Happy Monday…We love how painting can be surreal, and these double vision pieces have really caught our eye. A few artists are exploring multiple exposures in their work, here are out favourites
Last weekend my husband and I went to go see The Grand Budapest Hotel, a Wes Anderson movie. We have both been big fans of his since Bottle Rocket, and I have grown even more in love with his movies, because of the visual feast he presents in every scene. After some research I discovered that Wes is not the only artist in the family. His brother, Eric, is a talented illustrator. I love his playful drawings that reference Wes’s magical world and his own. The “Abby Road” style Royal Tenebaum’s picture is my favorite.
One of our readers tipped us off to a fantastic south London gallery, Orso Major, run by Gita Joshi. She kindly agreed to answer some questions about her role, and the gallery she runs. From my perspective as an artist, her responses are exactly what you want to hear…someone who cares about the artist, their work, and curating excellent shows. Drawing Inspiration opens this week with the private view on Thursday. The exhibition will feature the mixed media works of Sarah Hamilton and Gabriela Szulman. Thank you Gita, the space looks wonderful and we can’t wait to come have look.
Orso Major Gallery
What is your job title/role/business?
I am the founder and director at Orso Major which is a gallery that has a focus on works in mixed media by mid career artists. My main role involves supporting the artists that I work with and promoting and selling art work. After that I am also my own IT department, administrator and gallery technician!
What first inspired your interest in Art?
That was a long time ago! Probably seeing a narrative played out on a painting was one of the first memorable starting points for my interest. Everything from religious paintings in Churches to the work of the pre-Raphaelites and beyond. I studied art history at A Level and its the only subject i’ve had any interest or affinity with since. I’ve studied art and architectural history and worked for Royal Commissions, Architects practices and corporates. Seeing how art and design can transform a space and change moods and perceptions has always been fascinating.
What advice do you offer most to new art buyers?
You must love it first and foremost. After all you will have to live with the piece. Don’t worry about where it will go in your home, you will always find a space
What prior experience prepared you most for this profession? What have you learned in the past few years in the profession that you tell other starting out?
As a collector I was buying art by artists who soon after became Royal Academicians, or were nominated for major art prizes. It confirmed my own belief that I had a good eye for collectible art and so together with my work experience in creative and corporate businesses I decided to start a gallery and have a full time life with art. Thus far, it is the best thing I have ever done.
Get handy with power tools, there’s always something that needs doing around the gallery.
What type of art do you select for your gallery?
The gallery has a focus on works in mixed media and process led works. This means multiple media is often used on the paper or canvas, such as car spray paint, charcoal, collage, glass and gold leaf. We have some photographs with embroidery and canvases with transferred images or embedded glass, for example. We also have a selection of linocuts which are very sophisticated in their execution. The process of making is fascinating and working with artists who are driven to produce exquisite pieces gives the finished work a real energy.
How do you make your gallery/business/services known?
The gallery at 19 Lower Marsh is the main place but we are active on Facebook and Twitter. We put out press releases for new shows and try to get listed in as many papers and magazines as possible.
What advice do you offer to Artists who want to submit work to galleries in general?
Don’t approach gallerists and dealers about your work on Private View nights, or at Art Fairs – they are focussed on selling. Pitching your work and yourself by showing art on your smartphone is a no-no. It’s shocking the number of people that think that this is ok. Research that the gallery already represents artists in the style that you produce, visit the space and send an email to gauge interest. I prefer links to portfolio websites than attached jpegs which just jam the inbox.
What are your plans for 2014?
Currently we have a new exhibition called Drawing Inspiration with work by Sarah Hamilton and Gabriela Szulman, and next month we have a photography exhibition by two world class photographers, Doug Peters and Richard Chambury. Late April we will have new work by one of our most admired artists, Janet Brooke. Then possibly a cultural festival in the summer and we’re considering Art fairs for Autumn. It’s all go go go
We are in love with the urban art of Desirae Samantha, it has a bold yet feminine feel to it. I’ve just ordered one of her prints and founds a place to hang it already. We got the chance to talk to her an can’t wait to see her portraits in her Solo Show in May this year, definitely a date to put in the diary…find out more here
1. Tell us about yourself, have you always wanted to be an artist?
I always have a hard time explaining myself just because my interests are all over. I design for a living, I paint for a hobby, I ride dirt bikes, snowmobiles and wakesurf for fun and I represent a few amazing brands that share my love for all of the above. Being an artist has always been the constant, ever since I was a little girl. I knew I was going to do something creative I just wasn’t sure what.
2. Where do you find your inspiration?
Everything I paint is something I love or appreciate – tattoos, motorcycles, sailing, pirates – I appreciate beautiful things. Once I get an idea in my head I source out some references and piece it together to create something original and unique. I love finding new artists and get excited about their work and figuring out what I can learn from them. I’m also really inspired by people who are driven to reach their goals. The ones who don’t ever seem to slow down…keeps me going.
3. Do you have a favourite painting of yours?
I feel like every new painting turns into my favorite…like the one I just did on a wood panel. It just seems so raw and free. But I think if there was one I just couldn’t let go of it’s my sailor.
4. tell us a little about your process, how do you create your amazing artworks?
My work starts with an idea or a rough sketch which I then draw onto the material I’m working on – wood, canvas, metal. From there, I start pushing paint. Layer upon layer until it finally reaches what I have in my head. I try to put a little piece of myself into each painting whether it’s the subject itself or a hidden element. My paintings are a reflection of myself. I work mainly with acrylic and spray paint but sometimes throw in some other mediums.
5. What plans do you have for the future?
I have a solo show in May at a local shop and am planning for my own solo show early August. Tattooing is on the list as well and I just got my practice skins in – which I’m super excited about. My “into the future” goals which I’m still trying to figure out how to go about are to collaborate with a few clothing companies and to ultimately be a full time, successful artist!
6. Where can we find you online?
I’d also like to thank the companies that have been behind me in both racing and art – FXR Racing, Vitaly Design and Metal Mulisha Maidens.
Hannah and I enjoy posting about art in homes, because we hope that showing glimpses of fabulous art collections and well curated homes will inspire others to do the same. It is always an added bonus when the images we find are taken from an artist’s home. Win! Win! That way if you like the work you see, you can contact the artist directly. It can be frustrating to see an amazing piece of work in a home, and there is no credit to the artist or where it is purchased.
Kristina Dam’s mission in her work is to visualize the dialectical methods between graphic methods and art. This idea is prevalent in her space as well. I love the hints of bold color within her work and home.
Images found on I Am The Lab
This week’s “follow Friday” artist is the Utah based, Elise Wehle. Her work is part print, part collage, part paper cutting, and part print making all which layer themselves together to create impressive work.
“I make the art I do to pull me away from the increasingly digital world that surrounds me. Every day I spend so much time in front of a glowing screen that sometimes I forget I possess five bodily senses and not just one or two. Making art makes me conscious of my hands again, and all of my work requires time-intensive, redundant movements that remind me that not everything is as instantaneous as a click of a mouse. By weaving together paper, cutting lines, and folding shapes, I manipulate drawings, photos, and prints to create new landscapes for me to explore.” Elise Wehle
Well said! I can definitely relate to moments where I feel like a mindless clicking robot. Art is an excellent way for me to disconnect from the machines. What is it for you?
*amended earlier post, Elise is from Utah NOT California. Sorry!
Where the Land Ends
The Woman Bouguereau Painted
When I first saw these ethereal images, extremely delicate and light in a way that seems not to be of this world, I had to find out who the artist was. Zena Holloway photographs exclusively underwater, with her love of water starting as early as 18, when she was a fully qualified Scuba instructor. We were beyond excited when she wanted to do an interview with us, find out more about her here…
Tell us a bit about yourself, how did you first get into photography?
My first camera was a little yellow underwater motor marine made by Sea & Sea which looked far more like a children’s toy than a camera. My mother bought it for me for my 18th birthday present when I was working abroad in Egypt as a SCUBA dive guide. From there I swatted up on underwater photography with a few books that I found lying around the diving centre and I taught myself the basics of shooting underwater. I seem to remember getting it wrong a lot of the time at the start but slowly the pictures improved and I learned how to measure light and what made a good image. My first great subject was a blue spotted ray who kindly sat for me for about 20 minutes as I fumbled with the settings. I still have the pictures.
What is it that you love about being underwater and did this inspire you to pursue a photography career?
I remember regularly just hanging around underwater, alone and feeling mesmerised by the beauty and excitement of perhaps seeing a huge pelagic creature swim by. I like solitary, open spaces and the ocean environment is nothing but that. From here on I was certain I wanted to work underwater behind a camera but I wasn’t sure if this would be with wildlife, moving or still cameras. At 21 I returned to the UK and spent the next few years getting by as a freelance diver and film camera assistant or clapper loader. On the side I set up some very basic underwater photography shoots of my own and somehow managed to scoop a small commission from Fabergé. From here on my course was set, I found an agent and looked to establish myself as a commercial underwater photographer.
What is your creative process like?
I confess I’m not one of those wonderfully crazy people with an elastic mind stretching off at tangents all of the time and obsessing with work. I wish that I was less ordered, less literal and more radical, however the upside is that I’m content to let the ideas or the situations to create arrive in their own time. I need to create but not in a way that is destructive. One of the great things about working solely underwater is that I can pull references from all sorts of sources and once applied to an underwater environment the results take on their own direction. On an editorial shoot where creativity is allowed to evolve and the water plays its part there are lots of opportunities to create something different. The trick is to recognise when the accidental process is going in a good direction and when a different approach is needed. The more references I start with, the more ideas I find to move the work forward.
Aside from your camera and lighting, what item could you not work without?
A pot of Vaseline…I use it on my hair to grease it back and prevent the chlorine from turning it to straw.
Where can we find you online?