Brush and Guns and Guns and Brush

January 13, 2012 By Leave a Comment

The culture of Ireland inspires thoughts of trooping fairies, rolling hills, and humble folk dancing and singing the night away in pubs. What no one imagines is Brian Rock’s reality: explosions, gunfire, death and destruction amidst dirt, poverty, and political unrest. Growing up in Belfast during the 1970s, 80s, and 90s, war is engraved in his psyche. He continues to see it, smell it, taste it, until he puts it on canvas so everyone else can feel it. His emotions control his paintings, conveying a sense of chaos and frustration with just a hint of coherency.

“Playground,” for example, is drawn from childhood memories of cowering in bed while explosions filled the night. Then, a few days later, he and his friends would run outside, excited for the things they would find in the wake of battle. The children collected nails, various shapes of glass, and bullet casings the way most would pinecones and worms. Dwelling on this memory, adult Rock used these objects to capture movement. “Playground” is a hybrid of paint and object mosaic, with a girl’s dress soaked in red to represent the destruction of innocence. The painting moves like fire, with nails and bullet shells spiking the red and maroon border. A Peace sign made from rust-colored barbed wire is barely visible amongst the gray, red, and orange glass hovering over the scene. Altogether, the piece is six and a half feet long and weighs over 100 pounds; a heavy painting for a heavy memory.

A core element in Rock’s past and portraits is color. His piece “Ardoyne,” named for his home town, illustrates the atmosphere of the IRA neighborhood: dark, black as gunpowder with grit and smoke hanging in the air. “In the gray, dark…nasty nasty world, the bright colors are what you’re drawn to.” For Rock, those are the green, white, and orange of the Irish flag. Red of blood is also prevalent, repulsive yet intriguing. In the painting these bright colors are splashed against a backdrop of black and maroon, shining against the dark but still a mess in and of themselves. The paint is lumpy, thick, like plaster dried on pavement. To demonstrate the nastiness of war, Rock literally scoops dirt and mud from the ground and mixes it with the paint on canvas. “It also illustrates that we’re all dirt…that we’ll all be back in the ground, pushin’ up clovers…”

His intense involvement with his pieces is all part of his personal therapy; while most people talk through their past traumas, Rock paints through his. He literally lets his emotions and memories possess him until the rush is spent, the tension is released, and he can ride the euphoric high of completing his piece. “A lot of physical work goes into all my paintings,” he admits. The best example of this is “Burn,” which stems from a direct memory of his fourteenth year, when he helped clean corpses from a gas station explosion. The mannequin is stuck to the canvas, purple, black, and gray as charcoal with splashes of red. It’s wrapped in barbed wire painted to look like the Irish flag. While Rock loves his country, he admits that even in times of peace, the political closeness is binding and suffocating for the people. “Peace is never, ever free. [We] may achieve peace, but there’s always constraints.”

Rock’s work is all about his Irish heritage, but he now resides in the countryside of New Mexico, where he’s happy to say that he can hear the birds sing and has a new studio from which to work. Allowing the frantic nature of his memories to take control in his art has helped him immensely, though there’s always more to let out. While he still harbors chaotic memories, he hopes his paintings will give a voice to others from Belfast, to show the world what war was like and what it is like and what it will continue to be like. He has captured pictures of emotions behind his most painful memories so all can look at them and see the psychological scars of battle. One glance brings to mind anguish, frustration, and danger. On the other hand, they also carry a sense of hope; that the world will come to realize the atrocities of violence and stop before the next generation suffers its consequences.

Filed Under: Art, featured Tagged With: , , , , ,

April DeBord: Red Hot Talent

November 22, 2011 By Leave a Comment

It was 6:15 on a breezy November evening.  I sat outside the restaurant, eagerly awaiting her arrival.  Suddenly, there she stood, her long red hair cascading down past her shoulders and a smile so effervescent and bright, it was hard to imagine she had just come from a full day of work.

April DeBord is one-of-a-kind.  Adventurous, charismatic, intelligent, passionate and ridiculously creative are just a few ways of describing the artist I was sitting across from over our dinner interview.  To be honest, when I first scheduled our chat, I thought I was only going to be talking with DeBord about her firedancing.  Granted, that would have been plenty enough to keep me intrigued; however, it was just the tip of the iceberg.

Originally born in Akron, Ohio, DeBord is an artist who has dabbled in a variety of mediums.  “I tend to get bored easily,” explains Debord over her linguine alfredo.  “I like to try out a little of everything.”  DeBord is a painter, professional photographer and has even published a book.  She is also an avid traveler, with her great love being road trips.   ”I love to travel all around the U.S. and outside of the country.  And I love to document my travels through photography and my writings.  While I’m in different places, even some as extreme as the South American jungles, I will stop and do a fire dance,” states DeBord.  Her goal, in fact,  is to travel to every continent and fire dance.  And I do believe, DeBord will achieve this.

DeBord combined her love for traveling with photography through a book she published in January of 2011.  “Heads Toward the River!” is a visually stunning and beautifully written volume of DeBord’s adventures through the jungles of Columbia.  This self-proclaimed adrenalin junky spent ten days sleeping in hammocks admist oversized insects and venomous snakes.  DeBord joined an adventure/travel group out of Tampa and quickly made friends with folks she had never met.  The gregarious and cordial artist also met with another interesting group while on her travels.  The Kogi Indian tribe was a significant part of DeBord’s South American excursion.  “I loved the Indians.  We sat around in huts with them and got to learn their culture,” reflects DeBord.  One of the adventurist’s favorite memories of her trip was being able to climb all 1200 steps to “The Lost City,” or Ciudad Perdida.  The location is considered to be quite magical in many respects.  However, DeBord’s journey offered a lot more than just enchanting jungle sites or sacred Indian villages.  “We had to trek through the jungles by mules.  It wasn’t always easy,” explains DeBord.  She also recalls having a couple very close encounters with snakes and enduring a painful knee injury.  “I was thankful for our travel guides.  They were amazing, always there to help us in a difficult or scary situation,” remembers DeBord. One of DeBord’s most daunting moments was while walking through a river.  “We often had to trek through rivers, but none were very deep.  However, there was one river that nearly swept me away.  It was treacherous and we had to hold on to each other to pass it.  There was a spot in the river that took a sudden drop and it was very deep.  I was in shock, as the water was freezing cold.  My guide was there to save me.  He really took hold of me and grabbed me,” recalls DeBord.

Personally, I was rather amazed at this young woman’s Columbian adventure.  It was all very Romancing the Stone-from Indians and snakes to dangerous rivers and mysterious jungle destinations.  And if you don’t think you have what it takes to trek through the jungles, but would love to visit vicariously through DeBord, simply check out her book.  It can be found at http://www.blurb.com/user/store/Apryl00.

Though DeBord’s travels may seem extreme, she also likes to just jump in her car and drive around from city to city, state to state.  Recently, the road tripper drove solo to all the New England states, minus Connecticut.  “All the states were so beautiful, but I really loved Maine,” states DeBord.  The daredevil naturalist even climbed Mount Katahdin, the highest peak in Maine. “I love to hike and climb mountains.”

So, was DeBord born with wanderlust, or did she somehow acquire the love of traveling as she got older?  “I lived in Alaska for a while and it changed me.  It made me really want to explore the world.  I loved it.  Somehow, living there, opened me up; it freed my spirit.  I was born in Ohio, moved to Florida when I was eight, and then years later in July of 2000, I got myself a one-way ticket to Alaska.  I was with a man at the time who was in the Coast Guard.  We had to live there.  I was worried about moving there initially, but I ended up loving it.  It was incredible.  I developed a love for exploration during this time, as well as for photography.  I felt creative,” fondly remembers DeBord.  The beauty of the rugged Alaskan wilderness was breathtaking and inspirational for the emerging artist.  Then, just two years later, DeBord packed up whatever she could fit into her car and took off on a road trip with a couple of her friends.  First, they went to New York, then to Florida, camping and making other fun stops along the way.  In the end, they finished their venture at DeBord’s home state of Ohio.

I had to ask DeBord, if she could go to one dream destination in her travels, where would it be.  “Oh, I have so many places yet that I would love to discover, but if I had to narrow down my list it would be New Zealand or maybe Africa for a safari.  Another place I have to go one day would be Bali,” answered DeBord.

If the artist isn’t on one of her many adventures, she may very well be taking pictures.  DeBord is a professional photographer, after all.  She earned a BFA in Photography at the University of Akron, along with a minor in Professional Photography and Computer Graphics.  Today, DeBord owns Inner Sanctum Photography and specializes in unique portraits, fine art nudes, wildlife/nature and pet photography.  She also does amazing black and whites, in addition to her color shots.  DeBord further mentions that she does hand coloring, upon request, for any of her black and white photos.  The photographer came up with the name, Inner Sanctum, because for her it means a place of calmness and peace inside the mind and soul.  DeBord explains that the words translate roughly into “mind den.”  For more information on DeBord’s photography, or to schedule a sitting, visit her website at www.innersanctumphotography.com.

DeBord also keeps busy with her everyday job, which is working at HSN, here in Tampa Bay.  For all of you home shoppers, HSN is your one and only go-to place.  At DeBord’s “day” job, she works as a freelance post-production artist- just something else the artist can do to spark her creativity and keep herself from getting bored.

To me, DeBord is synonymous with an onion; peel and onion and you will find lots of layers.  This fascinating thirty-something may indeed, wear a lot of hats; however, her most well-known hat is perhaps the one she wears during fire dancing, symbolically speaking.

DeBord began fire dancing in 2004.  “ I took a trip to Key West with a friend of mine and we went to Mallory Square at sunset to watch the street performers.  I saw a couple doing fire dancing and said to my friend, ‘I have to do this!’  After the two were finished dancing, I approached them and asked them about it.  When I returned home, I went online.  I learned a lot about fire dancing just by watching YouTube videos for six months.  Then, I started practicing with my roommate at the time.  When I first started, I used glow sticks so I wouldn’t hurt myself.  I eventually began using fire once I became more comfortable,” explains DeBord.  “The second time I did fire dancing was at my family’s annual Halloween party in Ohio.  Contrary to what people think, I don’t spend all my time fire dancing.  I’m afraid I would get too burnt out!  I like to keep things fresh.  I do love fire dancing though.”

Fire dancing is an ancient performance art.  For those who are not familiar, it is a beautiful and creative way of manipulating fire, and more specifically, objects set on fire through dance.  Objects, such as fans and staffs have wicks, which are soaked in fuel and then ignited.  The art form, obviously, is quite dangerous so it is crucial to take precautions while dancing.  Poi is fire dancing performed with a ball in each hand, suspended by a plaited cord (or chain).  It is then spun in circular and other acrobatic patterns.  Poi is also a traditional art performance of the Maori people who live in New Zealand, a group that DeBord would love to one day meet in person.  The Maori, however, never used fire while dancing; instead, the Americans were the first to light the match.

Poi began many years ago in New Zealand and for the purpose of increasing flexibility and strength in the hands and arms of the Maori people.  It was also excellent for improving coordination.  Poi dance was originally used by the Maori women for keeping their hands flexible for tasks such as weaving.

The wicks used in fire poi come in a variety of materials, most commonly, KEVLAR.  The material is a man-made organic fiber.  If used correctly and is well taken care of, KEVLAR will last and can then be used numerous times.  According to DeBord, it is also the same stuff that firemen’s suits are made out of.

DeBord performs wherever and whenever.  In fact, she has a few YouTube videos of herself performing at an old, abandoned Orlando amusement park called Splendid China.  DeBord felt inspired while inside the park, and even though she didn’t have music, she often would just dance to the sound of the wind.  Splendid China has since been razed, but DeBord still cherishes many of her memories performing there inside the cracked and decaying walls and corridors.  Over time, DeBord has danced at proms, private Halloween events and birthday parties.  She was once asked to lead the very famous Guavaween parade in Ybor City, Florida.  In addition, DeBord performs at her favorite venue, her family’s Ohio Halloween party.  “I’ve been asked to do many events, but unfortunately, there are a lot of fire restrictions that do not allow me to participate.  Fire codes are tough.  When I was asked to do Guavaween, I had to have a Fire Marshall on each side of me at all times.  It was pretty expensive in the end to hire all three of us, so I ended up not walking in the parade.  I really regret that,” states DeBord.

DeBord generally goes by the name RED, especially when she is fire dancing.  It is a nickname that she acquired while visiting New York years ago.  “While I was there, a group of obnoxious New Yorkers kept screaming out to me, ‘Hey Red!’ It was because of my bright red hair.  This was while I was in college, and now years later, I still go by the name.  It’s perfect for my fire dancing.”

When DeBord fire dances, she captivates.  “I use belly dancing with the element of fire.  I also like to experiment with objects such as fans.  I would like to get a fire jump rope to use in my routine.  I would use it to swirl around me, not to jump over.  I think it would look very cool,” explains the fire goddess .

Since fire dancing is considered to be such an intense performance art, I couldn’t help but wonder, has DeBord ever been burned?  Well, as the old adage goes, if you play with fire, you get burned.  “I usually don’t get hurt too badly, but once I got badly burned when a Poi wrapped around my arm and got stuck.  I actually could feel my skin melting off of my arm until I was able to pull it off.  It happened during a performance, but I just kept on going and played it off like nothing was wrong.  Everyone thought it was just part of my act.  Today, I will just get the occasional superficial burn, which tends to heal pretty quickly.  When I first started my fire dancing, I used to frequently singe my hair.  Now I use a scarf or put in dreads!”

DeBord brings her fire dancing along with her on many travels, as stated previously.  Her most beloved fire destination, thus far, being the DeBord Halloween Party.  The annual event just celebrated its 16th successful year and now has over 150 special guests.  It all started back in 1995 in the backyard of  DeBord’s brother’s house.  The party was modest and only a few family members and close friends were invited.  “My brother started it as a family thing.  It started in the backyard and then migrated all over the house and past it.  It just kept getting bigger and better with each year.  It became a street party,” states DeBord. “It then got so big, the police told us we had to stop it as a street party and move it to a bigger location.  What once started out with just a few people, soon had become an event of over a thousand.”  The party takes place typically the first or second weekend in October and there is always plenty to see while there.  An extravagant list of vendors and performers are on hand to entertain the crowds.  “We have jugglers, bellydancers, hearses, paranormal investigation groups, bands, costumed characters and so much more,” DeBord proudly tells me.  DeBord performs her fire dance at sunset.  And although the party is great fun, there is quite a bit involved.  “My brother and I are in charge of it and there are a lot of responsiblities for us.  I do the fire dancing, but also take many of the photos. I have to worry about putting things out, such as decorations, and taking it all down in the end.  We had to move it from the street to the VFW.”  All the hard work that the DeBords put into their party, sure is apparent in the end.  It is, by far, one of the most outstanding and elaborate of its kind.  If in the Akron, Ohio area next October, make sure you stop by.  It’s a great way to celebrate the bewitching season; the party is safe, family-friendly and best of all, free.

There is no doubt that DeBord is a stand-out kind of gal.  She knows what she wants in life and is not afraid to go after it.  She is strong and ambitious; kind and lovable.  DeBord is, indeed, unique and I mean that in the very best of ways.  A creative and free spirit that inspires and encourages everyone she meets.  A most talented artist and a most caring friend.

After our meal, I realized that our interview never really was one in the first place.  It was more like a dinner with a long lost buddy.  Or, maybe it was like some sort of self-reflection. Perhaps DeBord represents a small part which exists deep within each and every one of us- our adventurous side, our risk taking side, our creativity. Talking with this amazing artist was an awakening.  Life is far too short.  We need to live each day to its fullest; try new experiences and to not be afraid to learn something new.  Don’t just add on to your Bucket List- start scratching things off!  Not surprisingly, DeBord is doing just that…and more.

 

For more information on the annual DeBord Halloween party, please visit www.debordhalloweenparty.com.  The next party is scheduled for Oct. 13, 2012 in Akron, Ohio from 1 pm-11:30 pm.

To see DeBord performing some of her fire dancing routines, including those done at Splendid China, please visit her YouTube channel found at www.youtube.com/AprylRED

If interested in learning more about DeBord, please “like” her at www.facebook.com/FANSofRED. 

 

 

 

Filed Under: featured, Photography

Ted Mikulski: Artist for the New Millenium

September 14, 2011 By Leave a Comment

At age twenty-five, I am proud to say that I am a product of the digital generation. The Teenage Mutant Ninja Turtles franchise defined my childhood as easily as Nintendo games and the Walt Disney Corporation. With mass-produced commercialism and computerization at the helm of our cultural and personal development, it seems that everything has been done and is ready to move over for the next “big thing.” Twenty-seven year-old abstract artist Ted Mikulski acknowledges this and embraces it, as both a challenge and an opportunity to upgrade visual art while still holding on to the aesthetics of yesteryears.

 

Me: It’s great to have you back on The Expressionist…I read on your blog that you recently went to Europe. What sort of impact did such an experience have on you artistically?

TM: My fiancée and I went to…Greece, Italy, Iceland, Ireland, and England. It was something I never experienced before; you draw tremendous inspiration from old-world masters…There wasn’t much contemporary work but so many old-world works. Since I teach art I know these works [from textbooks], so being able to see it was phenomenal. There are subtle nuances that you don’t catch.

 

I think it reiterates the fact that art should be something of time and historical value. The quality of my work has to be tip-top and continue to explore different avenues. I was in a natural history museum in Dublin, for example. Old-world building, with preserved animals and skeletons…so I started thinking of sculptures with fabricated bones…that kind of inspiration you can’t get anywhere else.

Me: What did you bring back with you philosophically to use for your own pieces?

TM: I think philosophically I was blown away by these, especially Italy. I was blown away by Renaissance artists, even old works from Greece and Rome. The whole point of Rome was to be remembered and that’s why contemporary artists do what we do; we want to live on. We’re in a creative field based on the fact that we can be remembered. It’s about the longevity of your creation…it’s reinforced why I do what I do and continues to keep me motivated.

Me: From what I saw on your blog, street art in Iceland is quite creative and insightful. How does it compare to American expression?

TM: Iceland was beautiful…I’m a big street art fan; I was [blown] away by the fact that Europe has a much longer artistic history, and America’s a very young country. I think the appreciation for art is there. They don’t mind having public art, they don’t clean it up…we give graffiti art it’s legal laws but it’s not really accomplishing anything…If we had any aesthetic towards street art I think it would thrive here in the States.

Me: Did you draw any graffiti?

TM: I continued a project called Tweets for Life. I’ll find interesting quotes from people and it’ll coincide with people in real environment. I type them and print them up on sticky paper so I can stick them in random places. I did that in Greece, Italy, in grocery stores…on shopping carts.

 

Me: There are a lot of video game icons and cartoon characters in what you call, “Potpourri,” or “Random Works of Awesomeness.” As a member of the current generation, I really liked these works and loved seeing these characters presented in such a creative and personal way. What sort of significance do these works have on your overall art? Do you feel they’re deeply relevant or are they simply just fun to draw?

TM: There’s so much behind them, it’s the memories from when you were a kid. It’s interesting, all these capitalists making money has become personal, lifelong memories for us. I think being…27, and growing up in the early 90s and late 80s, I think for my generation these are the heights of capitalism, for these icons to be burned in our brains. All that stuff, not only is it funny to me cause it brings back memories, but also an ability to inspire from it. I love abstraction; [it] can also be humorous. I love humor and I love comedy.

 

Me: Bearing these pieces in mind, do you feel that technology is detrimental to visual art?

TM: That’s a really good question. I think technology has been great for visual art. Artists choose not to embrace it properly, [but] as artists we’ve been using new technology. Now we have bits from new media…I can look up great pieces of art anytime, from anywhere. Disconnect comes when people get distracted by it. When they could be looking at art they’re looking at videos of cats playing the piano…It’s a great way for artists to be seen like never before, but you have to be careful with what you’re doing online to have it matter.

Me: Do you think the Internet could move art forward, or is it setting it back?

TM: It could absolutely move it forward! Revolutions happen through YouTube and Blitz. I think to ignore that as an artist is very silly. The world we used to live in, you know, hang out in studio, work really hard, and then someone in a suit comes in and says, “You’re the next big thing.” It’s not like that anymore; you need to be out there marketing yourself.

Me: People have to sell themselves.

TM: You have to be your own personal cheerleader. Recession weeds out what artists will and won’t be here. Doing art once in a while is one thing; for those who want to be full-time it’s harder than ever.

 

Me: Many of your pieces have a 3-dimensional quality to them. Is this method of painting inspired by our generation’s demand for media to literally pop! or is this more from your architectural background?

TM: Great question; I think it might be a combination of both. I think, for me…this generation demands more than ever. They can go to museums and be bored by technical art. [They] demand higher standards; dimension has to be there. I’m producing sculptured works and 3-D works; for me it’s more grabbing and more expressing. The “paint” has been done billions of times in history and it’s time to be exploring different materials and…be completely expressive.

 

Me: Of all the forms of art most Americans don’t understand, I feel as though abstract art has the worst reputation. Most feel it is someone simply throwing random paint on a canvas and saying, “Here, now pay me.” How would you describe your abstract work to someone with this opinion?

TM: I think that’s understandable. A lot of it has to do with money. We have really simple art in the modern era from the 50s and 60s where people would paint a square in the middle of the paper and now they’re worth $10 million. I think it offends people in a lot of ways. I think…if money wasn’t involved, they wouldn’t get so offended.

[But] I think it’s the most pure form of art. If you’re going to paint still-life, you’re just re-representing what’s out there. Abstraction is ultimate; there are no preconceptions of what you’re seeing, you’re inventing it, creating it, starting it.

Me: I personally love that abstraction shows the raw emotion behind a subject rather than just the subject itself.

TM: For a lot of people that’s hard to except, that art is just emotion. The subject is the canvas, color, movement, it’s not deciphering a person or a car or a tree. Most people have a difficult time doing that and it involves education and conversation. They won’t spend time looking or thinking. Abstraction’s still fairly young; it’s still 70 to 80 yrs. It may be a matter of time before abstraction is up there.

Me: Do you think it will be?

TM: I hope so. I’m a huge supporter of it obviously. I think a lot of artists gravitate towards it; it’s freeing media, and some people do buy it.

 

Me: Do you give yourself any rules with your abstract work? Many of your pieces, though wild, are pretty comprehensive compared to other works. How do you decide what to channel and what tools to use in the wake of such a loose form?

TM: In many ways, I have concept of color and feeling and what the basic premise of the piece is. When I first started I went with how I felt, and if it came out good I was happy. I’ve been doing it for years and [now] I have a better idea of how things will work. It’s become more of a scientific process, then the emotions come through. That’s when you really get free and start working on it…with abstraction you combine so much paint, action, movement; it takes a part of you with it. I think most artists feel that way.

Me: I like the car you have posted on your website. What drove you (author’s note: pun intended) to paint your car?

TM: (laughs) I got bored with cars always being a same idea. [A] huge part of American society, all solid colors. It doesn’t seem natural to me; I just decided I would start drawing on my car. Of course people were warning me against it, you know: resale value will go down, insurance will go up, [I would] be getting pulled over every five seconds. But then I thought, why worry about it? If I did, I wouldn’t have [become] an artist in the first place! So I stripped the clear coat, a friend at a body shop helped me…I drew it with paint pens, then covered it with another clear coat…It gets attention everywhere, definitely a conversation piece. People going about their daily lives, doing the same thing over and over, then they see my car and it’s a break from all the [monotony]. When routine is broken by a few seconds of art, it can be pretty powerful.

Me: Cars are a vital part of our world; they help us go about our daily lives and become a part of us personally. Why, do you think, more people don’t personalize their vehicles?

TM: Well it’s time-consuming; mine took over 180 hours. People get scared to make cars individual; they’re an expensive investment. It lacks a certain flair and human ability. They’re all manufactured, we know what they all look like; there’s no surprises. It makes life pretty mundane. Putting art on a car seems such a great thing, to have a rolling piece of art can be a powerful thing. I do drive it all the time.

Me: So when can you paint my car?

TM: (laughs) I want to paint another car. I’ve had a few close offers for motorcycles. I do by hand with paint pens, so it takes time and effort. It also takes the right person to want to commit to it.

Me: Do you paint on other kinds of products?

TM: I draw on everything. We live in manufactured worl; nothing has that personal touch, nothing is hand-made or really special. I add art to whatever I can and do it in some way that’s really meaningful. Everyone’s determined to keep things pristine and factory-fresh. I think people are afraid.

Me: What do you see on the horizon of your artistic future?

TM: I think there’s a lot going on. I have a solo show in NYC next year, an amazing accomplishment. For me, my work will continue in complexity and if quality doesn’t continue to go up, they should stop. Quality should be a staple, you want to have quality in what you make. I’m just going to continue in longevity…trying to one-up myself. Whether or not I can afford it, it doesn’t matter, art deserves to evolve.

Me: Do you have anything you’d like to share with artists and would-be consumers?

TM: I think art deserves to be seen and it deserves to be appreciated. I want to expose my art to as many people as possible. I think for art lovers and admirers…if you love my work that’s great, but continue to seek out other artists. It should be up there with music and film and be important in everyone’s lives. Artists are some of the hardest-working people I’ve ever met…I think, to have a following, is a nice touch to all the hard work. People think artists want to do it for themselves but they…deserve the recognition for all their efforts.

 

 

Filed Under: Art, articleimg, featured

Communication Is the Key to Success

August 5, 2011 By Leave a Comment

As I look through websites looking for artists of all mediums to interview and feature on this magazine, I found it quite a surprising journey; and not in the way you would expect.  What I’ve found is the inability to contact these artists for various reasons.

One major reason is they don’t have a website.  Other reasons are they have a website but fail to have a proper contact page, or they use these forms that fail to work right.

Sadly these talented artists found a way to expose their work yet they will find it harder to excel to the next level because they are improperly using their resources and tools that work for them and their art.  Its frustrating to see this.

Like it or not our world and the way we do business is changing.  Regardless what you think art is still a business, even if you don’t make money at it the goal is to expose your work to the world, and the internet has been the platform that most people rely on and one that can bring you international viewers.

Unlike most jobs art is universal, people can buy your work anywhere anytime; that’s why its key to utilize your resources at hand.

Why is it important for people to contact and talk with you?  As an artist many times you can receive special commission jobs.  These jobs can run more than your normal work because its customized.  In order to obtain these jobs your viewers need to be able to effectively communicate with you.  Another reason is your fans love the opportunity to talk with you because it makes it more personal for them to have a one on one relationship.  It makes them feel special, which in turn brings in more views, fans and requests.

The Excuses

Through out my journey to discover artists I have often asked them my they refrain from posting their e mail.  Believe it or not most of them are afraid of spam and they feel the forms will fight spam better.  WRONG!

My business website for my photography studio has a form.  Believe it or not I get more SPAM from that form than I do anything else.

I hate SPAM more than anything, it is a nuisance I agree but I refuse to let it keep me from my goal or mission with my art.

What To Do

First of all I suggest using a form but still post your e mail address.  As an artist I also strongly suggesting that you never use your personal e mail for communication.

With Google and Yahoo offering free e mail accounts, set one up there strictly for business purposes.  If you get SPAM here, so what.  Most of these e mail services have decent SPAM filters.

Next I suggest placing your e mail as a puzzle.  For instance you can make it look like this, I am using the magazine’s e mail  theexpressionistmag [at] gmail [dot]com.  You can also place the e mail address in an image.  Bots can’t read an image as long as you don’t make the image a hyperlink to mail you.

Why is this important since I have a form?

I have found through asking people directly why they tend to not use a form.  The answer is this… “They don’t believe that the intended person receives the e mail”.  I can see their point of view.  They don’t know if you have an office of people working for you who sees the e mail request and deletes them.  With a direct e mail for you they feel more secure in knowing that you have received your e mail.

Some artists may still have their staff screen their e mail address correspondence too, but its a greater chance that you will receive that e mail that not.

Do yourself and your art a favor and make yourself open to correspondence.  If you are afraid of criticism then let me tell you, you are in the wrong field.  Art is about criticism, and a good artist takes the good and bad compliments and makes it into something positive.

 

 

Filed Under: Art, featured

Kerrie Warren- Expressionism Through Paint

June 26, 2011 By 5 Comments

Expressionism is not your typical style of painting.  It allows the artist to do whatever they wish, without boundaries or limits.  There is no right or wrong to their work, just pure passion on canvas.

Some people see it as a variety of colors and nothing more, while others see something more defined and intense.  Either way, the work is awe-inspiring!

Today, the Expressionist Magazine sits down with Kerrie Warren, an Expressionist painter we found in Australia.  She’s halfway around the world, yet her work connects us all.

1. Tell us a little about yourself- where you are from, are you married, etc. (bio.)

I was born in Melbourne in 1968 and lived a ‘gypsy’ type lifestyle with my younger brother and sister, regularly moving from place to place.  My parents had grand ambitions and fresh ideas with each move so I remember it was always exciting to pack up, but emotionally torturous walking into the next ‘new school’.

To date, I’ve moved 34 times (including caravans) but like a tree I’ve grown roots here in Crossover (Victoria, Australia) with my husband Chris, two beautiful dogs, Garth and Tess, and an old horse named Billy.

I’m a country girl at heart and experienced living on a number of large properties as a child, so I’m completely at home here surrounded by green pasture, rolling hills, dairy cattle and wild birds (paradise for an artist / hermit).  I’ve been here for ten years now and my studio is an old (renovated) dairy.

2. At what age did you start painting, and what got you interested?

From a very young age I loved drawing and writing poetry.  I didn’t have access to paint and brushes, probably due to moving about so much (and pencils were quick to pack up).  My father and both grandfathers enjoyed drawing and I can remember myself and my brother Rodney spending hours upon hours drawing whenever we got a chance.  Mum would often surprise us with a new Derwent pencil and I’ll never forget how exciting it was to smell the wood and admire the fresh color!

But poetry was my pure expression of self.  If I ever felt ‘lost’ or ‘anxious’ (common feelings in those days), I would completely loose myself in the rhythmic words.  The sensation was so profound. From a very early age I was able to tap into ‘me within’, to ‘the source’, and my worries seemed insignificant and I would be at peace again for a short period.  Even reading my poetry late at night helped keep me sane (art therapy).

It wasn’t until years later I learned that poetry is ‘abstract’; it all started to fit into place like a jigsaw puzzle.

I left school to work when I was sixteen, following in my parents’ footsteps and working in a variety of fields hoping that something would ‘fit’. I wound up working in regional television and producing, which I enjoyed to some extent, but still found myself sitting in the car during my lunch breaks madly writing poetry.  I had a mid-life crisis at twenty-five, which was the best thing that ever happened.  I sold my car and enrolled to get my Diploma of Art in Ceramics (I had never touched clay before).

My whole being yearned to create and I allowed myself to be guided by instinct.  These studies also included formal drawing classes and I had taken on additional painting classes too.  The whole world seemed to open up before me and I fell in love with life itself.  I discovered in those years that the raw materials have a life of their own and instead of manipulating them, I would work with them and allow them to take me on a journey within (like poetry did).

I became more and more intrigued by the process itself and continued on to complete my Diploma of Transpersonal Art Therapy in Melbourne where my mind was opened up to ‘working in the moment’ to ‘abstract expressionism’ !

3. Tell us a little about the part of Australia where you currently reside.

I live in Crossover (West Gippsland), Victoria, Australia.  It is approximately 1.5 hours from our capital city, Melbourne.  http://www.westgippsland.com.au/

4. How would you describe Abstract Expressionism to those who may not be familiar with the art   form?

For those unfamiliar with this style of work it would be best to break it down first and look at the word, abstract, which means to not represent or imitate external reality. (Non-representational)

Expressionism represents the ability to express emotional experience rather than impressions of the external world.

‘Abstract Expressionism’ is also known as ‘Action Painting’.  My work is furiously energetic; a free and spontaneous application of paint which allows the release of pure creativity of the unconscious mind.

‘Spontaneous’ doesn’t necessarily mean ‘quick’ and certainly doesn’t mean ‘out of control.’  It’s about stepping into spontaneous itself and being ‘in flow;’ to be at one with the canvas and clear of mind in order to work in that zone and be taken on a journey within.  I’m greatly influenced by my environment and what is occurring in my life at the time.  When the paint dries and I become the viewer, it’s obvious to me that my work is a visual diary of events.

This process is more akin to tuning in a musical instrument than it is to a traditional painting style and I work with rhythm, balance, vibrancy and pitch (in a visual sense) to a point of resonation.  I work with the force of gravity and the thrust of energy; the physical movement in those moments is recorded on canvas in paint.  I walk out of my studio at the end of the day feeling like I’ve been hit by a truck, though the process itself is a spiritual comfort and quite addictive.

5. Who, or what, inspires you?

‘Life’ inspires me.  I’m absolutely fascinated by the miracle of life on Earth.  I’m fascinated by the Universe and what might be on the other side of it.  I’m intrigued by life after death, by God and by the power of Mother Nature and why I might be here, in other words, ‘my purpose’.

I feel that I’m close to knowing something more, to seeing something more, to understanding something else when I’m in the process of creating.  It ‘feels like that’ to me and it is this sensation that draws me back into the studio day after day.

I feel more like a mad scientist than an artist most of the time and yet I have no answers. I don’t experience ‘creative blocks’; I simply make a start and then seem to be following a thread.  It’s excitably tormenting!

I became in-tune with this process during my studies in Transpersonal Art Therapy where I experienced working on the floor, working within the moment and often during meditation or after chanting and drumming sessions.

It was after this period when I first heard ‘the Pollock comments’ (often sarcastic) and I became curious.

I started researching and learning more about this Jackson Pollock.  I was intrigued to learn that, he too, had lived a gypsy type life as a child and had experienced Shamanism (as I did during my Transpersonal Art Therapy studies).

Over time I’ve become more and more fascinated by, energized by, and absolutely inspired and excited by his work.  Even though we are separated by lifetimes and continents, I feel a very powerful and personal connection that I honor and cherish.

6. Do you have any mentors?

I have a number of mentors including my mother (and artist) Judi Money and husband Chris Major who both offer understanding, encouragement, and belief in me and my work.

I’ve formed lifelong friendships with a number of my surrounding colleagues and time after time we have mentored each other and emotionally supported each other through the various cycles of living an artist’s life.

I do, however, experience moments in my career when I feel quite alone and I’m not sure of the next step (not inside the studio, but outside) and ‘self managing’ my career.  Each step is a new one to me.

7. What are your goals, dreams?

To be approached by a ‘Peggy Guggenheim’ who will be absolutely taken by my work, believe in my work and manage my career!

I would also love to create historically significant (and very large scale) works to be hung in and collected by state galleries and museums around the world.

To be known as Australia’s great ‘Action Painter’ on a global scale.

To discover what’s on the other side of the universe through my work (I don’t ask for much).

8. Where can we view your work currently?

I currently have work exhibiting in the Red Sea Gallery, Brisbane (Queensland), Australia and am in the process of organizing my up and coming solo show in Melbourne (details soon) where I will also launch my new design label ‘Kerrie Warren Designs’ inspired by the Guggenheim.

Until I exhibit again in New York, you can view my work on-line at www.kerriewarren.com.au

and my studio is always open by appointment if you happen to be close by.


9. Tell us about your favorite piece, if you have one.

Each piece is significant because it links to the previous and the following much like a chain of events, but I’m always most excited about the piece on the floor!

10. What does painting do for you on an emotional level?

Painting emotionally stabilizes me and provides a spiritual comfort; it allows the release of pure creativity of the unconscious mind.

11. How much time do you spend working on each piece of art?

I tend to work furiously over a 1 – 2 day period and then continue in a more subtle sense while the paint is drying (tuning it in), which is generally over the course of a week depending on the weather.

I enjoy building my own stretchers and bonding with the canvas itself before I launch into it.  It’s like ‘warming up’ first.

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Co-Ops and Art

June 26, 2011 By Leave a Comment

Co-ops can be wonderful outlets for artists, especially those who are looking for galleries to show their work when they are not established enough to be in a privately owned gallery or museum.  So what is a Co-op, you ask?

A Co-op is a group that comes together for a purpose.  In the art sense, it’s a group of artists that join together to provide a workable gallery or studio for artists to show or perform their work.  By joining together, many Co-ops provide opportunities many couldn’t do by themselves, like owning a gallery for instance.  Co-ops can come in and negotiate using the power of the group to provide affordable opportunities.

Some Co-ops charge those who join a monthly fee, some charge a yearly fee and require those artists to donate their time to help offset operation costs.  Some don’t charge at all, but rely on networking to expand their reach and services.

These organizations can be quite a blessing for artists, however, Co-ops are best if they are run correctly.  The main problems that Co-ops face are the ever present politics and cliques.

Since these Co-ops operate with a board of directors, you will have some politics present.  Everyone will have a say into how this should run.  Like some government politicians, they tend to make their time in office a life long career, and even after they leave office they still have a lot to say on how things are run.  If people do not listen to them, they will sometimes try to make a lot of trouble for the group.  Unfortunately the ones it hurts the most, are the ones who are simply involved to show their work and want nothing to do with the politics of it.

Politics and egos go hand in hand.  Sometimes you will see particular artists try to befriend someone at the top in order to receive perks, kind of like D.C. lobbyists. This can cause a lot of animosity among the others in the group, especially if that person gets their way more often then not.

Being apart of a Co-op I also saw cliques take shape.  These are groups of individuals in the Co-op that feel their work is far superior to the rest.  They criticize the others and are quick to judge.  When these people take over and volunteer for the day, they tend to not be neutral, and push their work and the work of their friends. In some cases they talk down about the work they feel is sub par.

This kind of behavior hurts Co-ops probably more than politics do.  The reason is, by trashing other’s work or ignoring it all together, the Co-op fails that artist.  That artist could be paying a fee to be in the group or taking time away from something that could financially benefit them to work the gallery to help offset costs.  If these people don’t sell their work, it soon could become a financial burden and they leave.

Lack of members with the inability to recruit new members hurts Co-ops because their income does not come from art commissions, in most cases, but from monthly dues and volunteering.  Without volunteers, they are forced to hire people to work the gallery, which takes away from the financial power to advertise and sponsor events.

If Co-ops keep politics to a minimum, and axe cliques before they become a problem, artists will find Co-ops to be a great way to get their work on display, grow their resumes, sell their work for extra income and learn from other artists who have the same goals.

Filed Under: Art, featured

Dangerous Photographers Threaten Models

March 24, 2011 By Leave a Comment

Riddle me this, what is the worst thing a young, aspiring female model could run into that might potentially destroy her life and career based on her vulnerability?  The answer is a deceptive photographer who’s looking for nothing more than to get his kicks off of photographing nude women.

As most people say, there is no greater threat than a gun in the wrong hands.  Well, the same proves true for photographers and cameras, only their weapon scars the soul and looks harmless.  Cameras, these days, are quite affordable and versatile.  In addition, you don’t need a concealed weapons permit to purchase one.  Most who have these high tech SDR cameras automatically consider themselves “pro” photographers, and with the “automated” settings, they can achieve a decent photo with little to no skill.

That causes concern because that kind of camera could trick many women.  Women who are looking for nothing more than to be the center of attention, flaunting their beauty to the world as an innocent dream, thinking the photographer is for real.

Unfortunately, when people with cameras use their piece of art equipment to lure these beauties, strip them down and photograph them for their own sexual pleasure, it creates a bad name for those who are “real” photographers.

These deceptive photographers are easy to spot, but can be quite convincing.  They will say or do anything to get these women out of their clothes.  They will make them sign their lives away, throw them empty promises, and in the end, the innocent will be taken advantage of and visually raped.

Working with models most of my professional career, I’ve heard horror stories from other photographers.  In some cases, these freaks actually gave them their pictures – which I got a chance to look at – and saw nothing more than a point and shoot version of what they called “art”.

I’ve known models who performed implied and full nudity with the promise these photographers would break them into the “big leagues.”  They tricked women by saying  ad companies and modeling agents require a full nude photo to gain the aspect of their body structure.  In the end, the photos were less than amateur at best, and many ended up online somewhere.

In some cases the women never received their copies and the photographer is no longer around… surprised?

I also know some models that refused to do nudes or implied nude photography, but the photographer didn’t care.  The photographer actually decided that the model was going to pose nude, and took it upon himself to try and strip her.

As I said earlier, there are certain signs these photographers will throw off and they are easy to spot if you know what to look for.  I suggest that all models or any female who wants to do any kind of modeling shoot, follow my advice.

Sign 1 – The first question out of the mouth of these photographers when setting up a shoot is, “Will you pose nude or implied nude?”  In the aspect of nude or implied nude there is no difference, except that an implied nude shoot won’t expose a fully naked body; the photographer will see you nude but will pose you in such a way that doesn’t allow full exposure on film.

Sign 2 – The photographer wants to do this shoot TFP (time for photos) and promises the moon to these models.  If it sounds too good to be true, it probably is.  “Time for photos” is when the model trades their time to the photographer for photos.

Sign 3 – Thier portfolio is filled with nudes or implied nudes with little to nothing else.  Examine these photos and see if the models have anything in common such as ethnicity, length or color of hair, and how they are posed.  Then look at yourself.  If you have the same qualities, you may be the prospective victim of this “legal” sexual predator.  If you don’t like their work or it’s just not what you want to shoot, then simply leave.

Sign 4 – Tell the photographer you are bringing an escort with you.  Most will object to the heavens, convincing you everything will be fine.  They might even get in the way and mess up the photo shoot.  If you still insist, you may not hear from them again.

Another tall tale sign comes when you first show up to the shoot.  If you are posing nude, even implied, the photographer should ask you for your identification, and make record of it.  The Federal Government states that nobody under the age of 18 can pose nude for the camera, implied or otherwise.  Regardless of the law, it’s a moral issue not to photograph someone nude under 18.

Unfortunately, these photographers exist and with more and more of them acquiring mobile studios and working out of their homes, the chances for this disgusting activity increases.

Always meet with the photographer prior to the shoot in a public area.  Be sure to bring an escort with you; that reduces the chance of something happening.  Tell another person where you will be at, how long you should be there and who is shooting the photos.

I also suggest obtaining references from the photographer and calling them, especially if nudity is in play.  I also think it’s a good idea to look them up on the local database for sexual predators prior to shooting.

If you arrive at the photo shoot and you feel uncomfortable, you don’t have to do the shoot at all.  It is your right to say no.  Any serious photographer will respect that and work around the issue, and will still be able to create a masterpiece for you.

The best advice is be vigilant, listen to your instincts and play it safe even if you’re shooting simple head shots.  Also, glamour shots don’t necessarily mean stripping!

Unfortunately, even if you fall victim, there are no laws that will put the photographer into jail for sexual abuse.  At most, you could sue for the pictures and maybe for pain and suffering.   However, conditions become much different if the model is underage, or has been physically assaulted.  If this should happen, it then transposes into physical sexual abuse and/or rape.

For more about Jason Dowd or Dowd Studios visit http://dowdstudios.com

Filed Under: featured, Photography

Living Breathing Art – Drysdale Aquariums

November 11, 2010 By Leave a Comment

Visiting a friend this past summer I ran across an amazing fish tank; as he’s a Marine Biologist. However, instead of looking at this breathtaking 300 gallon aquarium, I looked at it differently. What I saw was more than a few species of fish and coral, what I saw was an amazing living, breathing piece of art.

This art is unlike any other, it’s something nature paints but masterfully put together by Doug Drysdale. When Drysdale puts together his eco art, he must consider so many things such as: what species go together, what climate its going to endure, the care the owner wants to provide, and color scheme. If Drysdale doesn’t consider each element, the tank and all that inhabit it could perish.

His art is so unique, that every tank is completely different, yet the depth of the art is shown when one takes the time to really study each element separately. For instance, if you really want to wow your viewers, place a black light over the tank to see an amazing color change in the sea urchins and most fish. Step back and see the grandure that is the mighty coral, yet so fragile in its own right; but still provide shelter to the fish that live in the small glass contained eco-system.

After sitting down and talking with Drysdale I walked away with a new understanding to this living art. I discovered things I had never known before, for instance, Coral is a living organism despite its rocky bone like appearance. Prior to talking with Drysdale, I always thought Coral was dead just living things grew off it. Coral is also very fragile, despite its strong exterior. It can crumble from various things like toxins in the water to climate changes and light.

According to Drysdale, different coral and other anomalies live at different depths of the ocean. At these depths certain rays of light are able to penetrate, if that light is too strong inside the tank, those deep living coral can become in a sense ‘sunburnt’.

Additionally, Coral has many ways to defend itself. As other coral grows and spreads, a piece of coral may defend its territory by omitting a toxin. Some of these toxins cause slime, shock, and other reactions. Looking at it, would you have any idea coral did this?

Going further in the conversation, I found out that toxins in the air can affect the tank and the life it contains. Those toxins can come from you simply cleaning your house or office. For instance, if you were to spray Windex or something of this nature on the tank, the glass can absorb that acid and affect the water or the overspray can land in the water. Air freshener and other sprayable household cleaners can get into the water by air transfer. These toxins can offset the pH in the water; depending on the level it rises to, it could kill some or all of the tanks inhabitants.

Drysdale suggests using natural items to clean around your tank, and the tank itself such as vinegar. Vinegar is 100% natural, and it doesn’t contain other caustic chemicals. The worst that will happen is it rises the pH in the system which must be counteracted by a base. Household chemicals have other ingredients which may not be easily fixed if it contaminates the tank.

What’s really amazing is the colors one can add to these fish tanks. I was amazed with the brilliant yellows, reds and oranges these anomalies came in. The fish too can add brilliant colors for a perfect blend of color and accents to the tank.

If you’re one of those who needs to be exotic, you can add some Lion fish or maybe an Octopus into the equation. The possibilities are endless, yet it provides a piece of art that’s forever changing, and art that you can look at over and over again and never see the same thing twice.

Drysdale sells pieces for your aquarium out of his home based business in Lutz, FL. He’s open Saturday and Sunday for you to come and see his inventory of fish, coral and anomalies. You can find Drysdale by visiting his website at http://www.DrysdaleAquarium.com

About Doug Drysdale of Drysdale Aquarium

As a biologist (Tufts ’95), I take the time to educate my customers who wish to develop their skills and knowledge as hobbyists and encourage active participation with regular operations.

Conservation, continuing education, promotion of aquaculture and ethical ecological practices are cornerstones of my business philosophy.

I am proud to say that the majority of the corals I provide to my customers are grown in my other systems, minimizing impact on the world’s reefs. As more and more fish species become available to us, I am delighted to provide tank raised clownfish, blennies, basslets and cardinal fishes and a growing number of species whenever they are available. Kudos to the pioneers of marine fish breeding and rearing! -DD

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Harry Sonntag: Key Largos Hermit Artist

September 19, 2010 By Leave a Comment

In 1992 an amazing discovery surfaced in Central Florida; a discovery that almost wasn’t. It came when a man by the name of Chuck Faulkner was introduced to a bag of art, salvaged from a storage unit before the place was demolished.

Inside this bag, Faulkner found stacks of paintings, newspaper clippings, and photographs from an artist named Harry Sonntag. The stack of pictures is a trove of Florida history, in a time when most of the state was completely barren. Faulkner’s research on the life of Harry Sonntag, combined with his art, tells a tale of Florida’s past; a story almost lost forever.

Harry Sonntag was a lifelong artist. He started his career in New York, eventually opening his own gallery. New York is a great place for an artist, but Sonntag craved individuality with his art. He didn’t want other artists to copy his style and ideas, thus in 1949 he moved to the Florida Keys where he would assume the life of a “hermit artist.” It was during this time that he began depicting life in Key Largo in his art.

Before he moved to Key Largo, a small misfortune struck Sonntag when his studio burned to the ground. He claimed that all his works of art burned in the fire, so Key Largo was going to be a great new start for Sonntag.

In Key Largo, Sonntag opened the Key Largo Art Gallery. This gallery was right off the main road leading to Key West; a great place for vacationers to stop and see his work. The ironic part was that his gallery was an abandoned structure, dilapidated with a roof full of holes. Structurally, one would wonder how the place remained standing. Sonntag didn’t care. He covered the roof up with tarps and hung his work with pride; ironically, the looks of the gallery didn’t deter the rich and famous from perusing the gallery.

From 1950 to 1957, the Key Largo Art Gallery’s walls donned pictures painted by Sonntag, which depicted life in Key Largo during that time. During the 1950s, cameras weren’t readily available; so many locals didn’t carry or own one. Sonntag’s pictures were the only real documentation of Key Largo during this period of time, because of this; Sonntag is considered Key Largo’s first resident artist and quite possibly, historian.

In 1957, another tragic twist of fate struck Sonntag, as his gallery once again burned to the ground. The Key Largo Art Gallery was no more, and with it, according to Sonntag’s statement to the Miami Herald, all his works of art.

Since his gallery was destroyed and nothing was keeping him in South Florida, Sonntag would leave the United States and take residence in St. Thomas, the Virgin Islands. Sonntag would continue his art, depicting life in St. Thomas until 1960 when his father became deathly ill. Sonntag returned to St. Petersburg, Florida to be by his father’s side leaving everything behind.

THE DISCOVERY

In 1960, a couple staying in the room house that Sonntag once inhabited, found a bag full of pictures underneath the bed. The couple took the pictures to the room house’s front office, where they said the couple could keep the art.

That couple returned to Florida, and stored the pieces of art in their storage unit in Central Florida where they would remain in a non-climate controlled environment for 32 years.

In 1992, Chuck Faulkner gained possession of the pieces and realized how valuable they were. The bag contained 175 pieces of art. Ironically, it contained pieces of art from when Sonntag lived in New York and Key Largo that supposedly were destroyed in the fires. It also contained his latest works of art from when he lived in St. Thomas. Strangely, only seven of these original pictures are signed.

Wanting to know more about Florida’s “hermit artist,” Faulkner asked locals who may have known Sonntag, about his life and gallery. What he got was some amazing stories about how Sonntag lived from former visitors of the gallery and personal acquaintances.

Faulkner managed to even reach out to Sonntag’s school in New York, obtaining his transcripts, his birth and death certificate as well.

Faulkner is dedicated to his find and wants now to sell the collection and all his knowledge of Sonntag to a collector who will cherish it as he does. He doesn’t want it split up because he feels it’s just not the right thing to do. He hopes the next owner will find a way to get this collection on display somewhere in Key Largo, returning the art work to its home, allowing locals to see what life was like back in the mid-20th century.

Faulkner has created a website dedicated to the collection, and information about Sonntag which can be found at www.harrysonntag.com

About Sonntag

When Sonntag moved to Key Largo, he earned the title “hermit artist.” Sonntag lived in a self-built shack behind his decrepit Key Largo Art Gallery.

For food, Sonntag would spear fish in the water behind his gallery. He grew all his own vegetables and anything else he needed to eat.

When he needed supplies or food he just couldn’t grow or catch himself, Sonntag would hitch hike up to Miami where he would purchase the goods.

Sonntag’s hermit life personifies the artist spirit. He had nothing, but was a very happy and content man. In today’s standard, and maybe even by standards back then, he would be considered strange, maybe even an outcast; to Sonntag this way of life was exactly what he wanted.

In 1960, Sonntag would return from St. Thomas in the Virgin Islands, to care for his sick father. His dad would eventually pass away in St. Petersburg, Florida that year. Sonntag would move no more, calling St. Petersburg his home until his death in 1990, just two years shy of his artwork being discovered back in Florida.

As far as we know, he didn’t create any more art while living on Florida’s west coast. Maybe he wanted it that way, maybe he knew his work would be discovered in that room house, setting up his own legacy with the tale that his work was destroyed in the fire. Did Sonntag know that his work would make someone rich, by discovering it and appreciating it enough to take care of it? The story is eerily similar to “Willie Wonka and the Chocolate Factory,” where Willie Wonka wants to pass down the factory to a stranger who cares about his work. We may never know, but what a story to tell.

Filed Under: featured, Fine Art Tagged With: ,

Betty Rocks

August 1, 2010 By 1 Comment

I love jewelry.  Okay, it’s more like a small addiction.  I’m not talking rehab by any means, but I have sort of gotten carried away over the years.  My chests and boxes have, well, overfloweth.  I have all types of jewelry.  Some are jingly-jangly and sparkly, while others are classically feminine and demure.  I guess I have a special adornment for every dazzling night out, and a trinket for every carefree afternoon.  Despite my three large jewelry boxes, I am always on the lookout for a new and exciting piece.  As a woman, can you ever have too many of any one fashionable item, specifically jewelry?  So, when I found out about Anne Groff’s collection, Betty Rocks, I knew I couldn’t wait to check it out.

Groff, a New Hampshire native, has a passion for creating jewelry, especially when it comes to stringing and knotting beads.  To be able to take a loose strand of beads and turn them into something beautiful and unique is a gift that this jewelry artist surely possesses.

Groff says she got started with the art  just after high school when she went on a family vacation with her at-the-time boyfriend.  His brother-in-law was in the jewelry business and was considered a “rockhound,” someone who enjoys collecting rocks and/or mineral specimens from their natural environment.  At this time, the brother-in-law had with him a collection of semi-precious beads and asked Groff if she wanted to make jewelry.  Being that Groff considers herself to be crafty and has always been willing to try new things, she jumped at the opportunity to learn the skill.  After being taught, Groff realized how much she enjoyed it and thus began her love for designing natural gemstone jewelry. Designs by You was later created and Groff and her ex’s brother-in-law started doing home parties.  ”He’d supply the beads, we would show people how to lay out a design and then the people would put the beads on a wire and I would finish the pieces with a clasp, ” explains Groff.  Even though her relationship with the boyfriend didn’t last, her passion for jewelry making has endured.

In 1991, Groff landed a job at the largest jewelry store in New England, where she worked in the semi-precious stone department selling fine jewelry.  She says she still had an eagerness for making jewelry, in addition to her just selling it. Groff was happy to learn a technique from the company’s pearl stringer.  In 1994, after the birth of her first child, Groff started stringing for the company she was with, and also for another local jeweler.  She stayed with that company and still strings for those jewelers, as well as many others.

When Groff first started professionally stringing, she started a company of her own called Pearlstrings.  To string means to indivually hand tie a knot for each bead.  With Pearlstrings, Groff has done custom and stock work, stringing strands of pearls for jewelers in New England and many other states along the East Coast.  Pearlstrings services include jewelry redesign, restringing, service contracts and customized designs.

Then, in 2008, Groff took jewelry making to another level.  She had fallen in love and wanted those closest to her to know.  So, one night as Groff recalls, she went out to dinner with her family and friends and introduced them to her significant other.  With a strikingly beautiful aquamarine stone necklace, much larger than her typical pieces, Groff excitedly showed off her newest creation.  A one-of-a-kind showstopper, full of delicious color, the necklace was naturally well received.  When Groff asked her loved ones what they thought of the necklace, a very famous cartoon character came to mind- Betty Rubble.  ”I thought that was funny, growing up with the Flinstones,” chuckled Groff.  The jewelry artist felt the name, Betty, to be fitting in more ways than one.  Groff always loved the name, because for her, what comes to mind is a pretty, fresh and natural girl.  Someone who is down-to-earth and fun.  In addition, Betty was her grandmother’s nickname, and Groff was given her name as a middle name.  It was while Groff was in high school that her grandmother passed away from cancer.  Holding a dear place in her heart for her grandmother, the name Betty became even more special to Groff.  ”I then thought of the other Bettys in my life and they all give me such joy, and they all rock! ” lovingly confides the artist.  ”Betty is all woman and so it stuck and I loved it!”

The Betty Rocks collection consists of large, bold statement, beaded jewelry.  Natural and earthy semi-precious stones, individually hand-knotted on matching silk threads fastened with a sterling silver toggle clasp.  The individual beads vary in character, making each piece special.  Groff adds that the classic styling makes her creations perfect for wearing daily for any occasion.

When it comes to semi-precious stones, one must understand they each come with their own unique properties.  For example, some stones promote confidence and clarity, while others promise to enhance psychic ability or encourage relaxation.  ”There are natural energies that come from gemstones and the people who wear them will absorb that energy.  ”I think that is pretty cool,” states Groff.

When asked about the inspiration behind her work, Groff explains that it comes from her background of pearl stringing and her love of natural gemstones.  ”A friend of mine came to me with a large strand of nugget style chalcedony and asked me to knot them.  Usually I have seen large beads as accent pieces to a necklace, not as a whole strand.  I strung it and loved it, and I was totally hooked from there,” Groff remembers fondly.

With all of Groff’s amazing creations and her brilliant choice of stones, I couldn’t help but ask her if she had a favorite. “That is like picking a favorite child,” laughs the talented jewelry maker.  ”I really do love them all!”  However, if Groff did have to choose, she would lean towards labradorite, which is a deeply rich, gray stone with an opalescent iridescence.  She further describes labradorite as a unique stone that many are not familiar with.

The Betty Rocks collection is so beautiful and wearable, it’s no wonder its getting attention and from pretty well-known folks.  ”I had a wonderful opportunity to meet Mrs. {Barbara} Bush.  I did a fitting for her for a necklace that Mr. Bush had gotten for her birthday and I brought with me some pieces of my Betty Rocks collection and she loved it!  Instead of pearls, she might go for Betty Rocks now,” proudly states Groff.

The artist says that her Betty Rocks collection is for the bold and fearless woman who isn’t afraid to make a statement, and it is also for the classy, elegant woman who continues to bring a classic element to the world.  ”I want to see my jewelry on musicians such as Taylor Swift, television personalities such as Betty White (another great Betty!) and people of influence such as Barbara Bush.  It’s for the fashionistas across the country, and for the women who never feel completely dressed without a finishing piece of jewelry.

Groff continues on to say that her dream would be to have Betty Rocks in fine retail establishments all across the nation, places such as Barney’s and Neiman Marcus.  Seeing her collection in top fashion magazines, museums, hotels and on websites is a huge goal that Groff hopes to one day fulfill.

Not only is Groff a highly skilled jewelry artist, she also projects a very genuine heart and soul.  ”I am always willing to help out a cause in any way I can,” states the New Hamphsire resident.  Groff takes much pride in volunteering in her community and gives to various charities.  Specifically, the artist has done bike tours to support Multiple Sclerosis, and recently was asked to donate a Betty Rocks piece for an ovarian cancer benefit in September.  ”I am going to create something special for that one,” says Groff with great honor.

After talking to the New Englander and perusing her online collection of beautifully colored semi-precious stone creations, I have become a true fan.  Groff’s Betty Rocks collection is for every kind of woman, regardless of age, race and style.  Her designs are all one-of-a-kind and are as classic as a black dress.  There is no doubt in this writer’s mind that Groff will go far with Betty Rocks.

And for those of you paranormal enthusiasts out there, if Groff’s name sounds familiar, well, it probably is.  After all, the artist is the aunt of Nick Groff of Ghost Adventures, which airs on the Travel Channel.  When it comes to her nephew’s success, Groff gushes about how great of a job he is doing with the hit show.  ”I am very proud of him.”   And, according to Nick, it is only fair to say, the feeling is most definitely mutual.

Website Information and E-mail addresses:

www.PearlstringsNH.com

Anne@PearlstringsNH.com

Facebook page for Betty Rocks:  http://www.facebook.com/home.php?#!/pages/Betty-Rocks/398488846411?ref=sgm

To purchase Betty Rocks online:

www.LNT.com (Linen’s ‘N Things)-just put in Betty Rocks into the search engine

Retailers in New Hampshire and Maine sell Betty Rocks, and soon-to-be, Massachusetts and New York

In New Hampshire, find Betty Rocks at:

Fresh on Main Street in Nashua, www.freshofnashua.com

A&E Jewelers at Pennechuck Square in Merrimack, www.aediamond.com

Roxie’s Fashion at Salzberg Square in Amherst, www.roxiesfashions.com

Wholly Tara on Main Street in Ashland, www.whollytara.com

Puttin’ on the Glitz on State Street in Portsmouth, www.puttinontheglitznh.com

J.M. Princewell at On the Oval in Milford and Maine, mail@jmprincewell.com

Coastal Jewelers in Kennebunkport, www.coastaljewelers.com

Extra Information:

Linens ‘N Things-on this site Groff sells the bulk of her designs, but she also has exclusive pieces that are sold in the above listed boutiques and jewelry stores

Groff belongs to the MJSA-Manufacturing Jewelers and Suppliers of America (through LinkedIn)

On Groff’s Pearlstrings site:  She is planning to update the site so you will be able to see the entire Betty Rocks collection, not just a few select pieces.  Groff welcomes anyone’s suggestions, comments and questions.

If you would like to have a piece of jewelry done by Groff, she can string necklaces, bracelets and earrings.  She offers two types or styles of earrings which both come in sterling silver – long drop or lever back style drop dangle earrings.


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