Artnois Magazine

1 ARTNOIS No 1, Agust 2012

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No. 1 AUGUST

2012

Art & Music Magazine

www.artnois.com

Artnois


We did it. We launched the first online issue of ARTNOIS Magazine. When Jess and I first told people we were gonna start a magazine, some people laughed and others encouraged us with an “awesome!” Although we dont blame anyone for laughing seeing as we are only a duo putting this magazine together during spare time, we knew we had never been more serious and excited about a new venture. Art and music? It doesn’t get any better than that. The more time we spent on it the more real it became. Our goal for ARTNOIS Magazine is to help spread art and music while creating a community where art and music lovers can connect. We think of it as collaborative magazine so anyone willing and able to help, we welcome you with open arms. This magazine is an adventure for us as we have been discovering some amazing artists who we would have otherwise not known about. If there is something you want to see in the future issues, please email us at [email protected].

We hope you like what you find in this magazine. It is filled with interviews and some amazing work. You will find a Jazz twist as we dedicated this issue to Louis Armstrong for his birthday on August 4th.

So now that we have your attention, check out the mag! Also, take a look at our calendar for August. We tried to include as many free or low cost events. If you know of an event you want to share please let us konw and we will put it in our calendar for the months to come.

Enjoy!

Magda BecerraJesenia Meraz

AAAw YEAAAH! We Did iT!A note from the Team

mailto:[email protected]


no. 1 Jazz August 2012Created by:Magda Becerra & Jesenia Meraz

Contributor: Omar Lazcano

Collaborating Artists: Blaise Gauba, Eleanor Bennet, Candace Hopkins, Chico Coelho, Andrea Lauren, Joshua James Martin, Jon Measures, Jorge Gonzalez, Daniel Gall, Zachary Sweet, Tyra Juliette, Andrea Lauren, Rudy Contreras

Contacts: PO BOX 923082 SYLMAR,CA 91342, tel. 818.584.1868, [email protected], www.artnois.com

More Information About ARTNOIS:ARTNOIS Magazine was started by two young female students, Magda and Jessy. While they both share common interests, Magda has a passion for art while Jessy has a passion for music. Seeing as neither one had the time nor the skills they wished they had to create inspirting art or great music, they decided to make a magazine featuring all the great artists who do. Art and music is motivation for both to do something great. They hope this magazine will help do the same for you.

Contents


Scultures with Blaise Gauba Pg. 8

Award WinningEleanor BennettPg. 14

PhotographyJorge GonzalezPg. 22

Collages by Jon Measures Pg. 32

Goulish CharactersZachary Sweet Pg. 36

Addictions SeriesCandace Hopkins Pg. 44

Painter & Compos-er Daniel GallPg. 54

Vocalist Tyra Juliette Pg. 64

Jazz GeniusPg. 66

Louis ArmstrongAug 4 1901-Jul 6 1971

https://www.facebook.com/go.artnois

artnois.com


MacArthur Park’s Levitt 7PM

Wed 8/15:MICHAEL KIWANUKA Amoeba Hollywood 7 PM FreeFolk acoustic singer

Th 8/16BOBBY MATOS AFRO LATIN JAZZ MacArthur Pavillion 7PM FREE

Sat 8/18FOOL’S GOLDMacArthur Park’s Levitt Pavillion7PM FREE

BEATLES DAY Sawdust, Laguna Beach 12PMEnjoy your favorite Be-atles songs covered by live bands on all three stages! Drink specials and 60’s-themed art and craft projects will also be yours to enjoy.Admission $7.75 Adult one-day, $6.25 Senior one-day (65+), $3.25 Children (6-12),Free Children (5 & under), $15.00 Season pass, $20.00 Annual pass

Sun 8/19YOUTH TALENT MacArthur Park’s Levitt

Th 8/9KCRW DJ ANTHONY VALADEZ + CHICANO BATMAN Hammer Museum7PMEvent starts @7 but show up early to attend the “Made In L.A.” exhi-bit!**FOR THIS EVENT ONLY** Hammer Mem-bers & KCRW Members get exclusive access to the Members Lounge - make sure to bring your current Fringe Benefits card to the event!FREE Event, http://www.kcrw.com/events/sum-mer-nights-2012

DOWNTOWN LA ARTWALKSee Link for LocationFREE

TOTALLY ENOR-MOUS EXTINCT DINO Echoplex (below the Echo) FREE event

Fri 8/10BOMBA ESTEREO MacArthur Park Pavillion 7PM FREE

Su 8/12GEOGRAPHER

SCO FOLKLORICO GROUPDodger Stadium

LOUIE CRUZ BEL-TRAN LATIN JAZZ ENSEMBLEGarfield Park 5PM Free

ECHO AND CYP2 PRESENT: THE DRIVE TOUR – FEATURING PERFORMANCES BY: COLLEGE / ANORAAK / ELECTRIC YOUTH Echoplex8:30PM $15, 18+

Mon 8/6ECHO / 98.7 / FILTER PRESENT MONDAY NIGHT RESIDENCY:WILDCAT! WILDCAT!AAN, INCAN ABRA-HAM, MANIACThe Echo8:30 PM Free

Tu 8/7CHRISTIAN SCOTT JAZZ TRUMPET PLA-YERAmoeba Hollywood 7PM Free

Wed 8/8DUB CLUBEchoplex9 PM 21+ Free before 10$5 After

Wed 8/1LUISA MAITA Pasadena Levitt Pavilion7PM Free Event

ERIKA SPRINGThe Echo8:30 PM 18+ Tickets $10-12

Th 8/2DUBLAB PRESENTS RAINBOW ARABIA AND PURO INSTIN-CTMacArthur Levitt Pavilion7 PM

Fri 8/3KCRW PRESENTS REAL ESTATEThe Fonda Theatre8 PM $20.00

Tyra JulietteAugust 3rd at Cafe Cordiale, 14015 Ventu-ra Blvd. Sherman Oaks 10pm-1am, no cover

Sat 8/4RAPHAEL SAADIQ & BAND OF SKULLSAnnenberg Space for Photography 7PM Free w/ RSVP via KCRW First come, first serve basis

Sun 8/5NO TE RAJES; JALI-

August 2012 Calendar of eventsEvents in Los Angeles

http://www.youtube.com/watch?v=scR0X2c6Nas&feature=youtube_gdata_player

http://www.youtube.com/watch?v=scR0X2c6Nas&feature=youtube_gdata_player

http://www.kcrw.com/events/summer-nights-2012



http://downtownartwalk.org/

http://www.facebook.com/Synchromy



http://www.ticketfly.com/purchase/event/131827



August 2012 Calendar of eventsEvents in Los Angeles

Free Ends Sept 2

Photo from www.icsla.org

Links:Made in LA LAMAGKCRW Summer Nights 2012J Paul Ghetty Museum

To list your event on this calendar please email us at [email protected] and enter “Calendar” in subject line.

1:10 p.m.Pricing varied. Vs. Mar-lins

Thu 8/30NEW ORLEANS’ OWN HOT 8 BRASS BAND + THE GUMBO BRO-THERS Santa Monica Pier7PM FreeSanta Monica Pier 1550 Pacific Coast Highway lotHosted by KCRW’s Gary Calamar

Ongoing eventsGUSTAV KLIMIT: THE MAGIC OF LINEJ Paul Ghetty MuseumEnds September 23

Pavillion4- 7PM FREE

Th 8/23ALEX CUBA + LUCKY 7 MAMBO Santa Monica Pier7PM FreeHosted by KCRW’s Chris MuckleySanta Monica Pier1550 Pacific Coast Hi-ghway lot

Sat 8/25ANA TIJOUXCalifornia Plaza7PM FreeAddress: 350 S. Grand Ave., Downtown Los Angeles

Sun 8/26ANA TIJOUX Dodger Stadium

HEAVEN, HELL, AND DYING WELL: IMAGES OF DEATH IN THE MIDDLE AGESJ Paul GhettyEnds August 12

AMANDA ROSS-HOTEENY TINY WOMANPacific Design CenterAdmission to MOCA Pacific Design Center is FREE

MADE IN L.A.Los Angeles Municipal Art GalleryEnds September 2Admission is always free at LAMAG. For more information please call 323-644-6269.http://www.lamag.org/

SHAKESPEARE AT THE PARKGriffith Park

Th

e Art & Soul of Lo

s An

geles

JULY 5 - SEPTEMBER 9MACARTHUR PARK LOS ANGELES

2012 SUMMERCONCERT SEASON50 CONCERTSFREE ADMISSION

MA A ATHUR RK L LOS ANGE ESPRC

LLEVI TT PAVI ION

http://www.iscla.org/

www.icsla.org

http://www.madeinla2012.org/visit/#barnsdall

http://www.lamag.org/



http://www.getty.edu/


http://www.lamag.org/

http://www.levittla.org/calendar/tag/august/


CHICOCOELHO A free spirited San Franciscan who paints after Jackson Pollock

Chico: Jackson Pollock be-cause his work ruptured the way of painting.

How do you know when the piece you are working on is complete?

Chico: It’s a very intuitive sensation. I can’t explain, it’s just a feeling.

Is there any specific event that changed your style into abstract expressioni-sm?

Chico: Yes, my visit to Giverny, France, at Monet’s house/atelier, when I could realize that Monet was the first abstract painter in the painting history. I could re-alize that Monet discovered the abstract painting making close-ups of the nature.

What if anything, do you hope to learn artistically as you progress in your work?Chico: Not exactly, I just enjoy painting.

When did you first start drawing/painting? Does your style and knowledge today match that of when you first started?

What kind of work do you do?

Chico: I am an abstract painter. I paint over the canvas and over several different materials. I work on the floor mixing the drops of the paint to make a moiré pat-tern to work on your brain as some images sometimes, other times just effects.

How long have you been painting/sketching?

Chico: I have been painting since I was 15 years old.

How long did it take for you to find your current or favorite style?

Chico: I worked hard for almost 30 years looking for my own style. At first I was a figurative painter and my favorite painters who I try to follow were Rembrandt, Monet, Van Gogh, Picasso, Pollock and many others. As a curious painter I deve-loped my painting across the figurative styles until I discovered that the abstract is inside the figurative, like Monet shows to us.

Who is your favorite artist?

“You know we are just a grain of dirt around the sun for a while. Life is a game where you can be and do whatever you want. Just play.”

INTERVIEW WITH


7

Images are all of Chico’s paintings. See more of these

and his past pieces at his site.

http://chicocoelho.com/

Chico: I don’t have any favo-rite piece. I love all of them. They are my children.

Which piece took the lon-gest to complete and why? Chico: All pieces take a long time to finish. They need a lot of layers to get the effect I want. Sometimes it takes months until I finish them.

Do you have any current or upcoming shows/ exhi-bits? Where?

Chico: Currently my pain-tings are in exhibition at Siete Potencias africanas Gallery at 777 O’Farrell, San Francisco. www.sietepoten-ciasafricanas.com.

Do you do any other type of artistic work?

Chico: Yes, I am Illustrator for books and I am also a musician. You can see my illustrations on www.freelan-ced.com/chicocoelho and my original songs at www.numberonemusic.com/chi-cocoelho.

What do you want your viewers to to think?

Chico: I hope they feel good and think about the univer-se, peace and love.

Where did you learn to do this type of work?

Chico: I developed it myself while influenced by Jackson Pollock’s work and the outdoor moiré patterns as you can see in the huge photographs of publicity on the walls of the big cities.

What about your work would you say is reflective of your personality?

Chico: Maybe the free style of living of the universe and our own “in” it. You know we are just a grain of dirt around the sun for a while. Life is a game where you can be and do whatever you want. Just play.

How does your town or city reflect in your work?

Chico: The freedom, the colors, the intelligence.

What is your favorite piece and why?

Chico: I started drawing as a child and never stop-ped. My current work that I developed in many years of painting is the result of my research about the way the colors work in our brain. I think that in my brain, very deeply, the knowledge about drawing influence my pain-ting today, but I don’t think about it.

Why do you use bright and contrasted colors instead of softer neutral colors?

Chico: It depends of my emotional moment. Some-times I use very contrasted colors, sometimes I use soft colors. It reflects what is happening in my life, my brain, my heart. But I don’t think about it, I just feel.

What do you hope to ac-complish with your work?

Chico: I just want to paint and have people feel good when they look at my paintings. There isn’t any intention other than that. As a worker of the imagi-nation I do my best. Some people like one painting and others like another painting. If people like it, I like it. And they do..

http://chicocoelho.com/

www.sietepotenciasafricanas.com

www.sietepotenciasafricanas.com

www.freelanced.com/chicocoelho

www.freelanced.com/chicocoelho

www.numberonemusic.com/chicocoelho.




lionaire’s...now billionaire’s Rocky Mountain Ghetto, but we were essentially poor. My mom was a working sin-gle mother with five kids to feed! It was crazy. But I had a good life...even though we all wore a lot of hand-me-downs. I think that that was another reason why my mom decided to leave Aspen, she couldn’t afford to live there anymore....aside from her not liking to have to deal with the cold winters anymore. So yeah, I’ve been sculpting since I


Blaise: That isn’t such a simple question to answer. I can say that I do creati-ve work. That’s the sim-ple answer. But not in a nutshell as you have already experienced with my bab-bling, I can say that first and foremost, I am a sculptor...who dabbles in Voice-Over work, who dabbles in water color and acrylic painting, who loves to create the

websites trying to get the word out there about my “different” type of art that I offer. I have recently gotten back into painting again which I have not pursued in quite a few years. I am also doing some jewelry pieces as well...which involves my metal work as usual. I like to incorporate my sculpted pieces in with bead work and I am hoping that I can build a following of clientele who really like what I am doing and what I can offer them.

most amazing mazes in pen and ink and then I clean them up in Photoshop. I do whatever work will bring me happiness and pay my bills at the same time. Right now, I have been designing, sculpting and casting in solid bronze, my own line of collectible figurines. I love the Science Fiction and Fan-tasy genres and therefore I really like sculpting Aliens, Monsters, Vampires, Creatu-res and Robots. So I have been trying to sell my work on Etsy, on eBay and other

How long have you been sculpting?

Blaise: My mother threw, you know, that colored oil clay from way back in the late ‘60’s in front of me because she couldn’t afford a baby sitter for five kids on her own. My dad died when I was only a month away from my eighth birthday and my mother ended up having to raise five kids all on her own. So we may have all been born inAspen, the mil-

oh, he likes to get his hands

dirty!

Image Above: Styracasaurus for Countdown to Extinction Ride Walt Disney World’s Animal Kingdom 24’-0” in Length Oil Clay Over Foam and Steel Armature

Blaise

The only thing left to show that there was at least some sort of culture here (because we all know that Soda Pop and bubble gum isn’t cul-ture) that art in its most resilient form is what we will be leaving behind.

Gauba

“

“

Excerpt from bio continues on page 17

““I just needed to get out of town. I ended up actually moving to the southern coastal jungles of Mexico with a couple of really close friends, they were older than me by at least fifteen to twenty years (I have always had friends who were older than me, can’t explain it), so we traveled down to southern Mexico where I was to help them build a small casa on a friend’s property. This was in a small fishing village called Santa Cruz...yeah, like there aren’t a lot of towns and villages in Mexico named after Saint Cruz...the Low Rider? No, it was a really beautiful, picturesque little fishing village on the southern Pacific coast of Mexico about 250 miles south of Mazatlan. There were parrots, monkeys and vipers in the trees...yes, it really was beautiful there. While I was living and working there, helping to build this little casa, I had been writing letters (three or four a week) to my girlfriend back in Bisbee. I was eighteen at the time and was in love.

9 ARTNOIS No 1, Agust 2012Image Above: Styracasaurus for Countdown to Extinction Ride Walt Disney World’s Animal Kingdom 24’-0” in Length Oil Clay Over Foam and Steel Armature

many cases, for instance, when I was sculpting props on feature films, there is no recognition whatsoever...which is a thorn in my side as caterers on movies and production assistants on movies all get screen credit, but I have never received any screen credit for any of the work that I have done on a feature film, which really, really irks me. I have never understood why only the Lead Sculptor always gets the credit and in some cases, the lead didn’t even do the work.

I guess I have learned that as an artist, you should just be yourself and follow your own path no matter what. Some people have talent, some have some, and some have none, but what really matters is not what people on the outside think of you and/or your work, what matters is what you think of you and your work. Sticktoitiveness is the key to some form of success. Just tick to what it is that drives your passion, whatever that may be. Doesn’t matter if its doing tattoos, or building cars from scratch just keep doing it and over time, you will be called upon because you are recognized as a master of what it is that you do. Then one day it may even dawn on little old you that hey! You ARE a master! It doesn’t need to be ego based, it’s just a form of recognition, that’s all. I en-courage everyone to keep at it no matter what.

was pretty young. I didn’t start sculpting professional-ly until around 1983/84.

How long did it take for you to find your current or favorite style?

Ha, ha, ha, ho, ho, ho, hee, hee, hee! Oh boy! That’s a loaded question for me. I am a really bad, bad, bad art student...no, I really am! I don’t think I have a “current’ or “favorite” style. My best explanation for this is pro-bably due to the fact that I have had so many different types of jobs working in the very widely and loosely named “Entertainment Business”, that I have had to be so very completely flexible as to by all necessity, fill any job requirement I am asked to fulfill. That leaves the door wide open and forces one in this business (in some cases anyway), to have to be ready and able to do whatever “style” is necessary at the time. And I have worked in many diffe-rent styles.

I used to love doing mon-ster make up, but then that got old pretty fast...then I did find a niche when I was working as an employee at Walt Disney Imagineering. I was getting known as a technical sculptor and had been landing sculpting jobs on things that fell into the category of mechanical or machined looking type sculpts. Have you seen my Buzz Lightyear I sculpted

and sculptures by all those famous artists. I had that experience many years ago in the African American Mu-seum of Art in Los Angeles. There was this one painting that was HUGE! It had to be at least twenty feet wide and maybe ten feet high and the entire thing was this globular concoction of hand painted debri, and you could see finger prints and deep marks in all this ama-zing color. And I remember it amazed me so much and moved me so much, that I just started spinning around and there, behind me, were many of my Black bothers and sisters there in the mu-seum who were watching me and smiling. And I felt so in-touch with them, with the art and with the human race. Art is everything...it re-ally is, it’s what really brings people together. And the thing is, art can be found in almost everything we do, in everything we create.

How do you know when the piece you are working on is complete?

Blaise: (Laughing again) Ok, Ok ....when the client buys it off. No? O.k well then, when my boss tells me it’s finished whether it is or not (That’s when I’m employed on a movie, television or toy sculpting job anyway). But for my personal sculpts? Wellllll......hmmm...it’s done when either I can’t fit anymore detail on it, or I know that I have to wrap it up soon because even I have to give myself my own

for Walt Disney Art Clas-sics? When I delivered the finished sculpt to the lead people at Art Classics, they asked me, what sort of machine did I employ to get that sculpt so tight? They all said that it looked as if it had been machined on a CNC machine. I’m still really proud of that sculpt. The funny thing is, I enjoy doing rough sculpts, I enjoy doing very tight, machined looking sculpts and I also enjoy what I call tool mark sculpts...where you leavein all the tool marks in the clay or whatever material you are using which leaves some sort of a feeling as to what the sculptor was doing and maybe even what he or she was feeling at the time. It’s raw, and I like that.

Where do you get inspira-tion from?

Blaise: Well, in all honesty, I don’t get out to the galleries as often as I should or as often as I would like. But I would have to say that my favorite place to get inspired is in galleries. Looking at the real thing right there in front of my face leaves me breathless really. Not everyone’s art is inspira-tional, but sometimes you come across a piece that just blowsyou away and you just stand there mesmeri-zed sort of like those scenes in Ferris Bueller’s Day Off when Ferris and his friends are in the Chicago Museum of Art and they are just standing there staring at all those amazing paintings

deadlines, that I rarely ever stick to...which my lovely wife Ellen can attest to. “How long did it take you to sculpt that little robot? Six months?” We still laugh at that today. Right dear? Don’t we? Basically, I know when the piece is done when I have double checked all the images in the turn-a-round drawings or photos and if I am working with a produc-tion designer or an art di-rector, it really comes down to their call as to whether it’s finished or not.

What have you learned over the years about being a sculptor in re-gards to artistic work?

Blaise: Well again, that’s a multi-faceted question with several answers. First of all, depending on what kind of a sculptor you are...depends on the answer to that question. Seeing as how I have really been what I have termed myself as an Industrial Sculptor. Rather, I have to pull myself away from that question in the traditional sense and say that I wish I was one of those artists...sculptors, who was making a living doing public pieces. There would be nothing more satisfying knowing (and seeing) my work on display in a public venue somewhere. Certainly feature films, television shows and even theme parks and the Disney Col-lectible porcelain figurines that I have sculpted over the years, you can say are in the public domain, but in


3-D Digital Sculpting program) is a good example of that. I have been struggling to learn this software for the last four or five years and admittedly, sometime more than not, out of frustration, I have not pushed myself as hard as I should in order to learn it, so yes, there is still much to learn and more knowledge to gain even in this field. And for you younger sculptors out there, those of you who are little masters in the 3-D digital sculpting world, if you haven’t honed your skills with real clay, in your hand, I highly recommend that you do prac-tice with something tangible, that you can actually feel in your hand so that you too can be better sculptors yoursel-ves. And with the 3-D, I will do the same.

What do you hope to ac-

Verde and I opened it out to stand on a table. Then I star-ted making adobe bricks and stones, then I sculpted a baby in a papoose and then it’s mo-ther kneeling grinding maze in a grinding stone. I think there was a small bush next to them as well. I have a picture of that little scene somewhere in myphoto albums that my mo-ther took because she was so impressed with all the details that I put in my work. That is what I am known for I guess, my detailed work.

I think that my style has far surpassed what I was capable of in my youth and because of many years of experience in this sometimes odd field, I can say that my knowledge has grown by leaps and bounds but that does not mean ho-wever that I have not learned all there is to learn. ZBrush (a

When did you first start sculpting? Does your style and knowledge today match that of when you first star-ted?

Blaise: The very first time I sculpted anything, as ru-dimentary as it may have been, was when I was maybe around six or seven years old. My mother gave me some oil clay to keep me busy and I kept myself busy by sculpting a sort of diorama after visiting Mesa Verde in Southern Co-lorado one summer with my family. I was fascinated with the ancient American cultures, especially the cliff dwellers all around Canyon De Chelly and that part of the southwestern United States. So I took this brochure that my mother had brought back with us from the trip, which had a nice picture of the main dwelling of Mesa

Above:Buzz Lightyear Flightpack

“So other than those years of drawing and painting classes, I never received any formal lessons in sculpting or of sculp-ture itself. I am purely self-taught. “

I’m pretty sure I was some sort of an amusement for my older friends whom I had traveled there with and who knew me from when I was at least about fourteen years of age.

While I was there in Santa Cruz, I had met this very young and attractive elementary teacher who was a year older than me. She had seen me at one of the local discotecas one night and we started dancing together. As it turned out, she wanted me to help her teach her students (2nd and 3rd graders) about art. So while I was there in Santa Cruz, I taught beautiful little Mexican kids what limited things I knew about art. I taught them how to make a hammock as well. I was good at macrame and other handy crafts as well. So I ended up staying in Santa Cruz for a few months and then one day one of my friends became life-threateningly ill. Be-cause my friends were older and I was a bit worried as to what was going on, my friend decided that it would probably be better if I headed back to the States on my own while they dealt with this emergency. So I took the Mexican version of Grey-hound back to El Norte. And that was an education in and of itself I can tell you. I was followed by a crazy toothless woman for several hundred miles, where I was finally able to ditch her at a bus station...I traveled through Culiacan which I was warned not to stop for anything while pass-ing through. It was apparently the biggest drug infested city in Mexico with the highest murder rate at that time (1980). So I didn’t stop, except to change buses.”

Continue reading Blaise’s autobiography on artnois.com


ever think about it. Isn’t that weird of me? But I suspect that if you ask the same question to other theme park sculptors, you might get the same answer except from the younger more gung-ho sculptors who are still feeling the newness of their work being displayed for Universal or Disney or Busch Gardens or Magic Mountain. I have some nice stuff at some of the Disney Theme Parks and now that you have reminded me that some of my work is still on display there, it makes me want to go and visit Disney-land (if I could afford to) just to see what’s what and who’s who down there. Heck, I’m only about thirty minutes from Disneyland, and to think I haven’t been there in at least ten or more years. Disney had given me a Silver Pass many years ago. I could take my family to Disneyland up to twelve times a year...those were the day my friends, tho-se were the days.

What kind of work do you like to do?

Blaise: Another good que-stion...thanks for asking. Well, I would have to say that I really like working in clay, Chavant clay especially. The subject matter is something else entirely. I’m usually pretty happy sculpting anything as long as I am being payed well for my work. And usually I am. If Disney asked me to do some more work for them, I wouldn’t turn it down, that’s for sure, but I think I would prefer working on something

can say that reflects who I am as a sculptor is whether or not you can see the humor that I try and put into my pieces, that is, my own personal pieces because if for instance I am doing a commercial job for something like Disney or some other corporation, then you will definitely not see anything other than the finished object that only represents that corporation and its products. If you get a chance to visit any of my three websites, then maybe you will see what kind of an artist I am and whether or not you “get” my type of humor. I like dark, gross and sometimes bizarre humor and I try and reflect that in my pieces, whether they be sculptures or my dra-wings, sketches and paintings. Even my jewelry sometimes can be dark and mysterious. I am into shamanistic and tribal types of spiritualism, anything that to me repre-sents the metaphysical side of spirituality and truthfully, no one really knows what’s on the other side, that’s why I don’t really like the Western religions very much. We are all expressing God all the time in all its forms. I hope that is what I am doing. I hope that I am expressing myself in the best way that I can and not feel guilty about it.

How do you feel knowing that your work is being di-splayed in theme parks?

Blaise: You know...I don’t really

this type of work?

Blaise: For the most part, I taught myself. When I was a kid still living in Aspen, I had taken a string of art classes from a famous artist by the name of Nancy Lundey (I’m not sure if I have spelled her name right. She may have passed away by now. She was in her fifties when she was teaching art when I was a kid in Aspen at the time), anyway, her husband was a famous New York Architect and had been known for his many public buildings around the country. My mother couldn’t afford the weekly art lessons, so a friend of our family’s who had some money, apparently paid for my lessons. I had ta-ken classes with Mrs. Lundey every Saturday for almost five years. That was a good family friend.

So other than those years of drawing and painting classes, I never received any formal lessons in sculpting or of sculpture itself. I am purely self-taught. As far as how I got into the business of industrial sculpting, I think most of that is explained in my adventures discovering this whole new field that I sort of fell into back in the mid-nineteen eighties.

Is there anything about your work that is reflective of who you are?

Blaise: That’s a good question. I guess the only thing that I

complish with your work?

Blaise: To be honest? To leave something behind that will hopefully last forever or as forever as forever means right now. We don’t know where the human race will be, even one hundred years from now. Things are pretty dire on this planet. Although there are corporations out there that are finally starting to understand that although their “bottom line” is a factor in their survival, the bottom line means very, very little if we have completely poisoned ourselves right into oblivion. The only thing left to show that there was at least some sort of culture here (becau-se we all know that Soda Pop and bubble gum isn’t culture) that art in its most resilient form is what we will be leaving behind. Places like Capitol Hill and Wall Street will mean absolutely nothing to a dead planet, but all the giant sculptures found around the planet, some that have alre-ady been here for thousands of years, such as in Egypt, Asia and Mesoamerica, and of course the more recent modern sculptural structures that you and I know of across this country, are the things that will still be standing and entertaining some visiting alien race as they ponder another civilization lost due to its own undoing. Art is always much more and most impor-tant than politics.

Where did you learn to do

artnois.com

artnois.com

z


run into me at the farmers market in Redondo Beach or see me mountain biking on the Palos Verdes Peninsula, huffing and puffing in my forty nine year young body. See you there!

then of course there’s my crazy cat Yoda who perches himself on my shoulders while I am working. Egad!

Where do you live?

Blaise: I live in the South Bay area of the Los Angeles basin. I’ve been in the L.A. area, wor-king and playing here since 1983. Who knows, you might

soon. So far, I’ll just keep plug-ging away at what I love doing, sitting here in my micro-studio where I share my apartment with my wonderful and lovely wife Ellen, and my very talen-ted and artistic fourteen year old daughter Airie, her older brother Kenta who is an artist in his own right, who performs spoken word, is a poet and a rapper as well as being a street skater and surfer...and

more modern and less cookie cutter. Someday I would love to get a nice public piece, something like a tribute to someone deserving of it or a nature related sculptu-re. There are some really amazingly talented sculptors out there and I suspect that the competition is fierce, so I don’t see myself landing any of those kind of gigs anytime

“

““

Someday I would love to get a nice public piece, something like a tri-bute to someone deserving of it or a nature related sculpture.

Right:Mayan UFO,

Bottom RIght: Thumbnails

Indiana Jones Ride, Tokyo Disneyland

z


The Art of Looking Sideways” by Alan Fletcherwww.teaganwhite.com

www.teaganwhite.com


ELEANOR LEONNE BENNETT...the ordinary can be of interest, you don’t

need to be a supermodel to be the front cover of an international magazine

Who is she? For starters, Eleanor is a 16 yr old lefty and picesian, who once wanted to be a stop motion animatior. However, at the age of 12 she picked up a camera and now, thanks to parental support and her passion for the camera of course, she is an internationally award winning photographer. She has won 1st Place with National Geo-graphic (ooh!), The World Photography Organization and BBC News, just to name a few. She has been featured all around the world from United States and Canada to Ger-many and Australia. In addition, this young photographer was the only person from the UK to have work displayed in the See the Bigger Picture Contest which is hosted in part by National Geographic in a biodiversity tour.

“When I was 12 I started takingphotos for a competition on keeping a journal on the local biodiversity in your neighbourhood. I lost the competition but really enjoyed capturing the world around me so carried on doing so.”

Is there a specific genre or theme you focus on when taking photos?

Eleanor: Contemporary art, trying to make the everyday interesting

You’ve won many awards around the world, how does that make you feel?

Eleanor: I feel very lucky and I would like to win more.

In what ways has photography helped you over the years as you are growing up?

Eleanor: It has helped me as an artist find composition and educate me about art. I would like to branch out to other genres but I currently really enjoy photography.

What do you hope to accomplish as a photographer?

Eleanor: To create iconic images or images nobody else has thought to capture

What do you want to learn as you continue to explore photo-graphy?

Eleanor: Most about perfect composition and more about black and white photography.

What is your favorite photo of your collection? Why?

Ellie: My first real architectural photo with themes of the 60s , taken in Manchester in 2012

Have you ever taken any photography classes?

Eleanor: No, only a day of mentorship in London with the World Photography Organization.

Is there a mentor or anyone who helps with your shoots?

Eleanor: No, it can be a little lonely but at least I can claim all credit.

Interview with

“


“in the villages you tend to find more joy and little quirks.”


What do you want your work to say to your audience?

Eleanor: That the ordinary can be of interest, you don’t need to be a supermodel to be the front cover of an international magazine and that anything can create a double meaning. Delve in and discover.

We noticed your pictures are dark and some show some gore, what inspires this kind of work?

Eleanor: Life and injustice. Things the wealthy and privileged proba-bly don’t wake up and think about.

In the future I may capture horrendous aspects of society and pay for myself to be exhibited in the Saatchi gallery. Just to bring the real world uncomfortably close to those who buy art.How do you think your home town shapes your photography? How would this change if you lives in a big city?

Eleanor: I love my neighboring towns, every year theres big festi-vals and musicians from around the UK. In a big city my images could be more sinister, in the villa-ges you tend to find more joy and little quirks.

What kind of advice can you give other teens who are searching for a creative outlet or are just getting started?


Listen to only you and improve on yourself by guidence of other artists who know what they are talking about. Always listen to that background instinct.

What accomplishment are you most proud about?

Being exhibited around the world to this date I am currently being exhibited twice in Ireland, the De-vonshire Dome in Buxton and in Govanhill Baths in Scotland. Exhi-biting is a drain on my resources though so you may see my work less in public displayunless I gain a source of funding.

If Eleanor isn’t inspiration to all of you creative minds out there we don’t know who is!

If you want to get in touch with Ellie email her at [email protected] or if would like to see more of her great photo-graphs visit her site:http://eleanorleonnebennett.zenfolio.com/



http://eleanorleonnebennett.zenfolio.com/

http://eleanorleonnebennett.zenfolio.com/


JORGE NEFTALIGONZALEZ

Photography By


JORGE NEFTALIGONZALEZ

Matteo & I


Unbreakable Boys


Untitled


Requiem



Contact:[email protected]/jorge.n.gonzalez.94


https://www.facebook.com/jorge.n.gonzalez.94

Untitled


On topGritty Grandeur

Mixed media collage of digi-tal prints and acrylic

on wood panel 17.25” x 17.25”

Private collection

Top Right:They are watching youMixed media on board

Right:Gritty Grandeur

Mixed media collage of digi-tal prints and acrylic

on wood panel 17.25” x 17.25”

Private collection (commission)


JON

26

MeaSuREsThe art of Painting, Photography and digital graphics all in one! It's L.A. Like never before


On topCesar Chavez Mixed media collage of digital prints and acrylic on wood panel 12” x 6” 2011 Private Collection

On th leftI Can See Clearly Now Mixed media collage of digital prints and acrylic on wood panel 8” x 8” Available

Left:Jesus Saves 98¢

Mixed media collage of digital prints and acrylic

on wood panel 30” x 30”

2012 Available

Right:SIN

Mixed media collage of digital prints and acrylic on wood panel

7.5” x 17.5” 2012

Private Collection, United Kingdom


am fascinated by the Ame-rican West. The freeways, power plants, gas stations and fast food restaurants on the side of the road he-ading out to the desert or up the coast of California are at once so familiar and at the same time so alien. The systems and infra-structure that support our current unsustainable way of life; power lines, gaso-line, cars are all rich in vi-sual interest and powerful metaphors for our current way of life.” -Jon

To see more visit http://www.jonmeasures.com/

to add texture, layering and color. The layering is an important aspect to the work both in the com-puter and on the physical artworks. This process is a hybrid between painting, photography, digital art and collage and echoes the layering of history that takes place in cities. Although most of my cur-rent works are urban lan-dscapes, I am interested in exploring other aspects of our environment that that show the structures, infrastructures and scars of human development. I

Long Beach and at several other schools around LA and Orange County.In the past couple of years I have developed my own approach to making mi-xed media artworks that often combine multiple views of Los Angeles, sli-cing and dicing bits of the city’s rich fabric together. The images are digital-ly edited photographs, printed then made into collages that are then fur-ther worked as paintings. Paint is used to stylize or emphasize aspects of the photographic materials,

“I grew up in England ear-ning a BA honours degree in Fine Art from Falmouth School of Art. After many years making a living as a graphic designer and Illustrator I decided it was time to focus on my fine art career. I have been exhibiting extensively in Los Angeles over the past 2 years and go back as far as 2006 When I first showed a series urban landscapes at The Harmo-ny Gallery in Hollywood as framed digital prints. I also teach computer art at California State University

http://www.jonmeasures.com/

http://www.jonmeasures.com/

Gentrification Mixed media collage of digital

prints and acrylic on wood panel

12” x 6”

‘I Wish I Could Surf’ Mixed media collage of

digital prints and acrylic on wood panel

8” x 10” 2011

Private collection

City of IndustryMixed media on board

Cesar Chavez Mixed media collage of digital prints and acrylic on wood panel 8” x 19.25” 2011 Available



sweetZachary

Here’s an artist who “suffered some pretty hardcore boogeyman episodes,” and as a result is now making some pretty hardcore art


How long have you been painting/sketching?

Zachary: I have been drawing sin-ce I was dexterous enough to hold a pencil. As a teen, I gravitated towards spray paint and street art. It was about twelve years ago that I began painting on canvas.

Drawing or painting?

Zachary: I have an affinity for the two, but usually before I begin apainting I will do about 50 to 100 quick thumbnails in ink. Paintingis a whole different beast, so I try


Zachary: I love using several dif-ferent methods to create, but the main staples in my creative pro-cess are ink, spray paint, acrylic paint, and any found objects I can use to achieve different textures. I would definitely consider myself a mixed-media artist. I am con-stantly challenging myself to try new things and push myself out of my comfort zone. I spend most of my waking life day-dreaming about new ways tocreate my illustrations. These dreams inspire me, so I consider myselfa surrealist in that sense.


to approach it in a strategic way; making sure I have explored every possible viewpoint and compositional layout before actually making a move on the canvas. I like treating the beginning of a painting similar to a hunter stalking his prey. I only attack when the moment is perfect.

How long did it take for you to find your current or favo-rite style?

Zachary: Around eight years ago I was painting mainly surrealist subject-matter. It wasn’t until I spoke with one of my mentors that I found the style that gave me the most enjoyment. He told me to look back at a time when I was experiencing the most joy from creating. I remem-bered being a kid and spending hours in my tree house, drawing everything that scared me or gave me goose-bumps. I’ve been fascinated with exploring the things that creep me out or disturb me somehow ever since, and have reflected that in my work. Now I just spend most of mytime refining my techniques and continue to look forward to any visions or night-terrors that I can then translate into my work.

We sense a zombie reference in your work, is there a specific movie or character you are inspired by?

Zachary: I wouldn’t say I reference zombies as much as I do demons, ghosts, phantoms and other types of super-natural entities. I’m intrigued by the soul-less and not in a religious way. The soul is the vital essence of humani-ty. It is what keeps us moving towards attaining world of peace. A person that lacks a soul is, to me, someone without purpose and an inability to feel empathy for others. They are not bound by the basic moral principles we live by. I truly feel that the world we live in today is overrun by this soullessness. This notionscares me.


it’s so eightiesIs desequis volupta quiat es aut venihicimus comnimet, quae optae oc-

culparchil et aut poratium eossequ asitate sitia pres deritatur.

Who is your favorite artist?

Zachary: So many artists come to mind when I get asked this question. Stephen Gammell, Sam Kieth, Bill Plymton, Egon Schiele, and David Lynch, just to name a few.

What is your method for completing an art piece?

Zachary: Once I start a piece, it’s hard for me to come back to it. I try to finish my work in one sitting, even if that in-cludes me staying up for 24 hours. Usually the pieces that I revisit over time are cleaner and require less planning. Even though I still enjoy that process I findthe raw, “in the moment”-type feeling a lot more gratifying and prefer to work feverishly over a few hours than for a few hours over the course of several days.

Is there any specific event that has had a significant im-pact in your work?

Read why this is Zach’s favorite piece.


make them see what it is they are willfully put-ting out of their minds.

What do you think the viewers think when they see your work?

Zachary: I honestly have no idea and this is why I really enjoy hearing all sorts offeedback, both positive and negative. Most recently, I had a show where I had displayed some pieces that were inscribed with a written language I cre-ated myself. I overheard two gentlemen arguingover whether or not it was a real language. I

Zachary: The passing of my grandmother Edna Sweet. Her death left a void. I guess you could say I have been trying to fill it ever since.

What if anything, do you hope to learn ar-tistically as you pro-gress in your work?

Zachary: Being able to say more with less. I want to eventually see my work shift into a more minimalistic style of illustration. Ultima-tely, I want to see my painting take on more deliberate attitude, and lose anything that may be a filler or unneces-sary. I would also like to tell more stories with

pretty hardcore boo-geyman episodes. My grandmother encoura-ged me to draw these monsters in order to “trap” them, so to speak, making them lose their power over me. Idrew fantastic and horrifying creatures. The monsters always had blank eyes without pu-pils. About three years ago I noticed that my work still maintains this element. Blank eyes will always creep me out. You can’t read emotions or motives when you can’t read someone’s eyes. You can never know what this or her intentions are. The main thing about mywork that has changed is my speed and accura-

my animations, hope-fully displaying them for larger audiences, but keeping an intima-te feeling to it, without the sticky loors, smell of popcorn, and people kicking the back of your seat.

When did you first start drawing/pain-ting? Does your style and knowledge today match that of when you first started?

Zachary: I began to se-riously draw around the age of four. My grand-mother was always a supporting figure in my life and nurtured my creative imagination. As a kid, I suffered some

cy. Lines that used totake hours are now done in minutes.

What do you hope to accomplish with your work?

I wish to make the macabre whimsical; to become callous to the grueso-me. This aspect of human natu-re is becoming all too common and I want to throw it back in people’s faces,

http://vimeo.com/30887963#


How does your town or city reflect in your work?

Zachary: I would say the country reflects my work. This is a count-ry where I can paint a dead baby or something as taboo as a rape sce-ne or murder without being killed or accused of witchcraft or sorcery. As Americans we can get away with so much. After having grown up in one place andseeing how being around the same crowd of people can become a bit stale I never see myself lingering in one place long enough for it to have an impact on my work. I do howe-ver enjoy being in this thriving and stimulating Bay Area culture.

What is your favorite piece and why?

Zachary: I did this pain-ting 9 years ago and

was delighted to seethat my work prompted a discourse between the two. I love eavesdrop-ping on my viewers and giving them a chance to figure out the symbols presented to them by themselves. The stories people create arealways so interesting and often give me new insights on a subject ortheme that I had never explored before. My viewers inspire me tocreate new ways to keep them guessing.

What do you want them to think?

Zachary: I have no desire to force people to think a certain way. Instead, I want people to ask more questions. I encourage praxis of life, art and what we call entertainment. I want to spark conversations that continue into the night, creating a cherished me-mory for all who were

continue to learn new techniques and skills every day.What would you call your style?

Zachary: I spend hours fantasizing about ima-ges or themes that sti-mulate my mind. I also continue to use my dre-ams, nightmares, and neuroses as my main point of inspiration. The-se visions are as real to me as anything else in this world, so Iconsider myself a sur-realist if I have to put a label on it. I think about Frida Kahlo’s most famous quote here: “They thought I was a Surrealist, but I wasn’t. I never painted dreams. I painted my ownreality.”

What about your work would say is reflective of your personality?

there to experience that moment.Where did you learn to do this type of work? How about the videos?

Zachary: I have had several mentors throu-ghout my life and their guidance has helped me substantially. Experi-mentation is the main culprit. I have been a huge fan of animation for years, especially stop-motion animation. I would make clay ani-mation videos as a kid. Flip-books, animatics, slideshows, paper cut-outs and so on. It wasn’t until aboutthree years ago that I had the urge to revisit this past passion andbring the illustrations I have created to life. It felt like coming home. I have also had some of the best academic gui-dance from the ArtInstitute of Califor-nia in San Francisco. I

Zachary: I find myself constantly joking and re-vel in the absurd. I think my work carries with it an element of this playfulness. Although I am often depicting dar-subject matter, I tend to instill a satiricalcomponent to my work, hoping to convey the overall madness of thehuman condition. No, I do not consider myself mad. But I am not afraid to leave people wonde-ring.

Where do you live?

Zachary: I live on the planet earth in the Candy Dimension (just kidding). I currently live in Vallejo, California and paint in Oakland while I go to school in San Francisco. I jump around between these three constantly so you could say I am an urban nomad!

http://vimeo.com/30887963#


was the first painting I created with the inten-tions of actually saying something, instead of just creating a “cool” pic-ture. This painting was also created when Ibecame politically con-scious. Even though my style has changed overthe years it is still very much saying the same thing as my currentwork.

meticulously moving the characters bit by bit to create the illusion of life was the most tedious. All together I think it was about two months of planning one month of asset building and 80 hours of shooting.

Do you have any current or upcoming shows/ exhibits?

Zachary: I’m currently lo-

Which piece took the longest to complete and why?

Zachary: My stop motion animation titled, “Junk”. It took the longest because of all the pre-production work that went into it such as building sets, clothing, characters, storyboar-ding, lighting, sound, editing, etc. The actual animation process of

oking for other bay area animators interested insubmitting work for a film festival. I’m also working on my next solo show called, “A Dark Pla-ce” which will be in late September. I amcurrently working on my fourth zine titled, “Aga-thakalogical” andanother animation titled, “Sometimes Dead is Better”.

http://sweetzach-ary.tumblr.com/

http://sweetzachary.tumblr.com/

http://sweetzachary.tumblr.com/

CandaceHopkinsWhat type of artwork do you create? Candace: I like to create works based on struggles within our society. My focus has mainly been addiction and body image. I primarily work with oil and water mediums.

How long have you been painting?

Candace: I have been creating art my entire life but never seriously got into painting until 2008 when I took my first undergraduate painting class and began to learn color theory.

Do you have a preferred style of painting?

Candace: I have an appreciation for all styles of work. I think some things that I am really drawn to are expres-sionism and paintings that get their point across without too much effort.

How long did it take for you to set on your current style?

Candace: When I first started painting I focused a lot on realism and worked primarily in oil. It took me two years and several months of ‘bad’ work mixed in with ‘good’ work to really let loose and quit thinking so much.

Once i quit using my brain so much to analyze everything I finally let it start coming from my heart and really feel-ing what I am doing. It made a huge impact on my current painting style.

You said you lived and traveled in Asia this past year, what places did you visit?

Candace: I taught English in Korea and met many foreign-ers passing through from different countries while I was there. Some were very talented artists. One in particu-lar was a female from China who taught me traditional Chinese painting techniques. My experiences were very rewarding. When I was not working in Korea I traveled to Hong Kong, Macau, Taiwan, Japan, and the Philippines.


on addictions

Nintendo2010

Mixed Media60 x 44 in.

Gamble2010

Mixed Media60 x 44 in.


What did you enjoy the most about your visit? What did you dislike?

Candace: I liked the feeling of freedom I got from traveling primarily alone. I met so many interesting people and saw so many things. Something about traveling alone is euphor-ic to me. The worst experience I had was being yelled at by a man in Taiwan who was telling me to get out of his coun-try. It was hard looking different at times, but it really put a lot of things into perspective for me.

Is there any specific country/ place you have visited that has had a significant role in your work?

Candace: While in Korea I worked with a group called Justice for North Korea. I would paint for them in the streets and raise awareness and funds to help peo-ple flee North Korea or teach defectors. There is a tension around this issue that I feel will be associated with later works.

Did you gain any new insights about art in Asia?

Candace: I did! Traditional Chinese painting is very me-ticulous and thought out. The process in which they make beautiful works is beautiful in itself. You must also have a very steady hand!

What made you move to San Francisco?

Candace: I have always loved San Francisco. When I first vis-ited I got such a wonderful free spirited vibe that I’ve been searching for my entire life. San Francisco is the closest I have ever felt to home. I am very lucky because there is also a great art community here.

What do you think about the art scene and the art envi-ronment in the Bay?

Candace: I like the art scene here in the bay. You can re-ally get a starving artist feel sometimes. I love how a lot of people seem to be happy just creating and making enough to live. I’ve met some great people here. I am very thankful!

We love your addiction series and completely agree with you when you say “The notion that there is one specific formula to correct or manage a diagnosed disorder is un-realistic and serpentine. “

We all fall into one of the categories but is there a specific event or someone who inspired this addiction series?

Candace: Honestly, I am a drinker. I love to drink. Originally I did the beer cans as a joke because I was fed up of think-ing so much about what I was going to create next. I woke


Top Left:Toielt2010Mixed Media30 x 44 in.

Bottom Left:Bud Light2010Mixed Media30 x 44 in.

Top Right:Phone

2010Oil on Print

10 x 8 in.

Bottom RIght:Money

2012Oil On Print

10 x 8 in.

up after a long night and thought ‘ok, lets try this!’ I created what I thought was a funny work about the cause of my great night and bad hangover. I brought it to be critiqued and the response was much better than I expected. From there I was able to play with all kinds of ideas.We love beer! Is Bud Light your favorite?

Candace: I am not a fan of Bud Light, although it was my beer of choice in college. It wasn’t until I started traveling around Cali-fornia and other parts of the US I discovered many, many other kinds of beer!

How about nintendo? Are there any happy childhood memori-es you can think of that would not be memories had this video game addiction not been pre-sent?

Candace: The nintendo was derived from a boyfriend who broke my heart. He was obsessed with nintendo. After he left me it somehow slipped out.

What sort of addictions do you think society has the hardest battles with?

Candace: I think society has a problem with self medicating in general. We need pills to make us feel better, beer after a long day, lipstick to make us feel pret-tier. All of these things are just used to cover and avoid prob-lems we need to deal with in our lives. I think society as a whole has the worst problem with legalized substances like alcohol and prescription medication. If it is legal, many people refuse to acknowledge the fact that they have a problem.

What has traveling taught you in regards to addictions in America versus those of other places?

Candace: American addictions are no worse or better than any other countries addictions.


You may not be able to find LSD in Ko-rea, but you might be stepping over a drunk, passed out business man in the morning on your way to work.

People will always find a way to cope, even if its sniffing markers.

What addiction does Toielt represent?

Candace: The toilet piece is ac-tually a reflection of my strug-gles with bulimia. I always seemed to be going back. It is not a substance, but in a way I felt like a crack addict might feel with the inability to stop and all the frustrations and guilt that came along with it.

Your photography is also about addiction; what is the message you want to com-municate to your audience?

Candace: There is a lot of helplessness and chance involved in addiction. I at-tempted to reflect this by using multiple exposures, different frames, and moving the paper around during the exposure process. The other half or the photography is based on body image.

As far as painting goes, is there any addiction that you may have when it comes to your style, method or approach to painting?

Candace: I am still ex-perimenting, but I do love colors very much. I enjoy working with bright bold colors, so working with

duller earth tones would be something to try out.

What if anything, do you hope to learn artistically as you progress in your work?

Candace: I would love to experiment more with techniques I haven’t tried and maybe somehow incorporate fabric into works and see how they mix with paint. I would love to have a better un-derstanding of how differ-ent things can be created.

Do you have any current or upcoming shows/ exhibits?

Candace: There will be an upcoming exhibition at G4N gallery down-town on mission, but i am not sure of the dates yet. I am currently interning at a gallery in North Beach called Make Hang. They are always featuring upcom-ing artists and show very diverse works rang-ing from sculpture to painting and photogra-phy. I definitely recom-mend checking it out!

http://candacehopkins.com/home.html





DISNEY GIRLS

Jirka Vinse Jonatan Väätäinen

DISNEY GIRLS

REAL LIFE

http://cargocollective.com/jirka

http://cargocollective.com/jirka


Pocahontas


Jasmine from Aladdin


Megara from Hercules


Snow White


Ursula from Little Mermaid


discoveries, and choices, and certain gestures began to have meaning and to become important. And over the years I developed a style that more and more began to feel like my music, and I went from painting, to art.

What is your favorite style of painting?

Daniel: I can appreciate many styles, but I tend to enjoy art that has texture, and that explores the interplay of materials. I’m very influenced by an artist who I lived with for a time in Oakland -- Christine McGuire. She would build these huge 3D “paintings” using foam and resin, and all

to proliferate paintings in a manner similar to that I had always done with my music. Art was at first for me, a music substitute.

For the first part of my life, I blocked myself off from painting and visual art. I told myself that I just had no talent in art, that I was a music person. But I had never really tried to paint, I just assumed that I couldn’t do it. Finally I decided to paint and see what happened. And it was horrible, but I did another piece, and another. And yes, at first they were all bad, but I couldn’t stop, and I kept on producing pieces in the way that I do. And sure enough, I began to make

construction and presentation. So more than being a composer or a visual artist, I am an identity maker, or a shaper of culture.

When was the first time you picked up a paint brush? Daniel: It was maybe seven or eight years ago, after I finished studying music comp. at UCLA. I was frustrated, and suddenly anti-music after having invested myself so deeply into my pieces for so many years, since I was a kid. Music, and writing piece after piece was all I knew, when suddenly it became impossible for me. I turned to painting as an alternative and I began

What type of artist do you consider yourself?

Daniel: I’m a very selective type of artist, known as the Daniel Gall - ist, an artistic type that is characterized by the art of me. I think I’m actually the only known Daniel Gall - ist, but that’s how these things are. While one may very well call me a composer, and a visual artist, and go pretty far understanding my work through this lens, the art of my work is really about creating this abstract identity, which can be understood through my pieces and exhibits. The pieces themselves are less important artistically than the identity conveyed through their

as a teenager I learned the guitar and started writing songs, starting a band just like all kids do. Except that I wrote hundreds of songs, a little bit obsessively...

Daniel Gall“ “


Check out Daniels current project, Songs for L.A. life . he creates songs that go along with a textured painting to represent his life.

that is disorganized, and lacking a local identity. We find that the established arts groups are not working with local artists, and that in music this is especially the case. They have no interest in forging an identity for our community, which is the purpose of art, instead favoring celebrity culture, and importing art and culture from the famous, from the far away, and from the past.

As a result, the only opportunities available for the artists here are the ones we make for ourselves, despite our community being this arts hub. There is a void of culture that needs to be filled, and a mass of artists here to fill it. So the people here are always organizing things. There is this community of performers and composers, and artists of all kinds, who are putting on shows, organizing groups and ensembles, collectives, organizations, publications, etc., with virtually no help or participation by the

and unique experiences tend to give my visual art special meaning.

Where are you from originally?

Daniel: I grew up in San Bernardino, which is about an hour drive east of Los Angeles. When I was 18 I left home for San Francisco, where I lived for 5 years, before I was lured back into L.A., which I’ve now called home for the past 9 years.

What about your current city would you say is most influential on your work?

Daniel: It’s the people here in Los Angeles who have influenced me the most -- the performers, the other artists and composers, the radicals, etc. L.A. is an arts hub and people come from all over the world to be a part of our community. And yet what we all find here is an arts culture

kinds of materials. And she would speak disdainfully about flat paintings. My experience with her taught me that if I want to paint the way that I do, it can’t be flat. It needs to come out of the canvas and be alive.

Did you go to an art school? If so where did you go?

Daniel: I went to music school, which I suppose is a type of art school. But I have not gone through any traditional art school, and as a result I may be lacking certain conventional knowledge. More importantly I would say that my academic background has a social significance, as it connects me with the classical music community in a strong way. Whereas I feel more like an outsider in the art community, having not gone through the acculturation of art school. But this situation is already changing for me and I feel confident that I can bridge this social gap, as my music

< Far Left:Blue and GoldIdiosynchromatic Art

< MiddleRed PlanetIdiosynchromatic Art

<Right Copper HomogeneityIdiosynchromatic Art

I think of cartoon cats in zoot suits, bobbing their heads up and

down in unison.

Daniel Gall“

“


listening station, with earphones and an mp3 player. Folks will go from station to station, listening and seeing, and understanding an identity through this abstract gesture. Each piece is a uniformed 36 x 48 inches, and colorless -- the music is the color.

I am now almost 3 months into this project, I have only 5 paintings, only sketches of the music, nothing booked, funding problems, and a finishing technique that is giving me trouble. But my efforts have begun to yield some very promising results. I now have this technique that will allow me to produce many of these very unique pieces, I have kind of a factory set up. And I have several images that I feel good about releasing at this time, though

two are unfinished. But the photos look good, and they adequately convey what these pieces are all about. I expect to work on this into the Fall, and to launch the full exhibit early in the new year.

Has it developed differently than you initially thought it to be?

Daniel: I always knew what I wanted aesthetically, and things have been progressing according to plan. But there have been many failed experiments that led into the development of my new technique. For

established arts groups. It is an independent art movement, driven to action by our exclusion, and the need for our work. As an artist I get caught up in organizing, in meeting and connecting with new people, in working with performers who are playing my music, and in collaborating in group shows, as well as in working towards my own artistic goals. My artistic life revolves around this community, so I am greatly influenced by it.

Can you tell us a bit about your current project? How long have you been working on it? What are the plans for this?

Daniel: My latest project involves a series of paintings that are meant as visual representations of musical gestures, like a graphic score, but conceived of as a series of textured paintings. Each piece features a number of lines, that come out of the canvas in a 3D sense, and play against one another in musical counterpoint, in very particular gestures that are not just visual or musical, but are abstract. There is an accompanying piece of music for each painting, a scored realization of the gesture of the lines. At the exhibit there will be many of these pieces, and for each one there will be a

instance, the gestures that are formed by the raised curvy lines in my new series came from older paintings that were flat, and were all about color. As I developed a technique for bringing the lines out of the painting in a 3D sense, and as the texture became important, I set out to paint the gestures as I had always done before with a flat canvas, but atop the new raised textures. I tried many things, but I found that painting the lines only de emphasized the textures -- it made it look flat. And it emphasized instead the emptiness of the negative space. This was the wrong way to see and understand the piece, and I tried solution after solution, always failing. Finally I started painting them all white, and finishing them with a white dry pigment hardened with varnish, and the texture suddenly became important to the eye. There are perhaps two points to take from this. First, the texture has replaced the color, this is about building, not painting. And second, the music is the color. You are meant to listen to the piece while viewing the painting, and as you listen the music is kind of washed over the surface of the painting, like paint or color.

Did you select specific instruments for this?

Daniel: I have been dragging my feet on this choice. There are certain performers who I enjoy working with, and who I’ll likely bring into this project of mine. Likewise there are certain instruments I enjoy writing for -- I really like having a mixed ensemble of winds and strings. There are also certain elements in the paintings that make piano preferable, though the piano is not very idiomatic of long sustained curvy lines as featured in the paintings, and the inclusion of piano makes gallery performances difficult (though the exhibit

itself will feature a recording and listening stations). But I’m thinking flute, clarinet, violin, and cello, maybe piano, maybe percussion. This instrumentation has almost become a new standard for a lot of composers actually.

What category does the music you chose to make for your project fall into?

Daniel: It has become more difficult to put art into categories these days, as most everything now crosses over or blends genres in some way. My music follows a contemporary “classical” tradition, in that I create scores, and work with

“ Songs for L.A. Life...I imagine it as the cartoon theme song soundtrack for my life here in L.A.”


performers as a composer. We call these small ensemble pieces: chamber music. But I would prefer it if folks would see the music as just another artistic medium in the piece -- the work includes canvas and paint, some cutting, molding and forming, a lot of modeling paste, some sanding and patching, some music, some more paint, dry pigment, and lots and lots of varnish. The music is a part of the piece, it is the color.

What makes you choose this style of music?

Daniel: When I first got into music it was through my mom, who is a classical pianist and a piano teacher. She got me into singing and musical theater when I was a kid, which is my deep

dark secret. Later as a teenager I learned the guitar and started writing songs for a band just like all kids do. Except that I wrote hundreds of songs, a little bit obsessively, and I developed a distinct style, and I took it all to a very composer-ly place. But eventually the strict forms, the square timing, the cliche image, and the extreme limitations of song writing really got to me. I sought refuge in playing the piano and writing piano music. After a couple of years of writing piano pieces, I discovered writing pieces for groups. I found chamber music groups, new music ensembles, and performers

fondness for theme songs, and the aesthetic identity they help bring to the show. Like a lot of kids I grew up on cartoons, and when I wrote my first piece of music in the third grade it was as a theme song for a game I played at recess. I would pretend that the cracks on the blacktop were tunnels that I was traveling through, and I would sing the theme song as I played, imaging it as a cartoon that I was in. I’m partial to the Hannah Barbara theme songs, the Flintstones, the Jetsons, etc., written by the composer Hoyt Curtin, who is actually a distant relative of mine.

What is your inspiration for this project and any other piece of art you make?

Daniel: I’m not convinced that I like the idea of inspiration. There is a famous quote by the 19th century Russian composer, Pyotr Ilyick Tchaikovsky, “I sit down to the piano regularly at nine-o’clock in the morning and Mesdames les Muses have learned to be on time for that rendezvous.” It’s the same for me, I’m most inspired when I set out to work, there is not necessarily a source for my inspiration. My ideas and prolific output are more a result of my drive, and because my identity is caught up in my work, more so than because of any inspiration. In regards to my new series, the idea grew naturally as a result of my

of all kinds who I could write music for. There are literally thousands of performers with whom to collaborate. Later still, I found that I could start my own group, and organize my own show, with the help of performers, and other composers and artists. The style is really a choice of instrumentation, and a choice to be free of the confines of popular music genres.

We love your soundtracks, is there a certain character you picture yourself as while working on this current project? Is this your favorite cartoon character, it not who is?

Daniel: The piece you’re listening to is called, Songs for L.A. Life, and I imagine it as the “cartoon theme song soundtrack for my life here in L.A.” You can listen to it here: http://soundcloud.com/danielgall/sets/songs-for-l-a-life/

When I hear the opening section I think of cartoon cats in zoot suits, bobbing their heads up and down in unison. But I am the character -- my art is always very personal. Other reviewers have made the cartoon connection to other pieces of mine. In a review in the Crescenta Valley

itself will feature a recording and listening stations). But I’m thinking flute, clarinet, violin, and cello, maybe piano, maybe percussion. This instrumentation has almost become a new standard for a lot of composers actually.

What category does the music you chose to make for your project fall into?

Daniel: It has become more difficult to put art into categories these days, as most everything now crosses over or blends genres in some way. My music follows a contemporary “classical” tradition, in that I create scores, and work with

Weekly of a performance of my duet, Traveling through many places... and standing still, Ted Ayala wrote that my piece “beguiled the listener with its disarmingly goofy and warm charm that recalled the work of such composers for cartoons as Milt Franklin and Scott Bradley.” So I suppose there is something there, and that the cartoon soundtracks of my childhood have influenced me in some way.

What is your favorite cartoon movie soundtrack and why?

Daniel: I don’t think I can profess to a favorite, but I have to admit a guilty

“ Songs for L.A. Life...I imagine it as the cartoon theme song soundtrack for my life here in L.A.”

http://soundcloud.com/danielgall/sets/songs-for-l-a-life/





















long series, it is only the next logical step in my work.

What are your plans in the long-run as an artist?

Daniel: My work with Synchromy will continue, we’ve just become a non-profit organization, and we’ll be announcing the details of our coming season shortly. More and more I want my work to have its own show, that will become a definitive aspect of my pieces, and that transcends the art and music divide. My new series and exhibit is a step towards that goal, though I have something much more grand in mind for the future. I want to build large structures and installation pieces, that will house performances of musical works that are written and performed as a part of the installation. And I would like to incorporate theater and opera into my pieces, and into my show. As I continue my work, my long series will grow into something that might fully accommodate my unique artistic needs -- something that a concert or an art show simply cannot do.

Have you participated in any exhibits? Are there any upcoming ones?

Daniel: My background has been in music for so many years, and my music has been featured across the globe, though my pieces are most often conceived of in collaboration with local performers and performance ensembles. A complete concert history is available on my website. As a visual artist I am still the outsider, though I’ve been showing my work more and more often. I put together an exhibit last Spring called, Idiosynchromatic Art, that was a music + art show featuring paintings that focus on a gesture that is analogous to certain gestures in my music. I later showed the paintings at a Synchromy concert, and I’ve participated in numerous group shows and art walks in the past year.

My upcoming exhibit is the object of much focus on my part right now, and I hope to have the details of my plans booked and available to promote soon. In the meantime, I encourage you to follow me on Facebook, or to email me and join my email list. I encourage you to follow Synchromy, I’ll be tearing myself away from my exhibit for a month in the Fall to write a new piece for the second concert of our three part season. News of the launch of my exciting new series will be available soon, as well as any upcoming participation in group shows and other events. Follow me online to receive my announcements and other news about my work.

Where can we listen/ see your work?

Daniel: With the new social networking culture emerging, there are many ways to find me online, to receive my announcements, and check out my work:

For general info, images, and sound samples, check out my website: http://www.danielgall.com

For announcements you can like my page on Facebook: http://www.facebook.com/Gall.music.artOr you can follow me on Twitter: @daniel_gall

And to join my email list, or to contact me, just email me at: [email protected]

For info about Synchromy, visit our website: http://www.synchromymusic.orgLike the Synchromy page on Facebook: http://www.facebook.com/SynchromyFollow Synchromy on Twitter: @SynchromyLA

We agree with you Daniel that Los Angeles can be all about celebrities, specially when you bump into them at random places but that is the reason we were inspired to start this magazine. We want to show and inspire all the great artists who are hidden behind the shadows so there can be a greater sense of community in the art and music scene.We hope someday in the future we can work together to put up a show where you can exhibit your work the way it should be.

http://www.danielgall.com/







http://www.facebook.com/Gall.music.art















http://www.synchromymusic.org/

















Number 2

Number 4

Number 3

Number 2, 3 & 4 are pieces to Gall’s new series in which these textured paintings are

representations of musical counterpoints. Each peach will have a piece of music that is

based on the shape of the lines.

AN artist who passionately sings of the land of yesterday.


days we had an acoustic nylon string laying around, just another instrument in a house with heaps of em’.

How did you learn to play?

Josh: I feel that the violin gave me this foundation. Since, I’ve heard that I play the guitar like a violinist. I don’t always make your standard chords I suppose and will fingerpick aplen-ty. I enjoy chords just as much as the next guy, but I got this history of classi-cal music. A lot of my song structures seem more like classical music songs fused with blues, folk, you name it. But there’s definitely an elegance that lingers in the treetops from those days. I also played more freely with the guitar than I did the piano and the violin, or even with my voice, all of which I read music as a primary part of performance. With the guitar, I would just sit with it for hours and let my mind go blank. Let myself get possessed by whatever sounds I could catch from the air.

Is that the only instru-ment you play?

Josh: The guitar for me is a product of a long history of different instruments

Josh: Music for me has a purpose. It has served me like a diary does. I write from the heart and if I am true, I can begin to gra-sp frameworks that were originally beyond me. I have written material where I thought, “Hey this is about this one thing.” Then, say a month down the road, I rea-lized it was about something else. I’ve always felt that as a singer songwriter my music is a result of a lot of proces-sing. At its best, it should bring out clearly what is going on between the lines. Listening has another pur-pose, some say escapism, some say freedom, I believe it can be whatever you want it to be.

How long have you been playing the guitar?

Josh: Around 2003 I began to dabble on the guitar, but it wasn’t until 2010 that I began to record small songs that I would make on the fly. I refused to learn the guitar like I had learned the violin, instead enjoying the experience of simply crea-ting on it. I don’t always like learning things the same way twice.

Why did you decide to pick it up?

Josh: During my Colorado

How do you think that all the traveling influenced the musician you are today?

Josh: The traveling defini-tely had its influence on my becoming a musician. Growing up I was forced to remake friends over and over again. In Michigan, then in Spain, Pakistan, Colorado, California, etc. It was a real whirlwind for a while. Living in places like Spain and Pakistan gave me a huge cultural perspective. I remember my parents had several bands even while we traveled. My parents had a jazz rock fusion band that they allowed me to name called Solar Heat (I was 11). Their band toured all over Pakistan. One of the most memorable destinations they played was in the fo-othills of the Himalayas in a town - I believe called Mur-ree, just north of Islamabad. This was in 1996 a few years before a lot of the conflicts.

Do you have any philoso-phies about music?

Josh: It’s a survival tool.

In your opinion what is the purpose of music?

Where are you from origi-nally? We know you men-tioned you moved around a-lot with your family, can you tell us a bit more?

Josh: I happened to be born on a navy base in Newport Rhode Island in 1985 (not far from the Newport Folk Festival), however my family is from Michigan. I spent many years growing up with a single mother living in several cities around Lake Michigan.

In 1992 we were in survivor mode and rather abruptly moved to the city of Seville in Spain, where we lived very poor for a year. My mo-ther worked for the Worlds Fair, Expo 1992. Once we returned to the states she remarried in a rush, as my soon to be stepfather got a job in Pakistan and was needed pretty immediately.

It was in Pakistan that my stepfather taught music. After a year in Pakistan we moved back to the states, Colorado specifically. I came out to California for a num-ber of years in 2004, but it wasn’t right for me at the time, so I returned to Colo-rado, but have since come back to Southern California in 2011. I know, convoluted. And that’s just the tip of the iceberg.

Joshua James Martin

An interview with


job in Colorado to travel the south island of New Zealand by bicycle. The trip was an extraordinary solo 1800 mile journey that lasted 2 months. In the time I had been in a kind of heaven, camping out in the wild. Once I returned to the states I planned on visiting Los Angeles, only then to move to Portland. Well, I got hooked into a relationship the very first day in Los Angeles. Long story short, a year later, here I am.

Otherwise, I believe that Los Angeles is as good as any place. When I arrived in Los Angeles, I had dated a musician and I had also spent much of my time at HM157, an artist community in Lincoln Heights. This ex-perience partially convinced me to stay as it solidified my beginnings as a musician in Los Angeles. It was inside of HM157 that I began writing my first songs lyrical after a break up.

Since I’ve been a resident artist at the Concord gallery and have since grown to know Los Angeles more intimately. There are a lot of great artist communities out there, such as the San-ctuary in Santa Monica and Tierra de la Culebra Park in Highland Park, a great com-munity place that practices

“ If you don’t act soon he’s going to disappear He will pray, he will pray for the land of yesterday “

sustainable efforts.

When it comes to the music scene, what dif-ferences do you notice between Los Angeles and other major cities?

Josh: Can’t say I can give any words of comparison for the hungry. I can say that Los Angeles has everything. The scenes I’ve most come to know are both the psych rock scene with bands like Jeffertitti’s Nile, and the folk scene with the likes of Frank Fairfield, a stunning perfor-mer.

Do you have any other albums besides The Land of Yesterday?

Josh: I have four albums. The Land of Yesterday is my biggest and most thought out album to date. I feel that it most accurately shows the direction I am going with my music.

How long have you been working on The Land of Yesterday?

Josh: My songwriting seems to gather like dunes from a sandstorm. Sometimes there’s a heavy wind and all of sudden where there was once nothing there is now

Back: Joshua Jame Martin with his guitar

Up: The cover to his latest album

leading up to it, and I imagine it won’t stop with the guitar. At the age of eleven I began to play the piano as instructed by my father. Around age thirteen I started on the violin, playing classical music adamantly until I was twenty. I was also a singer in a choir that my father directed. Which is pretty strange looking back, as I was a teenager singing with a group of singers all in their 40’s-60’s.

The last time we spoke you mentioned you had been all over the country. Why are you residing in Los Angeles now? Do you feel it’s the best place for recognition?

Josh: Funny story. I quit my

a mountain. The accumu-lation of the majority of the songs occurred in a two week time span; there was huge rush of energy and all of these bits and pieces came together and I used all the energy I had to get it all in form. Once I had them, I made the album in quiet solitude over the period of a few days. It’s all very simple. I knew when it was time for a new album because all these songs were on the brink of being born, and it was in this one motion that I put it all together. That’s how I’ve worked so far.

Which song do you relate to the most?

Josh: All the songs I relate to equally. I try to tell the truth of my own experience. But If I were to choose my favorite of them it would be So-mething In The Way. A song that gives narrative of a time just before my move from Colorado to Californiain 2011.



“There’s something in the way you said it

dear”


Josh: As a singer songwri-ter I performed in Colo-rado. Used to perform at this warehouse called Hammer Time. A radical community center for the arts and also geared for sustainable efforts.

Musically, what are your plans for the future?Josh: Take each day as it comes. I’ve never felt truer than on the path of music. Follow my heart, I suppose.

Do you think your music will change? If so, how?

Josh: Change is natural thing. If something does not change it is frozen in time. I want to move with the times. I feel that my music will go wherever it needs, and I feel no limit to what that could be. I do foresee that my musical influences and a band might provide a clearer picture of what that might be.

Do you have any shows coming up? Where?

Josh: I update my Bandcamp page with all new shows, here:http://joshuajamesmartin.bandcamp.com/album/the-land-of-yesterday or Facebook, here: https://www.facebook.com/jo-shuajamesmartinsongs

also artists that live in the moment, and for me, growing up a fairly chaotic life, they are guiding lights. Robin Pecknold known for his role as the lead singer in Fleet Foxes is our generation’s answer for Young and Paul Simon in a sense, I suppose I like his harmonies and instrumentation, too. Paul Simon, damn fine poet. As for Thom York, well his albums have all left me stunned.

Where do you look for inspiration when writing a new song?

Josh: One must tread carefully when speaking of sensitivity and of the mind. Writing for me is a very organic process, let’s say that I begin to live my music before it is made. I begin to see patterns reoccurring in the world around me. Then it is much like a crescendo, say the Adagio in G Minor. At first I got this feeling, the feeling reaches out for correlating ideas, and then I begin to enter a trance where I either begin compiling or am instantaneously struck with everything I need all at once. This has happe-ned on a few occasions and tends to lead to my best material. However, it’s often I enter this afore-mentioned trance, and my days living becomes the fuel for the fire, or matter of the soul. Its climatic.

What does this album mean to you?

Josh: For me this album means that I am able to create music that I love, and I don’t see any end to it. I’m going to be a songwriter up until my last breath. And like any craft, it is just one more evolu-tion from the last album I recorded.

What do you wish to do with the music you compose?

Josh: I’ve got plans of putting together a band. But it’s a delicate matter. I want to have the right combination, and this means evolving more, more textures, more instruments, more ideas! I’m talking to a few folks.

Who are your influen-ces? We kind of sensed a Bob Dylan mood, is he one of them?

Josh: My primary influen-ces are Neil Young, Bob Dylan, Robin Pecknold, Paul Simon and I’d say Thom York.

Why are they your in-fluences? What qualities do you admire?

Josh: Neil Young and Bob Dylan are truth tellers. Their songs come from a place of emotional honesty, even if they’ve used a few tall tales to get there. A storytellers duty I suppose. They are

Is your album a story?

Josh: Not any one particu-lar story, the album reads like a diary, I suppose. It does have this title, The Land of Yesterday. This is after the song. The theme of this song and many of the others is soulful and speaks of truths. And well, being present, perhaps is the strongest reoccurring thought.

Do fans share their encounters with your music?

Josh: I’ve had several folks come up to me after my performances and tell me that they don’t always listen to the words in songs, but when they were watching, that they were compelled to pay attention to what was being said. Which is great! I think I’m more of a poet than anything else. Ap-parently, I come off with a lot of emotion. But it’s strange for me to think of it any different as I am just singing how I feel about the song. Suppose I could write an entire book on intent. A verse from my song Hypnotized sums up my feelings around the matter:

There are many words at play Those words

will soon decay It takes some

believing

Do you collaborate with other musicians?

Josh: Since I’ve played in a full orchestra and in a choir, I have experience collaborating. Now, as a solo artist I am beginning to reach out more and more and hope to be col-laborating all the time.

If so, how do you go about choosing whom to team up with? What kind of assets do you look for?

Josh: When it is time, the right musicians will appe-ar. I cannot say that I’m attempting this any other

Funny story. I quit my job in Colorado to travel the south island of New Zealand by bicycle. The trip was an extraor-dinary solo 1800 mile jour-ney that lasted 2 months.

way except intuitively. Atmospheric assets!

Have you performed in cities other than L.A.?

“

“

http://joshuajamesmartin.bandcamp.com/album/noises

http://joshuajamesmartin.bandcamp.com/album/gravity

here:http://joshuajamesmartin.bandcamp.com/album/the-land-of-yesterday




https://www.facebook.com/joshuajamesmartinsongs



“I grew up listening to Yolanda Adams and Wu-Tang Clan, lol. Gladys Knight is my all time favorite singer. “


Have you lived in other cities in search to colla-borate with other artists/musicians?

Tyra: I’ve only lived in NY and LA, but I’ve been fortunate to tour to many different places and colla-borate with many diffe-rent musicians.

Who are your favorite artists/musicians/bands?

Tyra: I grew up listening to Yolanda Adams and Wu-Tang Clan, lol. Gladys Knight is my all time favo-rite singer.

What genre do you mainly sing/rap to?

Tyra: I sing all different genres. I consider myself a soul singer...Soul rock/soul pop/soul jazz/soul RnB..I’ve been fortunate to work with a number of very different artists because of my ability to

life. I attended Fiorello H. LaGuardia H.S of the Performing Arts, otherwi-se known as the “Fame” school..

Why did you move to LA?

Tyra: Being in NY all my life, I wanted to experien-ce something else and open up other professio-nal doors..

How is the music scene different in NY from LA?

Tyra: In NY its a lot more condensed, I used to hit up 7 clubs in one night by foot...Definitely can’t do that in LA. There are many really incredible musicians on both coasts. I loved the NY scene, but LA is really amazing too. The level of musicianship you can find playing at a local bar any given night here in LA blows my mind.

How long have you been singing? Why did you cho-ose singing?

Tyra: I’ve been singing my whole life, professionally for the past 12 years. Its either I sing or I sweep floors! Its all I know how to do, and the one thing that has been constantly present in my life.

How did you get started?

Tyra: My mom has a videotape of me when I was 6 months old, my dad was playing the organ and I was singing each note he played...My first live performance was a solo at my pre-school gradua-tion, lol.

You mentioned you were from NY, what part?

Tyra: I was born in Brooklyn, and lived in Manhattan most of my

Catch Tyra at her next show!

A singer with a beautiful voice who’s been on several talent shows inclu-ding American Idol. She has also worked with Kid Rock and Puddle of Mud

Tyra Juliette

“I grew up listening to Yolanda Adams and Wu-Tang Clan, lol. Gladys Knight is my all time favorite singer. “


Have you lived in other cities in search to colla-borate with other artists/musicians?

Tyra: I’ve only lived in NY and LA, but I’ve been fortunate to tour to many different places and colla-borate with many diffe-rent musicians.

Who are your favorite artists/musicians/bands?

Tyra: I grew up listening to Yolanda Adams and Wu-Tang Clan, lol. Gladys Knight is my all time favo-rite singer.

What genre do you mainly sing/rap to?

Tyra: I sing all different genres. I consider myself a soul singer...Soul rock/soul pop/soul jazz/soul RnB..I’ve been fortunate to work with a number of very different artists because of my ability to

sing all genres, from rock artists Kid Rock and Puddle of Mudd, to jazz artist Steve Tyrell, to soul artist Sam Moore.

Have you recorded any albums/songs?

Tyra: I have a dance song that has been a number one hit overseas, and that has over 1,500,000 hits on youtube. I wrote it on a whim, and it just took off.

Are you working on any new projects?

Tyra: I’m currently working on an album. I’m really excited about it and will be working with some amazing musicians on the project.

Do you work with others or do you consider yourself more of a solo artist?

Tyra: As far as an original project, I have collaborated

with others, I’ve even been in a few bands. At this point, I would say I am more of a solo artist. I have a lot of ideas that I’m excited about sharing. I do love touring with different bands as a support vocalist as well..

What is your inspiration?Tyra: When I have a micro-phone in my hand, I feel like I’m home. That feeling

inspires me to keep going in this crazy business.

What are your plans for the future?

Tyra: To keep making a li-ving as a singer, put out my record, tour, to constantly grow as an artist and as a musician, and a person.

Do you have any shows/

performances coming up soon?

Tyra: I’m performing on August 3rd at Cafe Cordiale, 14015 Ventura Blvd. Sherman Oaks CA 10pm-1am, no cover.

Do you have a blog or website that we can check out?

Tyra: https://www.facebook.com/tyra.juliette You can also look up Tyra Juliette on youtube.

https://www.facebook.com/tyra.juliette



LOUIS ARMSTRONG

In honor of Louis “Satch-mo” Armstrong’s birthday on August 4th 1901, we are paying some well de-served attention to Jazz in this issue. Many of you may be familiar with him and others may not realize who he is although it’s very li-kely you’ve heard his music as he created hits for five decades. One of his most popular songs is What a Wonderful World.

Satchmo, born in New Orleans to Maryann and William Armstrong was one of the most influential Jazz musicians of all time. Although his father aban-doned him, his mother and his younger sister Beatrice (Mama Lucy), when he was still an infant, Louis beca-me an inspiration to those with big hearts and little pockets. We say it was a good thing Armstrong was arrested as a boy after he

“If anybody was Mr. Jazz it was Louis Armstrong. He was the epitome of jazz and always will be. He is what I call an American standard, an American original.”-- Duke Ellington

Photo from last.fm


LOUIS ARMSTRONG

in multiple feature films which are mainly remem-bered for his appearances. One of these is High Socie-ty from 1956.

Louis Armstrong was a musical artist able to adapt to any new style as he was a master at improvisation, a key factor in classifying jazz music. He contributed immensely to the world of music and to the spirit of artistic and entrepreneu-rial individuals. Not only was he a trumpet player with great charisma; he was a musician, an actor, a songwriter, and a humble activist which today re-mains an icon for so many in the music world. He wro-te two biographies, a few magazines, and thousands of letters. He lightened up any room with his grand smile and positive vibe. Additionally, he continued to support anti-racism as

shot a pistol in celebration of the new year. Had it not been for him being confi-ned in the Colored Waif’s Home for Boys, he might just have missed his true love; music. Armstrong played both the cornet and trumpet with which he moved people from across the globe. Soon after his release he solidified his trumpet playing skills with help from his mentor Joe “the king” Oliver who was the finest trumpet player in New Orleans at the time. Once Joe left to Chicago, Louis quit playing at dive bars and started playing with Joe’s band. He did his first recording with the King Oliver’s Creole Jazz band on April 5th in Richmond, Indiana. After, Louis con-tinued to collaborate with other artists like BIllie Holi-day and to perform around the globe. Satchmo starred and orchestrated music

Photo from bigfon.com

Aug 4 1901- Jul 6 1971

he actively communicated with other regions of the world about the racism against African American individuals in the US.

Shortly before dying he told his doctor that his entire life, soul and spirit was to blow the horn and that he would not cancel any show. Louis Armstrong passed peacefully in his sleep on July 6th, 1971 in Corona and shortly after buried in Queens.

“Mrs. Nixon and I share the sorrow of millions of Amer-icans at the death of Louis Armstrong. One of the architects of an American art form, a free and individ-ual spirit, and an artist of worldwide fame, his great talents and magnificent spirit added richness and pleasure to all our lives.”-- President Richard Nixon



Artist Statement

Born in England, I began playing the cello at age 3. After an active musical childhood that included studies at the Guildhall School of Music in London, my family immigrated to Pensacola, Florida. At the age of 15, I began per-forming as a professional musician in the States. My love of art has coincided with this passion for music, but the outlet for this creativity was not realized until 2008 while living in Chicago. Paper Sparrow,

the name I’ve given my art and illustrations, brings an exciting new chapter that combines my love of music and art. Owing to freelan-ce illustration and music, I have been fortunate to live in Portland Oregon, Orlando Florida, and now New York City. I am always on the lookout for more places to explore.

As an artist and musician I am divided between two creative worlds. My process of creating art is intrinsically like refining a passage of music throu-

gh practice, writing original pieces, or listening to my favorite recordings--it is quite involved. I have always found a special interest in the connections between the sound of music and visual art. The teacher and student inside me, evolving as they always are, finds links between melodic contour to artistic line, tonalities to shades of color, textu-re and depth in each of these creative fields. Performing music imbues my art with an appreciation for the audien-ce as well; people of all ages can find an instrument, an animal, or a scene which may capture their imagination.

Currently I am working on a new set of illustrations inspired by my favorite bands, musicians, and composers. I am also researching some more opportunities for my line of greeting card designs and working on a second children’s book which should be self-published by the end of 2012!

Fun Facts About Lauren

Who are your top two musical artists? Django Reinhardt and Kronos Quartet

What is your favorite drink?

Arnold Palmer

One thing you can’t leave your house without?

Andrea Lauren

26

Paper-Sparrow art and illustration

1st Place Winner of The Louis Armstrong Contest

Animal Alphabet Arthur Fox

“A child is certainly delighted by the myriad of

sounds instruments can make, but a helpful visualization can aid in transporting an eager liste-ner to a more richly varied aural or creative experience.“


Jazz Band Wigwam waltz

Narwhal Banjo typewriter

“A child is certainly delighted by the myriad of

sounds instruments can make, but a helpful visualization can aid in transporting an eager liste-ner to a more richly varied aural or creative experience.“


an impact on me. In fact, his movies create a spe-cial relationship between the visual image and the accompanying musical ma-terial. Moonrise Kingdom, most recently, is masterful in combining the music of childhood--particularly that of Benjamin Britten--with the sepia tones of the adventure being filmed. This is definitely something every artist attempts to harness.

http://www.paperspar-rowblog.com/

A child is certainly delighted by the myriad of sounds instruments can make, but a helpful visualization can aid in transporting an eager listener to a more richly varied aural or creative experience.

Have you seen Fantastic Mr. Fox?

The works of Roald Dahl were certainly a favorite in my youth and his imagina-tion continues to inspire me today. Director Wes Anderson’s vision and exe-cution in the film also made

visiting for inspiration?

I really enjoy the natural places amongst cityscapes. I always make time to walk in the parks of New York and enjoy the pronounced changes in seasons here in the northeast. Why do you choose to illu-strate animals with musical instruments?

I have always felt that the visual culture of the musi-cal arts had little impact on my imagination as a young child.

Whenever I am out I try to have as little as possible with me. Since I am often carrying my cello case on my back, I don’t like to carry lots of accessories. I do keep a sketchbook with some of my favorite pens handy for those times I’m inspired whilst out and about.

What is your favorite ani-mal?

Definitely foxes, but cats are a close second.

What place do you enjoy

Foxes in the rain

http://www.papersparrowblog.com/

http://www.papersparrowblog.com/

CONTRERASRUDY


2 nd Place Winner of The Louis Armstrong Contest


“I currently attend the Art Institute of Hollywood in their Media Arts program. Graduation year set for 2014. Still have some time to go. Until then I’ll just enjoy the learning experience and keep adding to my portfolio.

Prior to the Art Institute I worked at copy shops, a commercial print house, and a sign shop where I would take large format prints and create signs and trade show displays. I studied graphic Design at Fresno City College. Yup, that’s where I’m from. The armpit of California. Ever since that point I have always had an interest in design and print. I currently do some freelance work for Disney, applying digital ink to the penciled characters. I’ve only been doing that for the past 8 months.

The goal for me is to become a story board artist. I just thought it would make me happy to make a living on what I use to enjoy as a kid and still do as an adult. That’s what it’s all about.”

< Mrs Frankenstein


Kevin Newton

3rd Place Winner of The Louis Armstrong Contest

What you should drink when listening to...

VIA

“The Louis Armstrong”1 bottle Red wineServe at room temperature.

“The Thundercat”1 oz. Laphroaig ScotchServe on rocks. Garnish with maraschino cherry.

“The Nina Simone”1 bottle CabernetServe at room temperature.

“The Jimi Hendrix”10 oz. Old Rip Van Winkle BourbonServe neat. Stir quickly.

Here’s a jazz inspired list of artists paired with what you should be drinking when listening to them. Check out Drinkify to see what drinks go with your favorite artists.


http://drinkify.org/

What you should drink when listening to...

“The Don Ellis”1 bottle Red wineServe at room temperature.

“The Flying Lotus”8 oz. Kirsch8 oz. Cranberry juice2 oz. HoneyCombine in highball glass and serve. Stir quickly

“The Hypnotic Brass Ensemble”1 bottle Red wineServe at room temperature.

“The Miguel Atwood-Ferguson”8 oz. Red Wine8 oz. Ice CreamCombine in highball glass and serve. Stir slowly.

“The Jack White”2 oz. Old Rip Van Winkle BourbonServe on rocks. Garnish with cucumber

“The Frank Sinatra”1 bottle Merlot

“The Madlib”2 oz. GinServe on rocks. Stir vig-orously. Garnish with pickled asparagus.

“The OutKast”8 oz. Cough syrup8 oz. Finlandia VodkaServe on rocks.

“The Billie Holiday”1 bottle MerlotServe at room tempera-ture.

“The Miles Davis”1 oz. Heroin Serve neat. Stir Slowly. Garnish with salt.

Photo from traance.deviantart.com/

Here’s a jazz inspired list of artists paired with what you should be drinking when listening to them. Check out Drinkify to see what drinks go with your favorite artists.


traance.deviantart.com

Nick Waterhouse

Flying Lotus ft Thunder-car MmmHmm

Miguel Atwood-Fergu-son Ensemble “Deliver the Word” feat Aloe Blacc

Bessie Smith Young Woman’s Blues

PHONYLAND. (Live from Complete Music Stu-dios)

M.A.K.U SoundSystem - “Canto Negro”: SXSW 2012 Showcasing Artist

Hypnotic Brass Ensem-ble: “War”

Good Life _ Brassroots - Gilles Peterson

Billie Holiday The Blues Are Brewin’

WatchLIsten

Ayanna Witter-JohnsonChristian Scott aTunde AdjuahKeith Jarrett

Duke EllingtonTito Puente: ‘El Rey’

new songs for your playlist. You know you get bored of the same stuff all the time. Jazz it up!

Eric Harland And Avishai CohenAmy Winehouse


http://www.youtube.com/watch?v=mJruQmdlU10

http://www.youtube.com/watch?v=Gh3BSbeCWPo

http://www.youtube.com/watch?v=2uCyv05SG1g

http://www.youtube.com/watch?v=ZxQncVvsuyg&feature=related

http://www.youtube.com/watch?v=XFGE1l9zt_c

http://www.youtube.com/watch?v=zM4FL6aoKQo

http://www.youtube.com/watch?v=ggOVNYFlP7Q

http://www.youtube.com/watch?v=bWtUzdI5hlE

http://www.youtube.com/watch?v=OiEJlRFyf1s&feature=fvst

http://www.youtube.com/watch?v=iDts_LfX81Y

http://www.youtube.com/watch?v=FLYg5jvsDr8

http://www.youtube.com/watch?v=io1o1Hwpo8Y

http://www.youtube.com/watch?v=bHRbEhLj540

http://www.youtube.com/watch?v=oQ3w6gOUkwI

http://www.youtube.com/watch?v=2EYauZDN5i4

http://www.youtube.com/watch?v=2EYauZDN5i4

http://www.youtube.com/watch?v=TJAfLE39ZZ8

Idlewild

Anatomy of a Murder

Gold Diggers

GREAT GATSBY Trailer (2012) Movie HD

I Want to Live

A Song Is Born

The Bicycle Thief

Cotton Club

Mo’ Better Blues

Watch

Paris BluesNew Orleans Sweet and Lowdown

Check out these movies!


http://www.youtube.com/watch?v=54muV-xIhIU&feature=youtu.be

http://www.youtube.com/watch?v=JlClq5RT2Gw&feature=youtu.be

http://www.youtube.com/watch?v=vLn7aNjVNMA

http://www.youtube.com/watch?v=X_iQdDy3tr0&feature=youtu.be

http://www.youtube.com/watch?v=ZwaHl_hS9_o&feature=youtu.be

http://www.youtube.com/watch?v=rARN6agiW7o&feature=youtu.be

http://www.youtube.com/watch?v=fru1zRGhs-Y

http://www.youtube.com/watch?v=io8Jw9BRRFY&feature=youtu.be

http://www.youtube.com/watch?v=H3jnzXX9mXs&feature=youtu.be

http://www.youtube.com/watch?v=VSePVUz_Et0&feature=youtu.be

http://www.youtube.com/watch?v=m4jU8IQK5b0&feature=youtu.be

http://www.youtube.com/watch?v=6stUcaJx5f4&feature=youtu.be

JOSEPH THOMPSON 23RD

“Happy birthday to the

coolest deejay, J-Logic!”

-Artnois Team

Ramsin Walters 3rd“Happy Birthday Ramsin! Thanks for all the advice and oppor-tunities while working in your office!” -Jess

MICHAEL CHAVEZ ALE-

MAN 10TH

“To my 1st most lov

-

ing nephew. I love e

very-

thing about you. You’re

such an awesome unique

little charact

er. Happy

5th Birthday!

Can’t wait

till you start

asking me to

take you to the

cages to

hit some balls

or whatever

sport you grow up to lik

e.

Tia Maria loves you

very

much!”

STEPHANIE GONZALEZ 19TH

“Happy Birthday Stephanie

Gonzalez from your

brother! Love you!”

JENNY REYES 19TH“Thank you for being at all my birthday parties when we were little! You’re the best! Have an amazing birth-day! :)”

Happy Bday SHAUN SOLER! 12th Stay cool “dude”-Magda

SARIANA SANCHEZ 29“Happy birthday to my baby girl Sariana! I love you!” -Sara Sanchez


ANDREW JUAREZ 23RD“A shout out to our Drews-ki, the guy with the best attitude and most welcom-ing smile! Happy Birthday!” -Artnois Team

GUSTAVO MERAZ 2ND“Para el rey que siempre estara en mi corazon, feliz cumpleanos papi! Te qui-ero muchisisi-simo y gracias por luchar por nuestro fu-turo!” -Jesenia Meraz

KAREN @ Galeria Gitana Aug 6“Thank You Karen for helping all us art students out with your gallery shows! Hope you have an awesome birthday!” - Magda

FULGENCIO BECERRA 9TH, STEPHANIE WANG 20TH ,JORGE DOMINGUEZ 28TH, DAISY SAINZ 11TH , SARA HUEY 11TH, YANCY ALATORRE 6TH

“I want to send a shout out to my daddy-o Fulgencio who is turning 58!! I love you Dad. I also want to send B-day shouts to my friends Ms.Wang, Mr. Dominguez, Ms. Sainz, Ms. Huey and Mr. Alatorre. xoxo “-Esme Vizzuzi

Happy Birthday DAVID PRESTON 9th -Artnois


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