus. A lot of care is taken in deciding certain overarching aspects of the work as a whole. I don’t know how to explain this at all clearly in a brief setting like this because I don’t want to name something and give people the opportunity to run with it singularly, simplified, or generalized. Reality is too faceted and cultural work too important to generalize and wade around in language like this wetting our feet, and again there are so many risks even in saying this. These paradigms between action and question are always present, wondering how many doors we close with the force needed to make meaningful headway. Have I gone off track already? Whatever, I think a lot about what it means to me to be painting at this time. What appearance of meaningful participation in culture might look like at this moment. I think the terms I’d like to use would be alarming to many, but I think it’s necessary, and at the same time I’m not yet prepared speak accurately in words about violence, protest, cultural abrasion, desperation, etc…, and I’m still mining ideas about positive uses of existentialist thought. This is some of what I think about, or talk about with friends. Narrative?
I don’t know. I’m interested in our functional narrative as humans, and the possibilities of painting’s material narratives in the many faceted ways it may operate synonymous to weaponry within its means. I don’t mean to fancifully try and claim more territory for painting or for artists than their due, but I of course want to maximize its agency as well as my own.
C & P: Is there a certain time of the day when you work best and are most productive? Do you have certain habits that you stick to in regards to your art making schedule?
Anthony: No, except that I try to work every day. Accidentally waking up at 4am and working are sometimes the most productive days, but more often I work in the afternoon and evening. In the mornings I often work on small drawings by a window.
C & P: What ultimately do you want people to walk away from your work feeling or thinking?
Anthony: If they walk away feeling and thinking then that is enough.
It seems too many things have me just walking away.
C & P: You told me that you were going to start working more on sculptural work. What sort of materials do you envision using in this work?
Anthony: I’ve been working with cardboard for awhile now, and used to work with plaster and wood some a few years ago. I’d imagine some combination of these, and clay. I’ve been really wanting to get back into clay for quite some time. Haven’t worked with it since undergrad.
C & P: What projects are you working on now? Do you have any shows up currently or in the near future?
Anthony: Yes, currently working on a small book of images, and planning a solo booth at NADA this May with the Bushwick gallery ART 3. Quite excited for these next few months.
Don in his Crown Heights, Brooklyn studio.
C & P: Your watercolors are peculiarly evocative, I get a whiff of history, pulp, and the mythological bound together. What stories and sources of imagery attract you most?
Don: I am partial to heroic gender bending busty chicks, wearing low cut shirts and cargo pants held up by belts with huge buckles, swinging swords, and bottles of rum, especially on fantasy galleons. However, I also like stories where I can reverse gender roles most often associated with men. They can involve a messed up but essential journey where some desperate or obsessed soul in the course of it makes a discovery. Eroticism is inevitable and if I were to pin it down I say it owes something to the depiction of ecstatic disarray in savage Pirates movies from 1950s, and unsettling films like Antonioni’s “Blow Up” or Milton Moses Ginsberg’s “Coming Apart”. And I cannot forget Greek Myths and what an updated personal context for them might look like.
I watch old film noir for the images of detectives with self-esteem issues seeking out answers yet trudging through the sordid back streets of fringe society. My series of Redressed She Pirates is very successful, whose imagined freedom in domestic settings is razor sharp and worn at the hip. Stories with situations to yearn for, yet prudently not be allowed to engage in. My subjects are meant to suggest strangers or casual acquaintances.
Imagery for these stories are in my head but are cobbled to life in my photo sampling collages from collected sources in fashion magazines, 70s Sears and Sotheby’s catalogs, nautical books, how-to photography manuals. It is not always obvious here; odd family vacation snapshots found adrift of their context at flea markets or eBay. I collect all these, as needed, for what has an appeal to my thoughts for rendering; often the best of these photos are someone’s snapshots of just an instant. Same can be said of vintage British 1970s pinup magazines with pretense to a costumed story line or an aspect of an interview with a model that always undresses her; my goal is about fusing historical and contemporary styles to create challenges that tend to find and tie a metaphor for art towards gender bending and back again towards art history.
C & P: Your studio is a paradise of yellowed and curling paper, bits of old wood, stacks of vintage mags, and your copious drawings and watercolors. Tell us about your process for constructing images and how found material informs your work.
Don: My artistic process begins when photo snapshots pile up in my studio. There is a photo pile scattered all over the floor around my table, gathered over months. I think the foundation of my paintings and sculptures rest on the anxiety of this uncertainty in photos adrift of their contexts. I am working on several works at once: there might be as many as half a dozen works in various materials and stages of completion around the studio. However, everything has a meticulous cut photo collage that it proceeds from.
I find old and new photographic references on eBay or on recycling day in the neighborhood. I gravitate towards photos that have a juicy specific source and time that is evident as soon as you see them. It could be just the style of the paper, the lighting, the haircut, the interior, or clothing. When I have stacked up a couple dozen finished collages, I stop and sort out those that offer exciting feverish, or off-kilter compositions. The collages are only stepping stones, yet some become exciting artifacts when I finish.
Don at work.
These, I draw from, for the next week or two, using charcoal on paper. The style is loose and traditional; I like the dusty powder barely clinging to the paper. This rendered rapport with the collage distills the separate photo sources into a distorted complexity with palpable intensity. I love this drawing part; it feels good, actually, and psychologically like a life drawing session does. It homogenizes and frees the figure of the collages’ identity.
As I transfer the selected compositions to canvas or sculpture the tension between the egos within the sources emerge, the period of the photos falls away, something is lost and something else enters imparting on the whole a visceral proposal. Somewhere in that the idea of the sculpture will be. All nonessentials fall away with this process. I often find funny combinations that poke fun at cubist formality made up entirely of female body parts reassembled and about to engage in some unknown physical act; simultaneously sexual, revelatory, or most funny if generally alluding to an unknown skilled labor or trade.
Then there are the sculpting materials I work with to speak about; the found objects for the bases that the clay sculptures are mounted on; here I am trying to make a plinth with just a few words—a table, chairs, book, stool, turntable, dream catcher, etc. I am letting the base become a setting for the modeling with out modeling it. It is in this effort limited to just a stacking process until the sculpture feels like it is complete.
C & P: The sensuality of oil paint is used to enticing effect in your lascivious imagery of female nudes and semi-nudes. How do you feel about the different effects as you work images across various media—collage, drawing, painting, and sculpture? Do the materials present differing interpretations to the viewer? Which is your preferred medium?
Don: I prefer watercolor and oil paint up until recently as it just came so easily for me. The collages are the most anxious and conceptual maybe because I am a little repulsed that they are least removed from their sources; oscillating between cut parts and fetishist visions of women’s reshaped form. However, for the moment, the clay modeled sculptures, which I am having the most success with, allow me to display an ambiguity in the figure and Her being observed as shattered cannot be resolved completely, the reason I like it might be it is yet strangely organic and cannot be so neatly understood. I am trying to perfect this as a volatile talisman like image. It has interesting kinship with public statues; the phantomic aspects of public statuary that seem to want to step off the pedestal and take part in the sidewalk procession.
C & P: Your recent work is populated by women who embody a broad array of characteristics (pardon the pun!), from the powerful to the fragile, the self-questioning to the self-assured. Men appear less frequently and often as a foil for the women. Tell us about these characters and what makes women the perfect symbol for the struggles that your figures are experiencing?
Don: I don’t often know why I am doing something or why I like it. I want it to tell me something.
There’s no one-to-one correspondence between any kind of inner experience I’m having and the women are having; whatever I sculpt or draw, the woman as a fashion symbol allows me to ask the viewer to question whether or not the ideal body is worth aspiring to. The use I make of the symbol subverts the assumption that the ideal body is inherently good and perhaps as a castrative Medusa the ideal is both severed and severing.
In our world, the woman form is at once sexist and feminist, real and surreal, unsettling and seductive. She can be used to represent me. It is crucial that it is a woman, for its symbolic quality much like the pirate is; as a murderer, a thief, a colorful hero of adventure stories, she is a deeply fractured symbol.
The longer I make art, however, the more mysterious I find the relation between the objects I choose and lived experience. There is always a male foil within the works as either an object, a parrot, the sea, a pistol, a case of beer, framed picture on the wall, or a distant ship, The male body is just not as visually interesting a form when it is not muscular. When it is muscular it projects too much simple machismo that as yet I have nothing to say anything about.
However, if she is not me then I am the guy detective in the noir film seeking the truth and the girl is at once the answer, the trigger for the menace, and the unattainable beauty emerging from the shadows. So that’s a perfect symbol of a problem to be solved.
C & P: Your drawing is very fluid and playful, a sly cover for the almost monstrous transformations taking place in the figures in your recent work. How do you describe what these figures are going through?
Don: They are wrestling within simultaneous egos from divergent moments in their timeline. They are being cobbled together like a Frankenstein bride; bits salvaged from yet corpses of art history and contemporary culture. They feel for and are expectant for the spark of life waiting to ignite upon them. And in this shape shifting entropy they mirror the current ever-stranger versions of virtual reality as related to the human body.
C & P: You have a keen sense of the absurd. What kind of interplay between whimsy and heavier themes is at work in your work? Where would you ideally like to fall, if this were a spectrum?
Don: I like the tragic but I cannot get there, so I opt for humor to find it. The current work is partly an absurdist Hogarthian analysis of beauty. In our world there is an oppressive demand for idealization that is projected upon the female form; a body impossible to achieve in reality yet brutally tangible in the symbolic spirit.
My first aim is to find a tension between drifting elements of source materials that suggest a story. And to then follow that story’s formation, until I can jump to working out a complimentary formal or color narrative that carries the whole to a satisfying conclusion. Where I would like to end up is to release myself of fears and what my emotions need at that time, which is usually on the side of humor, as it is a bit like a role playing game.
C & P: We have talked about our shared interest in providing an experience which can be provocative and unsettling. What relationship do you envision between the viewer and the figures in your recent work?
Don: Where the unconscious rolls with the tide, face down. I want to help people come to terms with their instincts. Go back and forth between yearnings and discomfort signaling newness in the romantic pursuit; a rejection of accepted social mores in figures concerned in a different world without belonging or defining an actual place or time.
I want to get an engagement as identification, with or without sympathy for the image, a recognition of the memory, and then see the offering is sensually empowering but necessitates accepting the formally naughty grotesque mess as a liberating journey again and again. The work as a metaphor for making art.
The historical figure (classical) is present, yet the mythical, spiritual and exuberantly naked (that initially seems escapist) overwhelms. I am not interested in apolitical nostalgia or kitsch, instead I connect to the more transgressive gender identities.
I like to think of art as mischievously toying with old romantic equations, Classical mathematics, and realist skepticism, a pastoral alternative, memories of my deepest child hood.
C & P: What are some painters you admire whose influence might not be readily apparent in your work?
Don: Maria Lassnig, Giorgio de Chirico, Daumier, Gustave Moreau, Hans Balding Gruen, and Reg Butler’s sculptures from 1968!
C & P: Occasionally, The Artist appears in your drawings, jovially toiling before an easel. To what degree do you see yourself in these ironic and romantic depictions?
Don: I see them as a witty self critique of the art world, myself and as a vehicle for charting the “artists” path from private to public life that often ends in obscurity. I think I am converting my own self-consciousness into the viewers as an accessory to the crime. They double as my pit crew and cheer me on as the instigator manifesting the trouble with subject insularity that preceeds me in the search for a subject to paint about. Tongue in cheek homesickness for art school and its insularity that these works pine for.
C & P: We talked about your facility with various materials, are there other media you are interested in exploring, such as film or installation, in conjunction with painting?
Don: Installation and short films were apart of my past and I dream of another opportunity of pursuing it within a show yet have not had the means or momentum yet. Perhaps this year I will find the venue.
C & P: Your work contains distillation of a variety of imagery from Rococo painting to porn and comics, it seems almost timeless. Do you think you would be making similar work if you lived in another time or place, or do you think there is something that connects you very directly to New York City in the present day?
Don: I don’t think gender-bending work can survive in many places like here in NYC. Nor do I think irreverent work would either. The more emotive methods we employ in our works still need the context of this big city to support us because the attitude here is one of strength.
I could not do this art anywhere else. The stimulation of the art of my friends here and the cities’ close-knit cultural fabric is causal in ways I don’t understand but this work emerged, soon after I arrived, from work that was previously imitative and less connected to the world. But I don’t know, my biggest collectors are in Germany; a place I have never been.
C & P: What is on your easel right now?
Don: Two things: a canvas with a jazz musician pausing in his music while a woman serves him a John the Baptist on a platter. And on the sculpture stand a clay work of a two headed woman, with one smaller and short haired blonde head looking off in contemplation while the other head, long haired and black, yells into her own crotch.
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All studio photos © Violet Shuraka.
I had a studio visit and photo shoot with NYC-based artist Kelsey Shwetz last month for Cheap & Plastique. Kelsey was nice enough to give me a quick tour of her space, pose for some photos, and answer some questions about her work via an email interview after the studio visit. See more of Kelsey’s work here.
C & P: You live and work in NYC. How long have you been in the city and what brought you to New York?
Kelsey: I’ve lived here for precisely two years now. For me, moving from Montreal to New York represented unexplored avenues and possibility for expansion, artistically and personally. New York was in my mind this big dendritic mass of newness and opportunity that I would have to navigate, and that was thrilling.
C & P: Currently your studio is in Chelsea but you said that you are most likely moving it to Bushwick, Brooklyn in the very near future. Do you believe that more and more NY galleries will move out of Chelsea and the NY art world will be centered in and around Bushwick?
Kelsey: Yes, I will either move my studio to Bushwick or Greenpoint. A few galleries are making the move from Chelsea to Bushwick, but I don’t believe a giant exodus will happen any time soon. It is this curious thing where art is being made in Bushwick (or Gowanus or Greenpoint or Ridgewood) while many prominent galleries and most of the art fairs are located in the city. There are some fantastic galleries in Bushwick, and I think certainly Bushwick can be considered the center of where art is being made in New York.
C & P: You are also very involved in the Bushwick Art Crit Group, currently serving as Director of Exhibitions. Could you tell us a bit about the organization? Are all of the BACG presenting artists Brooklyn residents? How do you select the artists for each monthly crit?
Kelsey: Sure! Bushwick Art Crit Group is a non-profit organization committed to supporting and fostering development of Bushwick-based artists. We’ve been around since March 2013 and have recently expanded our monthly Crit programme to include exhibitions, participation in art fairs (Echo, SELECT fair at Art Basel) and panel discussions, which is very exciting! Not every presenting artist is a Brooklyn resident, but the vast majority are. In terms of selecting artists, it has all been about existing connections and relationships, which I think is really beautiful. What I mean by that is, it’s artists we already know and love, or it is an artist who came to a crit and approached us later wanting to present, or it is an artist you meet at a bar and think their work is really great and want them to speak about it, that kind of thing.
C & P: Next month at BACG you will be on a panel with the Guerilla Girls talking about the current state of the art world in relation to female artists. Could you tell us a bit more about this event?
Kelsey: I am so thrilled to be co-organizing and moderating this Feminist panel! We are honored to count Frieda Kahlo of the Guerrilla Girls as one of our panelists. What we’ll be addressing is the strategies that we, as self-identifying feminists/pro-feminists and artists, employ to identify, subvert, and oppose structural patriarchy in the Arts with particular examples of how we do so in our current practices. The panelists will also identify obstacles they deem most crucial to solve/ find most relevant. In having this panel, what we’re aware of is the importance of presenting an inclusive, representative voice in all Feminist dialogues. So we recognize the duty we have to use our platform at BACG to make space for those who would not necessarily have the privilege of such an opportunity. Thus, we’re viewing audience participation and discussion as a key part of our programme’s structure. I truly believe a lively discourse with all perspectives represented is not only fair and right and important, but key to progress and solidarity.
C & P: The current body of work in your studio consists of figurative oil paintings. How long have you been painting the figure? What interests you in painting a subject that has been painted throughout history, reaching as far back to the first cave paintings, in such a traditional medium as oil paint?
Kelsey: To be fair, I’ve been painting the figure since I was a child as we all have—those terrible watercolor paint sets where the yellow always ends up this greenish brown—but I have been addressing the figure formally and seriously in my practice for seven years. The fact that the figure in art is nothing new- but rather completely integrated into representation and expression since (as you’ve pointed out) the dawn of time is precisely what interests me. I’m very much attracted to classical realist portraiture, and this is referenced in my work. I paint the figure because I like looking at the figure, I like dealing with flesh, and expression, and the lines of the body. I’m also very aware that the medium of painting figures itself has historically been used as a kind of moral compass and aesthetic tastemaking device. So the kinds of bodies and concepts these figures illustrate (be it religious devotion, bravery in combat, virginal modesty) that we see depicted throughout history are both proposing and reinforcing what is ideal and correct socially. I like to borrow from the power of Art, and particularly oil paint on canvas and figurative work, and present concepts that aren’t completely represented or integrated or celebrated in our modern climate. Things like menstruation, the female gaze, non-intrusive or performative male sexuality, and empowered female sexual expression.
C & P: The term “feminism” is thrown around a lot these days with ignorant starlets declaring its obsolescence and Beyonce posing in front of the giant letters. Do you see your work as contributing to this conversation?
Kelsey: I sincerely hope so. We—as Feminists and allies—are all contributing to this conversation in radical and different and meaningful ways. What I endeavor to do with my painting practice is to visually represent kinds of things I feel are important to have a dialogue about—or to integrate into our collective consciousness—in a lush and beautiful and classical way. More than anything I’m interested in having these conversations with people who wouldn’t normally seek a Feminist dialogue out. If a person who doesn’t identify as Feminist walks into an art gallery and sees one of my pieces on the wall and goes away with a different perception, like “menstruation is normal and beautiful and ok to see and talk about!” then that’s a step in the right direction.
C & P: Looking around your studio I saw the works Madonna with Child (from 2014), Satisfaction (2014), Morning (Devotion) (from 2013), Self Portrait II (2013), Model with Bird (Albert St. Studio) (2013), and Lara with Book (2013). In all of these works there is a solitary figure, sometimes the subject is looking up from what they are doing, directly confronting the viewer of the canvas, and at other times the figures are lost in their own moment and the viewer is able to sneak a peek into their world, they seem unaware of a human presence. Is the subject of the painting engaged in a larger narrative or would you like the painting to be seen as a snapshot of a moment?
Kelsey: It is both, for me, depending on the painting. For example, Satisfaction is steeped in a larger narrative, as is Morning (Devotion) and Self Portrait II. In these works I am trying to illustrate a larger thesis or idea and the figures are helping with that. Other works like Lara with Book, Madonna with Child, and Model with Bird are more about capturing a specific person, their tendencies, their expression, in a particular moment. A true portrait in that sense.
C & P: In your paintings the subjects are often experiencing pleasure or presenting themselves in an overtly sexual pose. All of the figures seem strong willed and not embarrassed by their sexuality. Frequently, throughout history, we see male artists painting and photographing the female nude. We see less women artists painting or photographing the male nude yet you have taken on the subject. The men you have chosen to paint frequently have erections or are involved in a sexual act (such as pleasing a woman). Why have you chosen to paint the male nude in an explicit way? Where do you see the viewer’s place in relation to these figures?
Kelsey: I often see the male nude represented in popular culture and fine art as either devoid of sexuality (as in Roman and Greek sculpture) or firmly rooted in machismo (as in, everywhere). This simply is not a representative or inclusive view of male sexuality. When I do present a male nude he is illustrating the whole other end of the glorious spectrum that comprises human sexuality and expression. My male nudes are tender, demure, worshipful, shy, private, even passive. In the same way, I endeavor to fill in the gaps of the representation of feminine sexuality; my female nudes are overt, assertive, direct, unapologetic, or completely unconcerned with the viewer. In some works (Worship, The Triumph (curiosity), First Period, Treats) the viewer’s POV is intentionally constructed to reinforce the female gaze. That is, the viewer accesses the work as if they were one taking the photo of the moment happening to them. And in these cases the thing happening to them is intrinsically connected to having a female body (like menstruating or having your pussy eaten). There can be no debate that these are works illustrate the female gaze.
C & P: What inspires you to make a self portrait? How often do you paint self portraits?
Are the people you paint your friends, your lovers, or hired models? A combination of all three? Do you prefer painting one type of subject over another?
Kelsey: Self Portrait II was painted in an artist’s residency program I attended in New Mexico, in a tiny remote town. So, during this period there was a lot of reflection and self-evaluation, and facing myself and my work. A self portrait seemed appropriate. Plus, no one in the town would model without clothing for me! Everyone I paint is someone with whom I have a relationship with; I’ve never hired a model or painted a stranger. For me this is important because when you are intimate with someone you understand expressions they make or catch mannerisms that you can translate to the work that a stranger might miss. I think the painting becomes more full and complex when you understand your model.
C & P: Do you generally prefer to paint from a live model? Do you also utilize figures from photographs as your subjects? Do you feel that a painting created by observing a live model differs greatly from one painted using photographic or collaged sources?
Kelsey: There is nothing I like more than to paint from life, but more often than not I am painting from a photographic source simply because it allows me more freedom in my work. I don’t have to coordinate schedules or take breaks or struggle to create the same expression or pose as the last sitting (as you have to do while working with a live model). I do however shoot all of my models if I am using a photographic source; it’s important to me to be married to all aspects of the process. I do feel there is a great difference between a painting done from a live model and one done from a static source. In the case of the former, the subject is always shifting, always breathing and moving slightly and sometimes in the space of an hour they’ve shifted their pose so cumulatively and drastically you have to recalibrate. Thus, you are capturing a sum total of them—of all of their little movements and microexpressions. In the end it may be a less technically representative portrait, but it might be a more sincere likeness.
C & P: Could you describe your process when beginning a new piece? Do you ever create a preliminary drawing first or do you begin working directly on the canvas?
Kelsey: I do create a preliminary drawing, but it is done directly on the canvas. So, in the majority of my paintings the process is: a grid, then a drawing of the figure and some of the background details, then a ground layer of a rusty, coppery brown where the figure will be, some preliminary background color blocking, then the white highlights of the figure, then the shadows, then the pinks, then a layer of a whitish Naples Yellowish paint for the flesh, then a final layer of white highlights. And in between these layers of the figure I’m developing the background. I had a tendency before to paint the figure entirely first, then add the background in later. I’ve stop doing this and have strived to create a more balanced composition throughout a painting’s development. I like the idea of covering the white canvas as soon as possible so that at any time throughout the process the painting could ostensibly look finished.
C & P: In your most recent work you seem to be paying more attention to the small details and patterns in the backgrounds of the paintings, like with Madonna with Child. In the older work the backgrounds tend to consist of blocks of solid colors or very loosely painted patterns. How do you think these changes affect the way your work is read?
Kelsey: Hmm, good question. I hope that these more developed backgrounds will help my paintings to look more integrated. That in some cases elements of the background are just as crucial and important as the figure itself. Where in the case of previous works with more blocky colors, or even solid colors, the point of the painting was the figure. The background was just support.
Satisfaction, 58″x58″, Oil on Canvas Board, 2014, photo © K. Shwetz
C & P: You were also experimenting on your newest canvas by applying a cut out pattern directly to the canvas. Do you think you might experiment more with including mixed media into your paintings? How does the collaging of materials interplay with your subject matter?
Kelsey: Ha! The evening after you left my studio I ripped that cut-off pattern off of my painting, sanded the reddish paint that was behind it off, painted it white, and started painting a pattern from scratch for the background. Many, many mixed media artist will disagree with me vehemently here but for me applying a fabric or paper patterned element is quick visual gratification. That is, for my work applying a pre-patterned element doesn’t add anything significant conceptually that painting that same design from scratch would add. So maybe I should not be lazy and just paint it! So goes my line of reasoning. It’s like some exacting Victorian exercise in discipline and devotion. Plus I do intrinsically love making colors, translating delicious silk and creamy whites and lace through oil paint.
C & P: What projects are you working on now?
Kelsey: The piece I’m working on now is very exciting for me because it is a bit of a visual departure from my general body of work. I have this dear copy of 1000 Nudes (published by Taschen) which is this incredible compilation of erotic and pornographic photos from the mid-nineteenth century to the early 20th century. They are all gorgeous photographs—beautiful graceful lines, sumptuous flesh—but they’re all in black and white. I find the visual aesthetic of black and white figurative photos very arresting. I think because in this case they are less explicit—the flush of a cheek or the reddish stain of a lip or the pinkish tones of a breast all must be imagined—projected—by the viewer. So anyways, the figures in the piece I’m working on now will be in black and white. The only color will be in the background. I’m thinking of subverting the balance between background and figure. And I’ve found this great photo of vintage wallpaper (also in black and white) that I’m translating to color.
I’m also in the process of curating a booth for SELECT Fair in Miami on behalf of BACG. Christopher Stout (the founder of BACG) and I have selected some really fantastic artists: Alison Brady, Beata Chrzanowska, Eric Gottshall, Lisa Levy, Phoenix Lindsey-Hall, Meryl Meisler, Andrew Cornell Robinson, Thomas Stevenson, Drew Van Diest, and Andrea Wolf. I am truly honored to be working (and showing) with them.
Portrait and studio shots by Violet Shuraka.
I had a studio visit and photo shoot with Brooklyn-based artist Ted McGrath last month for Cheap & Plastique #11. Then we had a nice chat about living in Greenpoint, music, inspiration, and art via email. See more of Ted’s work here.
C & P: Where are you from?
Ted: Just outside of Philadelphia.
C & P: You currently live and keep a studio in Greenpoint, Brooklyn. How long have you lived here?
Ted: I moved to Brooklyn in 1998 and I’ve lived in Greenpoint since 2002.
C & P: What do you like most about living here?
Ted: I have the last affordable apartment! Seriously though, when I moved in it was a much more low key neighborhood, and you really had a sense of it being this crazy secret, it was relatively clean, there are some beautiful blocks and way back when it was super affordable. It felt almost suburban, it was so quiet, but you could walk or ride to Williamsburg in no time and taking the trains through Queens got you into the city pretty fast. Now there’s all this nightlife and shopping, like a new bar opening on every corner every week and that aspect of the area is starting to get a liiiittttle homogenous. Blah blah. That’s all well documented and argued over and doesn’t answer your question. At this point, I’ve been here for 12 years and it really feels like home. The greater community of artists and musicians out here is a fantastic and supportive one, and all things considered the dining options out here are incredible.
C & P: What is your favorite spot in Greenpoint?
Ted: In general, my studio. Corny as that sounds. Or the roof of my apartment building.
C & P: For music?
Ted: We’re currently blessed with a glut of incredible record shops all within blocks of each other. Academy, Co-Op 87, Permanent and Captured Tracks are where I’m spending the most time / $$$ presently.
C & P: For food?
Ted: River Styx or Achilles Heel. It feels insane actually saying that based on the names. Apparently if you open a bar or restaurant in Greenpoint with a Greco-Roman mythological name, it’ll turn out pretty great.
C & P: For artistic inspiration?
Ted: I’m really lucky to have a lot of friends and colleagues living and working in the neighborhood, so usually it comes from hanging out in our studios and apartments, passing around books and records and the like.
C & P: Currently your studio is in the Pencil Factory, where many other creatives (both artists, musicians, and illustrators) work. Do you feel that being in this particular building and studio space inspires you and your work?
Ted: I’ve worked out of that building off and on for the last 7 years or so. I think I primarily enjoy it because its a block and a half away from my apartment which makes working late into the night or early in the morning less daunting. Also the super and his staff are just great folks, and I really love the unit that I’m in. It’s kind of unfinished, there are these huge pipes running down the middle of the room and all over the ceiling which I find really attractive, and it has these fantastic old doors that look like something out of a barn or an old church. Lotta character. Good working vibes.
C & P: Are you friends with others in the building? Is there any collaboration between tenants?
Ted: I’m friends with a lot of folks in the building and I know a lot of the more illustration and design-centric folks collaborate together on things now and again. I’m excited because one such friend of mine is putting together some short animations and asked me to score them, which I’ve only really dabbled with in the past, but I’m really excited to dig into that.
C & P: You studied at Pratt Institute. Did you study illustration or fine art at school, or both?
Ted: I studied illustration and design, but I was fortunate to have these great teachers that were constantly encouraging the students in general to soak up as much of the overall general art world as possible, and a lot of them were (and still are) active and dialed into the contemporary art scene. There was also a lot of mandatory cross disciplinary structure in that curriculum which I’m increasingly grateful for with each passing year. At the time though, I was a little freaked out because I ended up graduating with an unwieldy “illustration” portfolio of fairly large semi abstract canvases with no clear editorial slant. It was great and confusing.
C & P: Did you always know that you would be involved in a creative field as an adult when you were young?
Ted: I think so, yeah. As a kid I really wanted to get into comics but quickly realized I wasn’t cut out for it when I got to school.
C & P: Recently you made the decision to pursue fine art and put your illustration business on the back burner for a bit. What made you decide to do this?
Ted: It just felt like the right thing to do. I had this realization where I discovered what really excited me about making visual art had very little to do with making good illustrations, at least the way that economy and community function now. So after 2 years of walking around in a near perpetual state of stress and grumpiness, I started edging towards moth-balling that practice in early 2013. The more steps I took towards getting out of it the better I felt. And that’s said without nastiness or bitterness either.
C & P: Do you still take on illustration commissions if asked?
Ted: Time permitting and depending on the client or story (or $$$), certainly.
C & P: I know that you created artwork for the band These Are Powers in the past (and was also a member), has your work found it’s way onto other music packaging or music-related projects?
Ted: Absolutely. I’ve designed record sleeves and posters for a lot of bands and venues in the greater New York area, and I have murals at Death By Audio and The Silent Barn. I really love being part of that wider community.
C & P: Have you always played music? Does music influence your artwork?
Ted: I’ve always played music. I grew up in a verrrrry music-centric household. My dad’s a brilliant pianist and guitar player and my mom, though the visual artist of the two of them, played piano and cello for a while. I’ve lately tried to think about how I make music more with respect to the visual art. Because I never received any truly “formal” musical training, it’s a lot easier for me to be intuitive and spontaneous with songs and recording than painting, where you can sort of psych yourself out with issues of “correctness” and quality. Like “this had better be the best brush stroke I’ve ever laid down, says your college tuition and every decision you’ve made in the past about anything ever!!! AAAAAHHH!!!!” I’ve been a lot better lately about NOT getting into that headspace with painting and it’s been great. I’m much more forgiving of my work when I’m making music too, so I’m trying to manage my time better so I can work on all of this stuff and not feel like a crazy person. Listening-wise, I usually have music on in the studio, but not anything too demanding or that I haven’t almost completely internalized. Good time tunes unless I’m just not in the mood, you know? Been real into American, pre-63 oldies lately, doo-wop, early RNR.
C & P: What is your process like when creating artwork in your studio? Do you work on multiple pieces at once?
Ted: I like to work quickly. I’ll work on 2 or 3 things at once, it helps me not overwork them, takes a little of that above mentioned stress out of the equation. I like to attack a piece, get it right to the point where it feels just undercooked and then get it out of the way. Start another. Rinse and repeat ’til I make something I know is either truly awful, or hopefully, coming together into something exciting faster than usual. Then I take a break and let my eyes refresh.
C & P: What medium do you most frequently use in your paintings? Oil? Acrylic? Is there ever an element of collage in your work?
Ted: I like oil paint and ink and spray paint and pencils and oil sticks. Collage wise, sometimes I’ll use the good pieces of bad paintings in other pieces rather than try to recreate those moments of serendipity, which rarely even pans out in mirco.
C & P: You also keep a sketchbook (I have seen an interview with you online where you drew all of the answers!) Have you always kept a sketchbook? Do you look to the sketchbook when creating work in your studio, or does your studio work come from different place in your brain/body?
Ted: I started actively keeping sketchbooks somewhere between my 2nd and 3rd years at Pratt, primarily because I felt like I was really behind everyone else and needed just more fundamental practice. So I started keeping tiny ones with me at all times and bigger ones to mess with at home, primarily just as exercise. As a result, when I completed some pages that felt more “finished” or polished it was really exciting, and they became these cool artist books after a while. Then I kinda felt like I became “the sketchbook guy” which is fine but also had it’s moments of stifling limitation. I still keep the small ones around, but they’ve become more lists and random bits of info or actual preparatory sketches for bigger pieces, as opposed to life drawing. The big painty ones primarily only get used or worked on when I’m on vacation at this point. I just started to get bored or feel like it was becoming a repetitive process with diminishing returns, I couldn’t tell if I was making anything good in them anymore.
C & P: Who would you say are your biggest artistic influences?
Ted: I like Max Beckmann and John Singer Sargeant and Amy Sillman. Leon Golub. Cy Twombly, Jamie Wyeth.
C & P: Is there a time/place that you would rather live in than the current?
Ted: Nah, the best place to be is here, the best time to be is now.
C & P: Or one where you could be transported back via time machine to spend a few weeks hanging out and spying…
Ted: Oh I dunno, New York in the 70s or 80s? Sure. But I think if you get too romantic about that stuff it crushes your ability to enjoy the present.
C & P: Do you feel that NYC is still the best place on the planet to pursue a career in the arts?
Ted: Oh, I have no idea. For the time being, I’m happy here and I feel like I’m making the work I want to make both visually and musically. You can make yourself a little bonkers pondering the endless choose your own adventureness of geography or social scenes or whatnot especially these days. I try not to worry about it, keep me nose to the grindstone, take care of the work and hope it takes care of me.
C & P: Would you consider moving elsewhere?
Ted: Like I said for now, no. The moon if we ever get that sort of thing up and running. I mean, who wouldn’t wanna live on the moon for a minute?
Tonya’s portrait by Violet Shuraka.
I had a studio visit and photo shoot with Brooklyn-based art director Tonya Douraghy last month for Cheap & Plastique #11. Then we had a nice chat about living in Greenpoint, travel, inspiration, and design via email. See more of Tonya’s work here.
C & P: Where are you from?
Tonya: I grew up in beautiful Almaden Valley in San Jose, California.
C & P: What made you leave the West Coast for NYC?
Tonya: I left San Francisco for New York in 2008 to get my MFA at the School of Visual Arts. After that things sort of fell into place professionally, and I decided to stick around.
C & P: Now you are living in Greenpoint, Brooklyn. How long have you lived here?
Tonya: Three years.
C & P: What do you like most about living in Greenpoint?
Tonya: I think my little corner in north Greenpoint is just about perfect at the moment. I love living a block from the water, and the views of the Manhattan skyline are spectacular. There’s a unique energy to the place, partly the legacy of disused industrial spaces. And so many hidden gems.
Tonya’s desk in her studio.
C & P: What are your Greenpoint favorites? For dinner:
Tonya: Five Leaves, Paulie Gee’s, Alameda.
C & P: For a whiskey:
Tonya: The Pencil Factory is a old standby.
C & P: For design/artistic inspiration:
Tonya: Going for a run through the neighborhood.
C & P: For relaxation:
Tonya: Taking in the view where Java Street meets the East River, with the feral cats.
C & P: Did you always know that you would be involved in a creative field when you were young?
Tonya: I suppose so, but I always thought it would be in journalism.
C & P: When did you decide to study graphic design?
Tonya: Freshman year of college, after being disappointed in the journalism classes I was taking. I was lucky enough to be at UC Davis, one of the few public universities in California that had a design program. The fact that my program allowed me to study both textile and graphic design in tandem was hugely appealing.
Art direction and design for Vanity Fair. Typography by Alex Trochut.
C & P: You have worked at a variety of magazines in NYC over the past few years and you are currently working as a freelance art director at Vanity Fair Magazine. What led you to want to go into editorial design?
Tonya: It was a very unconscious decision on my part. I sort of fell into it after I got my MFA and grew to love it. I think my interests and attitude are well suited to magazines, though I don’t really think of myself as an editorial designer.
Art direction and design for the Design*Sponge Summer Newspaper, in collaboration with Alanna MacGowan.
C & P: You also take on freelance design assignments through The Dye Lab, a 2 person design studio you run with your friend, Alanna MacGowan, who lives in Seattle. Tell me a bit about the Dye Lab. How did you decide to form this studio with such a far away friend? How long has the Dye Lab existed? What is your design process like when working on a project together?
Tonya: The start of TDL was very organic. It grew out of our close friendship during college. At school we were both more interested in textile design than visual communications, and we were the punks breaking into the dye lab at night, silkscreening on any kind of surface we could think of. Now Alanna and I live 2,856 miles away from each other, so collaborating on projects has been a great excuse for us to hang out together virtually between Seattle and Brooklyn. And I think our talents complement each other pretty well.
C & P: What is inspiring to you design-wise at the moment?
Tonya: I’ve been a little bored with what’s going on in graphic design, but there are definitely some standouts. Spin, the British studio, is a perennial favorite. Every issue of IL Magazine is pretty spectacular. I think most of my inspiration comes from seeing what friends in the design scene are doing outside of their jobs, just for the love of making things.
Editorial design for New York magazine.
C & P: Is there a certain time of day when you feel most creative?
Tonya: In the morning, after a good night’s sleep.
C & P: Who are your biggest artistic/design influences?
Tonya: That’s tough to define. But some important ones, in no deliberate order: Orson Welles. Sophie Taeuber-Arp. Herb Lubalin. Twen Magazine. Terence Conran’s vintage interiors. My dad. Sheila Hicks. Gyöngy Laky. Zadie Smith. Plants. Ceramics. And just the weird unexpected moments that happen every day.
Editorial design for New York magazine. Photograph by Platon.
C & P: You have traveled to many far away places over the past couple of years. What is your favorite thing about each place? Turkey?
Tonya: The mix of so many cultural influences all in one place. It’s the best of everything.
C & P: Morocco?
Tonya: Tiled courtyards in old houses. Walking through the medina.
C & P: Thailand?
Tonya: The people. And getting Thai iced coffees made on the street.
C & P: Cambodia?
Tonya: Temples in the jungle. Stories of tigers.
C & P: Iran?
Tonya: Family. The feeling of being connected to a place that is so different from my everyday life in New York. The traditional architecture in general and my grandparents’ house in particular.
C & P: Do you feel that travel inspires you as a designer?
Tonya: Of course.
C & P: What is your next travel destination?
Editorial design for The New York Times Magazine.
C & P: What are you working on right now? Do you have any creative non-design-related side projects?
Tonya: For better or worse, for me everything is design-related in some way. I recently took up watercolor painting, a good excuse to get away from the computer.
C & P: What would you do if you were not a designer?
I had a studio visit* and photo shoot with Brooklyn-based artist Emilia Olsen last month for Cheap & Plastique #11. Emilia was nice enough to give me a quick tour of her space, pose for some photos, and answer some questions about her work and the neighborhood via an email interview after the studio visit. See more of Emilia’s work here.
*One of 3 studio visits with artists working in Greenpoint, Brooklyn for the current issue of
Cheap & Plastique.
C & P: Where are you from?
Emilia: I’m a peace corps baby, so I was born in South Africa, but I grew up in Madison, WI.
C & P: You currently keep a studio in Greenpoint, Brooklyn and used to work as an artist’s assistant in the neighborhood as well. How long have you been doing art-y things here?
Emilia: I’d been working my day job in Greenpoint for almost three years, but I only moved into this studio myself about a month ago.
C & P: What do you like most about Greenpoint?
Emilia: It reminds me a lot of when I used to live in Italy. It has this subtle old world charm that hasn’t been completely eaten up yet.
C & P: What is your favorite spot in Greenpoint?
Emilia: I like Broken Land on Franklin.
C & P:For music?
Emilia: My friends will gasp, but I’m not really a big music person. I only really go to shows unless I know someone in the band. I’m more of a talk radio person.
C & P:For food?
Emilia: Salted chocolate chip cookies at Ovenly! And salami sandwiches and rose tea cookies at Cookie Road.
C & P:For artistic inspiration?
Emilia: Local studio visits! And I wish Beginnings was still over on Meserole… That was such a fun little space.
C & P: You studied at the Corcoran School of Art and then moved to NYC to pursue a career in the arts. How different do you find living in D.C. versus NYC?
Emilia: DC is a weird place to live, especially when you’re not interested in a government job or politics. It was really interesting being so close to the White House (the Corcoran is located just steps away). I attended Barack Obama’s Inauguration, and I was able to do a teaching artist project with Michelle Obama on a local army base. I painted a bench with her and a little girl and we talked about Katy Perry.
I think that there’s more space for artists to spread out in DC. It’s not as cutthroat as here, but it’s not really less expensive. I do miss the free museums a lot. I think anywhere you live is what you make of it, but it just wasn’t the right place for me. The metro isn’t good enough.
C & P: Was there an art scene in D.C.?
Emilia: There IS an art scene in DC! DC doesn’t get enough credit for its contemporary art scene—there’s a lot of people doing interesting things down there. I have a particular soft spot for Transformer Gallery. I’ve shown there in the past and I’m part of their flat file program.
C & P: Did you always know that you would be involved in a creative field as an adult when you were young?
Emilia: Yes, pretty much.
C & P: What is your process like when creating artwork in your studio? Do you work on multiple pieces at once?
Emilia: Yes, I do tend to have multiple canvases going. I usually have one canvas that I’m using as a paint palette, and I do that until I feel like there’s enough paint built up or I’m waiting for another painting to dry, then I’ll start working on the palette canvas so it can become a real painting.
C & P: What medium do you most frequently use in your paintings? Oil? Acrylic? Is there ever an element of collage in your work?
Emilia: I used to only work in acrylic, but I switched over to oils completely a few years ago. I just love the texture and richness of color that oil paint produces.
I don’t really do collage very often, other than occasional googly eyes.
C & P: I noticed a lot of your new paintings had small multiple eyeballs painted on them or in some cases had google-y eyes stuck to them. Why have all of these eyes worked their way into your canvases as of late?
Emilia: More then anything it was intuitive. A lot of that work is kind of a manifestation of me applying little personalities to plants, and how funny it would be if they were watching us all the time from their habitats. Rolling their eyes when we do embarrassing things because they can’t look away.
C & P: I also some some older canvases that you painted of females and in your new work you have been mostly focusing on plants as the subject matter. Is there any reason for this shift or did you just want to try something new? Do you think you will ever go back to painting figuratively?
Emilia: I was mostly just really bored. I’d been out of art school for about a year and still making similar work as I had when I graduated, like paintings and drawings of sad girls with long hair. It’s really as simple as thinking, wow I am so bored, I need to change it up. And I’d been getting really into plants and gardening and was like, well I really like plants so I’m going to paint them.
I don’t know if I’ll go back to figurative works—I’m strictly on this experimental, light hearted work trajectory and I’m just going to stick with that for awhile and see what happens.
C & P: Do you keep a sketchbook?
Emilia: I used to keep them pretty habitually, but I don’t really anymore. I still draw a lot but I just work on individual drawings. So I guess those are kind of like my sketchbook now.
C & P: Who would you say are your biggest artistic influences?
Emilia: Jonas Wood, Yayoi Kusama, Erik Parker, Allison Schulnik, Daniel Heidkamp, Guy Yunai, Ellen Altfest and Mat Brinkman are a few favorites.
C & P: Is there a time/place that you would rather live in than the current?
Or one where you could be transported back via time machine to spend a few weeks hanging out and spying…
I think I’d rather see the future than the past! Unless it’s bad. Then maybe I’d skip it.
C & P: Do you feel that NYC is still the best place on the planet to pursue a career in the arts?
Emilia: Again, I think everything is what you make of it, but it’s hard to beat the amount of galleries, artists, and museums that are at your fingertips here all the time. But it’s not for everybody. You have to hustle to pay rent and also keep making your own work a priority.
C & P: Would you consider moving elsewhere?
Emilia: I think I’ll be staying put for awhile. I can’t really think of any place I would really rather live right now. I do miss traveling though. I would really like to go back to Africa.
C & P: What would you do if you did not make art?
Emilia: If I was going to do a complete 180, I’d probably go to med school. Really.
Q & A with Schoolhouse resident, photographer, and mobile maker, Chris Chludenski.
C & P: You make found object mobiles and also shoot Polaroid photographs. How long have you been creating your mobiles and taking photos? Do you prefer working in one medium over another?
Chris: I’ve been doing both for about thirteen years now. I don’t prefer one medium over another but i certainly produce more Polaroids than I do mobiles. I prefer photography as an artform, as I can take it with me as I go, whereas with the mobiles I need materials and a studio space.
C & P: What are you most frequently drawn to as subject matter in your photography work? How about with your found object mobiles? Is there a correlation between the work?
Chris: I try to say something with the mobiles and express my views. Polaroids for me are much more documentary and don’t necessarily have a message behind them.
C & P: Tell me a bit about your camera collection… How many do you have? Have you used all of them? Which is your favorite?
Chris: I’ve got about 350 cameras. Mostly Kodaks, made between 1890 and 1980, and Polaroids, plus few Imperials, Agfas, and Spartus. Some working, some not. I’ve used about a quarter of them, I bet. Most would be in working order if film were available, but some are just beautiful models I can’t part with. I like that the older cameras were much more stylish, inventive, and decorative than what is produced today. My favorite is between the Big Shot Polaroid, that Andy Warhol made famous in his portraits, or the Kodak Colorburst camera, which Polaroid sued Kodak over and had production of both cameras and film stopped because of patent infringement.
C & P: Now that Polaroid has gone out of business and the film is no longer available what do you shoot with?
Chris: Fuji makes a film compatible with many Polaroid Land Cameras. Also the Impossible Project manufactures instant Polaroid film for sx-70 cameras. The film itself is flawed and expensive, but the idea to keep Polaroid alive is admirable.
C & P: Do you ever shoot digitally or do you prefer to still use film?
Chris: It depends on what I’m shooting. I have a Nikon digital camera that I use sometimes. I’ve also got a Canon 35mm.
C & P: Do you feel that digital lacks a certain quality that you look for in an image?
Chris: It doesn’t lack anything, its just a different aesthetic. A different view of the same thing.
C & P: You studied at Emerson College in Boston, did you study photography there?
Chris: I earned my BA in Photojournalism.
C & P: Do you prefer living in New York to Boston?
C & P: How has living at the Schoolhouse influenced your work? If at all?
Chris: I’ve been able to see things differently and get new perspectives.
C & P: What artists have been an influence on you?
Chris: Alexander Calder has always been a huge inspiration to me. Robert Capa. Ralph Eugene Meatyard.
C & P: What could you imagine doing if you did not create art?
The Schoolhouse will be open:
Friday, the 1st – 5PM — 11PM
Saturday, the 2nd – 12PM — 11PM
Sunday, the 3rd – 12 PM – 8 PM
Augustin Doublet will be screening his new short film Adam all weekend.
Photos © Christine Navin. Do not reproduce without permission.
In July, when I was in London, I stopped by NoBrow headquarters for a tour of their store and production facilities (and for a small shopping spree!) The space was great and there were so many amazing things to look at (I could have stayed there for days!) And even though Sam Arthur, one half of the NoBrow team, was having a very very bad week, filled with headaches (he was on the telephone dealing with finding a stolen van in Belgium, filled with freshly printed NoBrow books, when I first arrived), he kindly let me in, gave me photographic freedom to shoot anything I wanted in the space, and made the time to chat with me, enthusiastically, about NoBrow and the product they create.
This month Cheap & Plastique conducted a proper interview, via email, with Mister Arthur.
C & P: How did you decide to start NoBrow? Was it because of your love for the medium of illustration?
Sam/NoBrow: We started Nobrow because we love illustration and because we love beautiful books.
C & P: Had you been involved in any other similar projects/ventures prior to NoBrow?
Sam/NoBrow: Before we started Nobrow – Alex was an editorial illustrator and I worked as a director (mainly commercials and music videos), we had worked together on various animated projects, and although the end product wasn’t printed there was a similarity in terms of working with visual narratives.
C & P: Are you planning to expand NoBrow in the future or start any additional endeavors?
Sam/NoBrow: We are always searching for new projects to publish, doing more books and expanding into new markets is always going to be a challenge. We are going to be working with Consortium Book Distributors in the US starting in 2012 so our books will be more widely available in the US and Canada. We are also working on some translations of our books for the French market too.
C & P: NoBrow has existed since 2008. And you have had the shop and gallery for a little over a year and 1/2. Have things changed for NoBrow since the shop was opened? Are a lot more people aware of the NoBrow brand now?
Sam/NoBrow: We have had lots of opportunities pop up as a result of people coming into our shop, which is great. The idea that someone who didn’t know of us could stumble upon our shop and love our books is quite a romantic notion! However our shop/gallery was always intended to be a showcase for our products and the artists that we work with and in that way it has been really successful.
The amazing shop
C & P: Do you only sell NoBrow products in the shop?
Sam/NoBrow: We stock all of our own products, even some that aren’t available online, but we also stock products that are from producers and brands that we love and are ourselves inspired by.
C & P: Who is in the office on a daily basis?
Sam/NoBrow: Alex and I are always in the office unless we are away on business, and then we also have 3 full time staff members and that includes whoever is working in the shop.
C & P: How often is someone printing in the basement?
Sam/NoBrow: We don’t have the resources to be printing 24/7 unfortunately, but we usually have a new print edition every 6 weeks on average.
Silkscreening studio in the basement of the building
C & P: Do the illustrators silkscreen their own pieces, does NoBrow print the publications, or is it a collaboration?
Sam/NoBrow: We always print the editions – otherwise it wouldn’t be a Nobrow Small Press edition.
C & P: Are there other publishers in London doing something similar to what NoBrow is doing? Do you ever collaborate with other independent publishers?
Sam/NoBrow: Not that I know of – we work with lots of collectives and small presses but not so much with other publishers. We love publishers like Bongoût and Le Dernier Cri who operate in Europe, but there isn’t anyone quite as well established as these guys in the UK.
C & P: How about elsewhere in Europe? I saw the work of a Berlin based group called Bongoût at last years New York Art Book Fair who were selling similar wares (collectible silkscreened art books/objects). Do you know of them?
Sam/NoBrow: See above answer!
C & P: Do you sell NoBrow product anywhere in the USA?
Sam/NoBrow: We sell in places like Secret Headquarters in LA, Desert Island in Brooklyn and quite a few other cool independent comic books stores – next year we’ll be distributed by Consortium Book Distribution in US and Canada so it will be much easier for stores to get hold of our books.
C & P: Have you done any art fairs (like the Pick Me Up Contemporary Graphic Art Fair in London, where I first saw your work) in other cities?
Sam/NoBrow: We’ve done lots of shows and fairs all over the world (well mainly in North America and Europe) for example in the last 12 months we’ve been involved in shows and festivals in Angouleme, France, Toronto, Canada, Helsinki, Finland and we’ll be doing something in Madrid, Spain in November and also be at the Brooklyn Comics and Graphic Arts Festival in December.
C & P: The colors used in printing your publications have a unique look and feel about them and act as a common thread between all of the NoBrow library, making a group of NoBrow books look like a cohesive collection, despite the illustrator’s style. Is there a specific reason for your choice of colors? Was this color palette chosen because of any other publications/publishing houses that you admire? How are these super saturated, intense colors accomplished in both the silkscreen process and with the larger runs on the printing press?
Sam/NoBrow: We use a spot colour printing process with many of our large edition books that are printed with offset litho as opposed to silkscreen. The process is similar in that the colours we use are premixed and overprinted rather than made up of CMYK which is the more conventional way of printing things.
Sam showing me the difference between the screenprint version and the offset version of The Bento Bestiary book by Ben Newman
C & P: How do you decide whether to print a limited edition of hand silkscreened books in house versus a run of 3000-5000 at a press?
Sam/NoBrow: We can take more of a risk with the hand made books as we are only printing 50 or 100 copies – also it may be something that can only be done with silkscreen. With the large edition stuff we can do more complicated bindings as we are using industrial production methods.
C & P: Could you talk about the process of working with an illustrator on a book? Does it vary from artist to artist?
Sam/NoBrow: It varies quite a bit from artist to artist and project to project. Sometimes we have seen something that is already finished and we work with the artist to adapt it to a book for us – other times we are approaching an artist with a project in mind, in which case we are all starting form scratch. Some artists like to have some direction or an editor to bounce ideas off, where as others are much more likely to bury themselves away. Everyone works in a different way and we try to find the best system for each project in order to get the greatest end product: a beautiful book!
C & P: What is the most involved/complex project you have ever undertaken in NoBrow’s print shop?
Sam/NoBrow: We did a really cool concertina book with artists Jock Mooney and Alisdair Brotherston – the complicated thing was getting the maximum length from the paper stock. This meant printing in two sections on one sheet and sticking them together – and then folding them. Sounds simple it was real brain teaser!
C & P: How do you find the illustrators/comics that you publish? Are most of the NoBrow stable friends and/or acquaintences? People who have submitted work through your website? Or people that you have scouted out at schools and in other publications? Are they mostly British illustrators?
Sam/NoBrow: Again – this is probably our most commonly asked question – it’s different for every single artist. We have met some people via friends but these people are in the minority, for the most part we have approached people when we have seen their work and have loved it. Generally this is because we have seen their work online or in a book or magazine or even on some food packaging! Often people send us examples of their work or links to their websites and we always try to check these out even though we don’t always have much time. It’s important for us to always be looking at new things.
C & P: How many illustrators do you work with on a regular basis?
Sam/NoBrow: It’s not an official thing, sometimes people ask if we represent artists/illustrators and we don’t. However there are at least 20 illustrators that I can think of that we have worked with more than a few times. Hopefully this number will increase as we go into the future.
C & P: Whose collection of vintage Japanese toy monsters is displayed throughout the store and office? When did you begin collecting these? Do you have a favorite?
Sam/NoBrow: Alex is an avid collector of Kaiju Japanese monster toys – it’s his collection and he’s been collecting for at least 10 years. I love anything Godzilla!
Japanese monster collection
C & P: What is your favorite thing to do in the neighborhood?
Sam/NoBrow: I love a pint in The Griffin over the road from our office and lunch at the Hoxton Grill is always a treat! If I want to go somewhere a bit more colourful – DreamBagsAndJaguarShoes on Kingsland Road is a great night out.
C & P: Are there any other galleries that you frequent in Shoreditch? Elsewhere in London? What are your favorites?
Sam/NoBrow: I’m always a sucker for The Tate Modern – it has to be the best art gallery in the world. In Shoreditch – Seventeen Gallery, 17 Kingsland Road, always has interesting stuff and there are loads of galleries on Redchurch Street and also Leonard Street that have great shows.
Ben Newman and Sam Arthur sitting at the conference table in the office
More cool stuff in the office
House of Gold: An exhibition of work by Butter was hanging in the NoBrow gallery when I was there in July. The NoBrow gallery is currently showing an exhibit of works by the artist, Ben Newman, who I met during my visit. Ben seemed super nice and is a fabulous illustrator/artist, go check out his work if you happen to be in London!
Work from House of Gold exhibition
A few of my photographs of Sam Arthur and the NoBrow space will be in this month’s issue of Form Magazine, available at the end of October.