Issue 6 Artist Spotlight | Kristine Narvida
C+B: Tell us about yourself, Kristine!
KN: I am a mother of four children. My everyday life has a cyclical subordinate rhythm, in which domestic concerns alternate with my professionalism. Handing a glass of water to my daughter, I can record how gently the daylight surrounds the figure and in a certain frame allows me to see a composition in the oil painting material. Nature, the surrounding can be a great source of inspiration. I mostly do everything myself, that's the way I work. My painting is very physically present, it belongs to a person. Illusions are always destroyed in the process of work. They accumulate and press on self-esteem, where self-expression becomes a fundamental source of inspiration. It is not necessary in personal life, because it is possible to enjoy what life "throws" at you.
C+B: How has your relationship with your work changed since you first started creating?
KN: My relationship with work has not changed significantly as my professionalism and technical skills have grown. Sometimes I get the feeling that the created work lives its own life, independent of me, and I let it happen without tormenting the created image. Respect for the material and trust in it is what allows me to express myself, to speak about what I want to say.
C+B: What has your experience been like receiving feedback or criticism of your work?
KN: I take into account who the speaker is, how important that person is to me. The words of people dear to me can empower me, direct my discoveries, raise questions. Usually I find inspiration in the answers to those questions.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KN: I grew up in the traditions of the Latvian gray school of painting, and I am happy to continue it. Such Latvian artists as Vilhelms Purvītis, Imants Vecozols, Boriss Bērziņš are my teachers, authors, whose technical skills and understanding have shaped my language of expression.
Find and support Kristine here:
IG: @narvida_art
Website: narvida.com
(The Study of Annoyance 5, 30cm x 40cm, oil on linen, ©Kristine Narvida)
My ideal creative retreat would be: Being alone at the Baltic Sea in winter.
One word that describes my most recent work is: Remembering
A quote that inspires me is: There is no such single quote. Genius appeals to me, which is so natural, as if there were no other options. I am drawn to the agility, directness and precision of thought that can be found in the work of many authors, both today and in the past.
My hope for those viewing my work: I hope that my work is a key to the personal space of the observer, it is the place where he meets himself. Self-discovery is what I see from the viewer.
Issue 6 Writer Spotlight | Dylan James
C+B: Tell us about yourself, Dylan!
DJ: I work full-time at one of the largest dog shelters in the Midwestern United States. I love my job, and I love meeting so many unique, incredible four-legged friends—marketing them and finding them forever homes all the while. When not working with the pups, you can find me writing or reading or hanging out with my dog, Bo. Writing and reading and animals make me the happiest. I'm endlessly grateful for my career and for my second career: writing.
C+B: How has your relationship with your work changed since you first started creating?
DJ: When I was younger, I fell into the pitfall of overthinking a lot when creating. Now creating is meditative to me, unconscious even. I enter a flow state and just write. I can't tell you how much success I've found in doing this, and how personally rewarding this process has been. Writing is a peaceful happening in my life. It's something I look forward to every day.
C+B: What has your experience been like receiving feedback or criticism of your work?
DJ: I openly welcome feedback and criticism. I think doing so is the only path that an individual can take to self-improve, or to certainly reach new heights in the world of writing and publishing. I want to hear everything and use this insight—ponder it, filter it, apply it—to become the best writer I can become.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
DJ: Currently, I'm really into the paintings of Chaïm Soutine! Man, if you haven't checked out his work, I recommend giving it all a look. Soutine's work is so original, and it possesses this palpable, strange energy that blisters right off of the canvas. I admire the originality in his work, and how he painted whatever what he wanted to paint. He even did a few still lifes of dead ray fish. They're bizarre and beautiful and gosh I love them. I find so much inspiration in people who do things their own way. Soutine left our world a long time ago, but his innovative spirit is something I really appreciate.
Find and support Dylan here:
Dylan James
My ideal creative retreat would be: My ideal creative retreat: a remote cabin, snow falling outside, and candles spread about the cabin dimly lighting the place up as the darkness of the night is thick. Generally anywhere cold and dark...hahaha!
One word that describes my most recent work is: Snowballing!
A quote that inspires me is: "No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.” My favorite painter, Edvard Munch, said this. I admire Munch so much because he strived to capture the soul of people in his work, by expressing emotion both uplifting and dark. In so many ways, artists are actively pursuing connection with their viewers or readers or listeners. Munch did this as good as anyone ever has in my humble opinion.
My hope for those viewing my work: I hope my readers take away positivity, even through the darker subject matter in my work. If my readers can do this, I feel like a million bucks.
Issue 6 Artist Spotlight | Kamryn Shawron
C+B: Tell us about yourself, Kamryn!
KS: Currently I am a full time freelance artist but only because things kind of shook out that way. I had given it a try a few years ago and now I find myself back in this role after the little boy I nannied for began school full time. Making is something that has always been a part of my life, but it's something I really refocused on post-pandemic. Being furloughed for months from my full time job gave me the time to re-enter the art world at my own leisure post-graduation. I found myself so grateful for the time I was creating like a mad man - fearful I'd not have that kind of free time again.
C+B: How has your relationship with your work changed since you first started creating?
KS: It's really evolved like any relationship, the mediums used, themes approached. I feel like lately I'm really finding my footing in my medium of choice (bead embroidery), and I love continuing to explore that with any and all of the kooky ideas that come to mind.
C+B: What has your experience been like receiving feedback or criticism of your work?
KS: I don't think I've received a real critique since college! But honestly I love asking my partner what he thinks of a piece or what should be different. That outside perspective is crucial when being so close to a project/theme.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KS: There are so many! When I get tired of my own work I look for inspiration in others. I adore the work of Laura Shull and Jessica Locklar, their work should be friends I think! Very soft, feminine and dreamy. Just recently found Joanna Paige, and I think she's wonderful as well . Nathaniel Thompson is a tremendous photographer and excellent at capturing nostalgia. I think I'm drawn to the work of people that help me explore different facets of myself.
Find and support Kamryn here:
IG: @kamrynleelu
Website: kamrynshawron.com
(LG Try don't Cry, 60’’ x 60’’ x 2’’, mixed media, ©Kamryn Shawron)
My ideal creative retreat would be: A cabin immersed in nature, maybe close to running water of some sort. Quiet but not too remote and I just make and paint and bead into the wee hours of the morning. Undisturbed with the textures of the world around me to draw inspiration from.
One word that describes my most recent work is: HUGE
A quote that inspires me is: I can't find who exactly said it but it was something like, “How do you know when a work is finished? At some point you just stop.”
I think the closest equivalent might be this quote by Paul Gardner: "A painting is never finished - it just stops in interesting places."
My hope for those viewing my work: Ultimately, I always hope that even those who don't call themselves creative can immediately recognize the surface change and applied texture. Even if they don't recognize the technique or materials. But really I love hearing all the different feelings and emotions my work evokes. The connections people make to it based on their own experiences. Art is personal and I like for mine to be open to interpretation.
Issue 6 Artist Spotlight | Seth Ellison
C+B: Tell us about yourself, Seth!
SE: Since completing my MFA in 2012, I essentially disappeared from the scene for roughly a decade. Some have coined it as the '10 years of silence' — a period during which I withdrew into seclusion to discover what my art was all about. During that period, I married, became a father, and stumbled into professional writing, which remarkably enriched my artistic journey by enabling me to work from home and remain in close proximity to my studio. While in school, I crafted trendy minimalist light sculptures. However, it was during my post-graduation extended period of seclusion that I unearthed a deep affection for painting and my native West Virginia, which now serves as a wellspring of inspiration for my art.
C+B: How has your relationship with your work changed since you first started creating?
SE: It never stops changing. Painting is the best game I've ever played, and this is partially because of the near-infinite amount of moves that can be made in between a square. In an instant, everything can unravel, or it can be elevated in beauty and meaning.
C+B: What has your experience been like receiving feedback or criticism of your work?
SE: Some galleries have shown reservations when it comes to certain socio-political symbolism in my work. This may be due to the negative connotations associated with the South's history – which is somewhat understandable. One gallery even went as far as to say, 'We don't need another Dana Schutz moment.' However, it's crucial to understand that the messaging in my work stems from my own lived experiences. Over time, I've grown more acutely aware of the profound impact that specific symbols can carry and how their mere depiction is sufficient to allude to the troubled history of a place's past transgressions.
With that said, I welcome a range of opinions, both positive and negative. Just as you wouldn't have the desire to jump into a pool or engage in a snowball fight if the temperature remained a constant 72 degrees, criticism is a vital aspect of artistic growth, and it should be received with grace. It's important, however, to keep in mind that art, by its very nature, is subjective. I've received numerous pieces of advice regarding what I 'should' do, but I view this feedback as an exploration of what I 'could' do. Ultimately, the decisions made in your studio are your own, and you hold the roles of judge, jury, and executioner.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
SE: While my artistic style differs significantly from his, I've always held a profound admiration for Cy Twombly. In fact, '50 Days at Iliam,' which is housed at the Philadelphia Museum of Art, stands out as perhaps my favorite series of his work. The shapes and forms within his paintings seem to operate on their own unique plane of physics. A green blob can effortlessly shift between states of liquid, solid, gas, and the metaphysical. Twombly undertook a formidable challenge in making the inexplicable his subject, and even today, his works continue to provoke immediate controversy with their seemingly audacious nature.
Find and support Seth here:
IG: @sethellison101
Website: sethellison.com
(Summoning of the Bee Keepers, 74’’ x 56’’, oil on canvas, ©Seth Ellison)
My ideal creative retreat would be: A large, empty, secluded warehouse-sized underground bunker with great lighting and supplies delivered daily. Oh, and a foldout chair.
One word that describes my most recent work is: Delirious
A quote that inspires me is: Philip Guston once said, "When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out."
Honestly, every time I read that quote my heart drops because it lays bare a deeply hidden truth about being an artist. It gives the game away and it's shocking for me to see it, akin to God exposing his face. Only Guston, a man who mixed his blood with titanium white, who wasn’t afraid to journey to the edge, could come back with that.
My hope for those viewing my work: I hope that people take away a piece of me and it becomes a part of them.
Issue 6 Artist Spotlight | Nina Seidel
C+B: Tell us about yourself, Nina!
NS: Besides my work as a visual artist, I run an art magazine for emerging artists, Suboart Magazine. I founded it in December 2020 and it’s available in print and online. It’s both my day job and a passion project, especially the print edition. I’ve always had such a big love for paper and do think it’s important to keep print alive in our digital world.
As for what inspires me, the short answer is women. I grew up as the youngest in my family and have been surrounded by strong, independent, elder women who have been a role model for me since my childhood days. When I feel rather hopeless with the world, it’s also women I turn to. I love Toni Morrison and Zadie Smith and listen to interviews with them whenever I need a breath of fresh air and inspiration. The longer answer to what inspires me is light, colours, a sunny day, art, nature, the sea. A book you can just get lost in.
In my pastime, I practice Ashtanga Yoga, go to the beach if the weather allows it, or have a drink with friends. I love Martini, ramen and ice cream. Most of the time, I’m creating something, though. It’s my work now but has been my pastime forever, and that will most likely never change, independently of how my career as an artist evolves.
Something people may not know about me is what a messy person I am and what a professional procrastinator. It can literally take me weeks or even months to make a doctor’s appointment or to go to the shop to buy green paint.
C+B: How has your relationship with your work changed since you first started creating?
NS: It’s funny that you ask because I’ve been thinking about this recently. My relationship with my work has changed, of course, like everything changes when you’re 33 and not 10 anymore. But then again, not so much, and I somehow really like that. I started out creating things with paper when I was a child and afterwards, as a teenager, went on to paint abstract canvases with plain, vibrant colours. During university and the years following, I explored different techniques and themes, and even though I really enjoyed that, I’m sort of back to where I started from.
Things that did change is that I can judge my own work more quickly now and usually know, and am not afraid to admit, when a piece is just not as good as I wish it would be. At university I also learned the importance of a conceptual foundation rather than just explaining a work with “that’s my art, that’s just what I’m doing.” But apart from that, my relationship is the same to when I was a child and teenager. My works have always surrounded me and are somewhat an extension of myself. I’ve never treated them like something special, a bit like you would never treat your hand or feet like something special.
C+B: What has your experience been like receiving feedback or criticism of your work?
NS: My experience with receiving feedback and criticism has been good so far. I loved hearing my peers’ opinions at university and always enjoyed speaking about everybody’s work. I think that especially when you work on something for a long time, another person’s opinion can really be a breath of fresh air and make you see things you’re not able to notice yourself.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NS: That is a very hard question that I don't think I'm able to answer. I tend to like almost everything but hardly anything ever blows my mind. However, when I read the question, the first person that came to my mind was Louise Nevelson. I’m not sure what draws me to her work but I guess that’s part of the magic, that you can’t really name it.
Find and support Nina here:
IG: @n.i.n.a.s.e.i.d.e.l
Website: ninaseidel.art
(Memories Dissolving I, 21cm x 29.7cm, mixed media on Garzapapel with natural edges, ©Nina Seidel)
My ideal creative retreat would be: Now that is a very interesting question that I’ve absolutely never thought about, so thanks for asking! My ideal creative retreat takes place at a spacious house next to the beach, in a country that knows no winter. I would love to share that house with, let’s say, 4 other people, and while each of us have our own space to create and sleep, we come together frequently to speak about our works. My ideal creative retreat also hosts an in-house cook that prepares delicious food, because I’m really not a big fan of cooking but hungry many times a day. The beach, the house, the village are quiet and allow us to sit with ourselves and our work. No internet and smartphones are not allowed, but stamps and paper everywhere, paints, woods, fabrics, clay, and a linocut printing press. A radio to listen to the local radio stations and gorgeous flowers everywhere.
One word that describes my most recent work is: Memory
A quote that inspires me is: “Humans, not places, make memories,” by Ama Ata Aidoo. It’s a quote I came across a few weeks ago, and I feel that it really relates to my most recent work, which is all about memories and remembering people. To be honest, I didn’t know Ama Ata Aidoo before finding that quote, but I look forward to reading some of her books in the future and get to know more about her life.
My hope for those viewing my work: If I could wish for one thing, it’s the understanding that as humans we are all a lot more alike than we are not. What matters to me is probably very similar to what matters to you. Health, friendship, family, love, a peaceful space to thrive in, justice for ourselves and for our loved ones. Being appreciated for who you are, getting somewhere with whatever you’re doing and not being stuck at one place.
It's true that our backgrounds and experiences are ours only. But the feelings that they evoke in us are the same in almost all of us. My works speak about these feelings. They are stories of love and loss, of dreams and memories, of grief, hope, anger. Of feelings and emotions that we collectively share as human beings and which have the power to connect us, if we let them to.
Issue 6 Creator Spotlight | Nick Paradis
C+B: Tell us about yourself, Nick!
NP: Full time I run Production/Manage a Screen Printing Shop in downtown Concord, New Hampshire called Eastman Fine Screen Printing. I have worked in printing and bindery for over a decade on small to large scale machinery as well as custom hand-pressed/bound projects/operations. I enjoy diverse forms and methods of printing. In my spare time I paint with oils and mixed media, I enjoy creating murals and custom commission paintings for customers. I print in my studio as well with different styles and mediums. I submit work to open call exhibitions and attend community based receptions and events. I write poetry and prose freely on the side and attend open mics and submit my work for publication when the opportunity arises. I enjoy hiking, biking, and going to the ocean. I have a pet chameleon, her name is Socks.
C+B: How has your relationship with your work changed since you first started creating?
NP: As I've matured and experienced life so has my work. I think a huge part is the experiences and memories formed and shared amongst others throughout time. Adaptation. Innovation. Belief. The ups and downs.
I went to College, I studied art—but does that necessarily mean I went to school for art? There are so many other viable variables that contribute to my ideology of creating. Art is merely the vessel my life sails on. I wouldn't have art if not for the other basic life tendrils awaiting to grab my vessel and shake it up. As time has passed and you've collected multiple rooms of art supplies and knowledge, conversations, culture, museum visits, lectures and raw emotions- That creates a lot of change subconsciously whether seen or not. The mirror is yourself. Art is the eyes.
C+B: What has your experience been like receiving feedback or criticism of your work?
NP: I enjoy feedback and criticism. I actually get very excited when I am inching closer to seeing something I wasn't able to see- or because it was of a different subjective perspective. Or if someone recommends using phthalo blue vs ultra marine blue and you can see the result without actually mixing the paint or applying it- that's the magic of feedback. It helps build your work and process, but the criticism needs to be constructive with the same end goal in mind. I don't like words like good and bad, they have destroyed most of our greater perspectives towards creativity.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NP: I love and despise this question. I don't think its fair for me to have a favorite or hold a place for admiration. I choose to be as diverse as possible. But if I must, I really enjoy album cover art, because of its diversity.
Find and support Nick here:
IG: @paradisart
(Shadows and Dust, mixed media, ©Nick Paradis)
My ideal creative retreat would be: South Pacific. I don't know if I have an 'ideal' creative retreat. I just need the tools to create. I usually forget about the walls surrounding me when I'm creating so the South Pacific on a beach sounds pleasant, and I like the color green the most, so I'd like to be surrounded by that.
One word that describes my most recent work is: Shine
A quote that inspires me is: “Talent is the ability to let ideas
manifest themselves through you”- Rick Rubin, from his recent book 'A Creative Act: A Way of Being.'
I chose this because I've been looking at art more as a lifeform and vessel rather than a pencil smudge or clay on the wheel. I believe creativity and psychology go hand in hand, and at times it may be hard to see yourself as an artist or creative- and when you bring that down to the metaphysical level its not an understanding, its more of a way of life.
My hope for those viewing my work: Diversity in multiple mediums. Well versed.
I never wanted to do just one thing, like paint lighthouses or just portraits. I didn't want to only read Kerouac or Hemmingway. So I read other things. I like 90's Seattle Grunge...and Jazz, funk, R&B, and Metal. I like theatre and ballet, and also fast paced adrenaline activities.
My point is,
I want the audience to see the boiling pot of all the diversity. All that's out there.
Oil or watercolor? Why not both?
So I believe I vicariously am doing what I see in front of me on that larger scale, and I hope others can see the girth of it as well. I wanted to create art that would touch millions- not just one type of person, like a bird watching enthusiast that bought my paintings of doves and canaries. Or the sacred geometry nerd that loves my cubism. I wanted to be able to offer something to everyone, so I try to cater to being as versatile as I can.
Issue 6 Artist Spotlight | Ruth LaGue
C+B: Tell us about yourself, Ruth!
RL: I am a user experience designer by day. I try and solve meaningful and relevant problems for users while they are using an online product. That’s a long winded way of saying, I’m always analyzing how a process can be simplified, so there’s no barrier for a user to understand what their next best action is. And any other time of the early mornings, evenings and weekends, you will find me in my studio.
C+B: How has your relationship with your work changed since you first started creating?
RL: Creating has always been a personal journey for me; in design I work to solve problems, and that had a lot of meaning to me in the beginning, but I found through the years I needed to explore my own voice and took up painting. First in encaustics then acrylics, my subject was abstracted landscapes, and that too had a lot of meaning to me in the beginning. When COVID hit and everything shut down, I began exploring the details within the landscape, animals, barns, houses, etc., and that became a refreshing new challenge for me. I got in touch with my love of simple shapes, and applied color to them.
Lately, that simplification has me concentrating around a central theme — barn as cathedral. Barns hold a presence on the landscape, they are connected to the earth and to us. They serve a function greater than the contents within them — they protect.
C+B: What has your experience been like receiving feedback or criticism of your work?
RL: I enjoy critiques when I feel people get what I’m doing and can steer me to see something in a different way. I’ve had two amazing teachers recently who in different ways have seen my work and been like laser beams to help me not paint everything I see, leaving a bit open for interpretation.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
RL: I love Fairfield Porter — I admire his loose energetic style and how he bridged the gap between realism and abstraction. I also love that he painted scenes that were around him.
Find and support Ruth here:
IG: @ruthlague
Website: ruthlaguestudio.com
(Field of Gold, 12’’ x 12’’, acrylic, ©Ruth LaGue)
My ideal creative retreat would be: A small modern cabin with lots of sunlight — someplace I hear (and feed) the birds. A place that has two comfy chairs for my two Havanese dogs (Rikki and Owen) and a short path to my home, so I can touch base with my family.
One word that describes my most recent work is: Simplicity
A quote that inspires me is: “You must do the thing you think you cannot do” by Eleanor Roosevelt. She was a voice for those who didn’t have one and she pushed forward with courage.
My hope for those viewing my work: I hope people will have a renewed sense of their surroundings; expand their partnership with the earth and it’s greatness and maybe on occasion, visit one of the people’s cathedrals, a barn, with new eyes.
Issue 6 Artist Spotlight | Gabriella Giaconia
C+B: Tell us about yourself, Gabriella!
GG: I am an elementary art teacher in NYC. I enjoy going to the beach, checking out galleries and exhibits around the city, and trying different Italian food and restaurants. My inspirations come from shapes and lines in nature, and the connections I have with people and myself. I think that paintings are a lot like people.
C+B: How has your relationship with your work changed since you first started creating?
GG: It is much more of a priority in my life. When I first started teaching, my own creative practice became non-existent for about 4-5 years. I felt very unaligned in many aspects of my life. Since getting back into it and being much more consistent, I feel much more myself.
C+B: Describe the earliest memory you have of creating something. How did it make you feel?
GG: My most distinct memory of creating something was in 3rd grade art class. We were studying Georgia O'Keeffe and her flowers, and our assignment was to create flowers using chalk pastel on black paper. I remember loving using that material, and seeing how vibrant the chalk pastel was on the dark paper excited me. That piece was chosen to hang in the local mall in the district art show, and when I took it home, my mom framed it and hung it in our living room and it made me feel so proud.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
GG: I have so many artists and creators that I admire for different reasons, but Julia Cameron's book "The Artist's Way" changed my life. Her ideas and beliefs and rituals around creativity really catapulted my own creative practices, so she is usually the first that comes to mind around creative inspiration.
Find and support Gabriella here:
IG: @gabbygiaconia
Website: etsy.com/shop/BelleandBumble
(Untitled 1, 8’’ x 10’’, mixed media, ©Gabriella Giaconia)
My ideal creative retreat would be: My ideal creative retreat would include morning pages, solo art making time, supportive critique time with other artists, and it would be by the ocean, where I feel the most at peace, creative and inspired.
One word that describes my most recent work is: Layered
A quote that inspires me is: Although I do not know much about Thomas Merton, his quote, "Art enables us to find ourselves and lose ourselves at the same time" has always spoken to me. I think as artists and viewers of art we learn more about ourselves, other people, and the world around us each time we participate in creating or looking at art, while also escaping from reality into another realm.
My hope for those viewing my work: I hope it inspires them to want to pursue their own creative work, and invite them to look at paintings like people- with lots of layers and a story behind everything. Maybe the colors or movement will also remind them of a special time and place.
Issue 6 Artist Spotlight | AnaVito
C+B: Tell us about yourself, AnaVito!
AV: I'm a full-time artist originally from the vibrant landscapes of Puerto Rico. My journey is a blend of diverse experiences, as I hold a law degree, a bachelor's degree in art, and a bachelor's degree in fine art. When I'm not immersed in my creative endeavors, you'll often find me on the move – whether I'm out running, working out, or enjoying leisurely long walks, I relish the physical and mental release it provides. What fuels my passion as an artist is the intricate tapestry of human relationships and how they endure and evolve over time. There's an unspoken magic when two people connect and remain irresistibly drawn to each other, even after decades. As a child, my sister and I would spend one month of our summer with our dad, who was a union organizer, and that often involved participating in union work. Meanwhile, my mother worked for the Instituto de Cultura Puertorriqueña, which allowed my sister and me to dive deep into the rich tapestry of Puerto Rican culture, art, and music. It taught us the vital importance of providing people with access to their cultural heritage. As a hidden quirk, I must admit my enduring love for Harlequin romance novels. Yes, I still read them to this day, and it's from those pages that my fascination with intimacy and the complex dance of connections in our lives was first kindled.
C+B: How has your relationship with your work changed since you first started creating?
AV: My relationship with my work has undergone a profound transformation since I first started creating. In the early days, I was plagued by concerns about external expectations, worried about meeting the perceived standards of what an artist should be. I carried the weight of fearing disappointment, and was cautious about being too open and forward with my emotions. There was a strong undercurrent of wanting to be seen in a certain way.
However, as time has passed and my journey as an artist has evolved, I've undergone a significant shift in my approach. I now create art that is a genuine reflection of my innermost feelings, desires, and the stories that truly matter to me. I paint people I know and individuals I've encountered along my life's journey. I've come to understand that not all my themes and stories will resonate with everyone, and I've grown perfectly comfortable with that realization. My primary purpose has shifted from seeking external approval to painting for the sheer joy of expressing myself. I paint to tell stories, to convey the emotions and experiences that have made a profound impact on me. While it's a tremendous blessing when others connect with my work, I've learned to find fulfillment in the act of creation itself and the authenticity of the stories I tell. This transformation has allowed it to be a genuine extension of myself and my experiences.
C+B: What has your experience been like receiving feedback or criticism of your work?
AV: Receiving feedback and criticism about my work has been both enlightening and challenging. I've realized that there will always be critics, some who love my work and others who don't understand it. I've had instances where my work has been received with genuine admiration and enthusiasm, while in other cases, it was met with confusion and misunderstanding, leading to some rather lengthy and perplexing conversations.
I now approach my creative process detached from the fear of criticism and focus more on the act of creation itself. I've learned to value the opinions and feedback of others, whether positive or negative, as opportunities for growth and learning rather than as judgments. I've come to appreciate that while criticism may be inevitable, it doesn't have to dictate the course of my creative expression. It's about staying true to my vision and letting go of the need for external validation.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
AV: I admire Michelangelo as a creator. His versatility and innovative spirit in working across multiple artistic mediums have always drawn me to his work. Michelangelo's ability to push the boundaries of art and make groundbreaking discoveries in various disciplines is truly inspirational. His dedication to excellence, his contributions to painting, sculpture, and architecture, and his timeless masterpieces such as the Sistine Chapel ceiling and the statue of David continue to captivate and influence artists and art lovers to this day. Michelangelo's unwavering commitment to his craft and his fearless pursuit of new artistic frontiers serve as a constant source of motivation for me in my own creative journey.
Find and support AnaVito here:
IG: @alencastudio
Website: anavito.com
(Nearness of You, 16’’ x 20’’, oil on canvas, ©AnaVito)
My ideal creative retreat would be: In a serene picturesque natural setting, where I can fully immerse myself in the creative process. Whether it's a cozy cabin in the mountains or a beachfront bungalow with access to the ocean, this retreat offers a well-equipped space flooded with natural light and abundant art supplies. It provides ample time for reflection, exploration, and experimentation, allowing me to delve into new ideas and techniques, all while letting my creativity flow without constraints. Surrounded by the people I love, my cats, and the nurturing presence of nature, this retreat serves as a space for self-discovery, growth, and the development of my artistic voice.
One word that describes my most recent work is: Passionate
A quote that inspires me is:"What happens next is up to you" is a powerful mantra that resonates with me, even though I'm unsure of its specific origin or attribution. It's a profound reminder that applies to both life and relationships, encapsulating the idea that we should embrace our emotions and express them authentically, without fear or reservation. This quote underscores the importance of taking control of one's own narrative and, in turn, relinquishing the need to conform to outdated societal expectations.
I admire the sentiment behind this quote because it promotes vulnerability and the liberation of emotions in art and life. It signifies a shift from a time when emotions were often suppressed, particularly for women, to an era where genuine self-expression is encouraged and valued. The idea that, in both art and life, we can openly show love and care for those we cherish and let them know how we feel, is a beautiful and empowering concept. It's an affirmation that encourages the creation of heartfelt and meaningful art, as well as fostering honest, authentic connections with others. This quote serves as a reminder of the importance of being true to oneself and embracing the beauty of genuine emotions and connections.
My hope for those viewing my work: I hope people take away a sense of genuine connection and a deeper understanding of the complexities of human emotions and relationships. I want them to feel the authenticity of the stories and experiences I convey through my art, and to be moved by the power of vulnerability and self-expression. My goal is for my art to inspire others to embrace their own feelings, connections, and to appreciate the beauty in imperfection. I aspire to create a sense of belonging and the feeling of being truly seen and understood in those who engage with my work. I want people to understand that it's not only okay to be vulnerable and to express their feelings openly but that it's essential for creating a life that resonates deeply with the hearts and souls of those who experience it. Ultimately, I hope that my work conveys genuine emotions and connections, encourages sincerity and openness to find a sense of solace and connection in the shared human experience.
Issue 5 Writer Spotlight | Mark Blackburn
C+B: Tell us about yourself, Mark!
MB: I'm an ex-shoeseller and politico, but now devote most of my time to writing - and the many ancillary activities which that involves. Now that I've started, I just feel driven to write - in all kinds of genres - nonfiction, short stories, children's - and maybe even a novel! If it's a nice day and I haven't got a deadline to meet you might find me pottering about down country lanes in an old car.
C+B: How has your relationship with your work changed since you first started creating?
MB: I think I now write more as a means unto itself, rather than to achieve any outside goals or recognition, although those are always nice to receive!
C+B: Share some details about your process for creating.
MB: I usually get everything non-writing out of the way by lunch, and spend the afternoons writing or doing writing-related stuff. I used to use the spare room but I found I couldn't find the right mindset there any more, so now I alternate between the dining table and a little room I've found above a shop in my home town.
C+B: What is one quote that inspires you or informs your work? Who said it and why do you admire them?
MB: "A man's work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened." - Albert Camus. I believe that there is something deep within us which is the root of our creativity, and our pursuing it is the purpose of our work. Camus' take on life - put most simply, we do what we can - informs not just my approach to writing but to how I want to live too.
C+B: What is something exciting that you're looking forward to in your life or creative life?
MB: I've managed to be picked for a select writing course which I'm really excited about but can't say too much about yet as the news isn't public!
Find and support Mark here:
IG: @mdhblackburn
Website: markblackburn.co.uk
Mark Blackburn
If my work was a meal it would be: A seven-course tasting menu!
I would love to be able to share my work with: Cal Flyn, writer of Islands of Abandonment. I feel my lost airports with their weeded-over runways might appeal!
If I didn’t work in my current medium, I would like to try: I think I'd be a photographer. I don't have any technical ability, but I do have an eye, and even found myself shortlisted in a national competition!
My hope for those viewing my work: One small thing they can relate to that maybe they hadn't previously considered.
Issue 5 Artist Spotlight | Fleur Thesmar
C+B: Tell us about yourself, Fleur!
FT: I am a full-time artist. In my free time, I contemplate nature, I cook, I read. I take care of the people and places around me. I was once a successful lobbyist. It is very modern and self satisfying to use one's image to promote something (a product, a politics or an idea) and even to become the product of trade: this influence involves communication tools, ideas, photographs, images. It is very common in art, too. In a way, I rebelled against this. I started to contemplate the world, just as something free and separate from me. I felt naked: no idea or photograph could act as a medium between me and the world. This is how I became a painter: representing the illusions of the world as I see them, became an existential path to freedom.
C+B: How has your relationship with your work changed since you first started creating?
FT: After a first phase where I felt ecstatic at the idea of being able to paint everything, I experienced a personal crisis: what is the point of painting or photographing everything? With what medium and why? I chose watercolor which has the virtue of being very low in pollution and non-VOC emitting. I aim to represent the other, the strange, impossible spaces, snippets of memory, a harmony inspired by the space that surrounds me. My work is not about duplication of things, but a new way of telling things.
C+B: Share some details about your process for creating.
FT: I usually start in the evening with monotypes and work on digital sketches. I then paint in the morning in silence, 4-5 hours in a row.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
FT: I like David Hockney in the present for his work and his books, his motto "love life." I am enthralled by Géricault, whose life and influence have been exceptional.
C+B: What is something exciting that you're looking forward to in your life or creative life?
FT: I am looking forward spending the next year in Paris!
Find and support Fleur here:
IG: @fleurtdefrance
Website: fleurtdefrance.com
(Memory Box, 22’’ x 30’’, watercolor, ©Fleur Thesmar)
If my work was a meal it would be: Babette's feast
I would love to be able to share my work with: I would love to show my work to writers, or architects, and ask them why so few of them write about appearances and art. I've read that the more you are exposed to something, the more you like it: so in theory, tastes should conform to usage. But the fashion of clothing for the last 40 years seems to be an accumulation that ends up in the dumps, the "minimalism" has ended up giving birth to gigantic objects in concrete or plastic, as if the boredom and the destruction of the environment were an art form in itself. Should we be forced to accept this? Isn't it important to write about visual tastes and the appearance of artworks?
If I didn’t work in my current medium, I would like to try: I make textiles, whose slow and meditative rhythm I appreciate. I also want to explore more the way I photograph things and how I use it in my work.
Who are your favorite creators to follow (emerging or experienced)? Astrid Dick @chastrida, Francois Nugues @francois.nugues, Dino Chatila @dinochatila and Jasmine Chen @jasminechenstudio
My hope for those viewing my work: I hope they take away a symphony of light and colors.
Fleur Thesmar
Issue 5 Writer Spotlight | Amy Bush
C+B: Tell us about yourself, Amy!
AB: When I'm not writing, I work as a catastrophic risk analyst, which is a fancy way of saying I work with data and models in the insurance industry. I also play basketball in a rec league on weekends. I used to be pretty intense about athletics in school, and even played rugby in college.
C+B: How has your relationship with your work changed since you first started creating?
AB: Since I was a kid, my goal has been to write a novel. A few years ago I completed a draft of a novel as well as some revisions. However, I wasn't satisfied with it and shelved the project. Since then I've been focusing on flash fiction to help find my voice and short stories to help me learn story structure.
C+B: Share some details about your process for creating.
AB: I'm most inspired by music. I put my Spotify on shuffle and then let the results decide what I write. Sometimes I'm inspired by the mood of the song, other times a lyric will spark my imagination. I find the key is to write whatever pops into my head, and not judge my ideas before they're on the page.
C+B: What famous creator would you most want to show your work to and why?
AB: I would love to get feedback from Victoria Schwab. She has such a beautiful lyrical style of writing that she mixes seamlessly with the fantasy genre.
C+B: What is something exciting that you're looking forward to in your life or creative life?
AB: I'm looking forward to issue 5 of Clover and Bee!
Find and support Amy here:
IG: @amybushwrites
Website: amybushwrites.wordpress.com
Amy Bush
If my work was a meal it would be: I think my flash fiction is like hors d'oeuvres. They're little nuggets, and sometimes the flavor profile works well enough that you're able to create a main dish out of it, but most of the time they're just little appetizers. Poetry is more like the soup course. Not as heavy as meat and potatoes, but still satisfying.
My ideal collaboration: I would love to write a novel and have my mom, who is a professional artist, illustrate it or do the cover art.
My ideal creative retreat: My best friend and I have occasionally discussed going to Iceland on a writing retreat. Going and seeing the northern lights is on my bucket list.
If I didn’t work in my current medium, I would like to try: While I've been mostly writing flash fiction and poetry lately, I do want to get back to longer form fiction so I can craft a fully fleshed out story.
My hope for those viewing my work: I hope I allow people to escape from the real world for a few moments to gather themselves and refresh their spirits.
Issue 5 Artist Spotlight | Kathy Cornwell
C+B: Tell us about yourself, Kathy!
KC: I’m a printmaker living in Northern Virginia. While some people would describe me as a self-taught artist, I consider myself an artist who has pursued a self-directed art education. I have had a number of impactful teachers and experiences that have helped me develop my art practice.
My day job is freelance writing for creatives, although I have slowly been paring this down to make more time for my art.
Nature is a huge inspiration for me and often appears in my work. I hike in the woods almost every day, and this sustains my mental health while filling my creative well.
One surprising fact about me is that I have six grandchildren—and yet I never gave birth.
I’m big into functional fitness. Ten years ago, I was weakened from breast cancer surgery and treatment. Playing with my grandkids would throw my back out. I started investing in twice-weekly strength training, and it has paid off. My back no longer hurts, and I recently showed my grandkids how to do a somersault! I want to be as strong as I can be in the second half of life so I can fully participate in art, family, and life.
C+B: How has your relationship with your work changed since you first started creating?
KC: It used to be that making “bad” work would derail me. I’d feel demoralized and perhaps give up for a while. What a waste of time! Now I make more work than ever, and when I make something that I’m not happy with, I know that all is not lost. Perhaps I’ll add a new layer that’ll turn things around, or maybe this piece will fulfill its destiny as a piece of collage paper. Or maybe it’s truly trash—no problem! I no longer judge my artistic potential by each piece that I create.
C+B: Share some details about your process for creating.
KC: I find myself most productive in the studio in the mid- to late afternoon. My studio is a room in my home, which is terrifically convenient. I prefer to create daily. I enjoy listening to music while I create and I have an artmaking playlist that keeps me bopping.
C+B: What is something exciting that you're looking forward to in your life or creative life?
KC: While my work has been shown in gallery exhibits across the US, I will finally be in a show in my region in April. I'm thrilled to have a chance to attend the opening reception and see people respond to my artwork!
Find and support Kathy here:
IG: @kathy.cornwell.art
Website: kathycornwell.com
(Party Favor, 13’’ x 11’’, monotype, ©Kathy Cornwell)
If my work was a meal it would be: My mother-in-law raised six kids, and she was a marketing genius: when she'd make a soup using the foods she had on hand at the moment (including leftovers), she'd call it "cowboy soup." This had the kids clamoring for it! To this day, my husband and I make our own version of cowboy soup. My work is very much like this: it evolves and changes, it pulls in disparate elements and makes them work together, and it also involves creative titling!
My ideal creative retreat: It would have to be in a place where I could hike twice a day in an inspiring landscape, like Saguaro National Park or the coast of Cornwall in England. I'd hike as the sun rises and again in the afternoon. I'd spend the rest of the day in a quiet studio that allows me privacy and lots of light! In the evening, I'd be joined by my husband and our dog and we'd eat a hearty soup, look at the stars, and snuggle.
My ideal collaboration: Art Star helps people collect contemporary art. They sell original art as well as top-quality limited-edition prints, allowing people to express themselves through their art collection without breaking the bank. I’m drawn to Art Star’s focus on exceptional quality and service and I believe my work is a good fit with their roster of artists. The work Art Star carries is fun and bursting with feminine energy. I’d love my work to be collected through Art Star and positively impact the vibe of many homes and offices!
If I didn’t work in my current medium, I would like to try: My work is always on paper, but I’d be excited to try working on canvas, panel, or claybord. In fact, I plan to move in this direction later this year and see what I discover!
My hope for those viewing my work: I hope that my work encourages people to stop, look closely and intently, and have a real moment in the analogue world. We spend far too much time on screens and moving too fast—and we miss a lot. My work invites us to get back in touch with ourselves and our surroundings.
Issue 5 Artist/Writer Spotlight | K.E. Downham
C+B: Tell us about yourself, K.E.!
KED: When I'm not creating I am focused on completing coursework towards a Bachelors degree in Cybersecurity. When I'm not doing that I enjoy spending time with my husband, reading, watching movies/tv shows, writing, mountain biking and hiking.
C+B: How has your relationship with your work changed since you first started creating?
KED: This past year I started focusing more on further exploring and developing the way I combine images, colors, texture and elements. With that, I noticed the aesthetics in my work shift. I saw more of what was in my heart and mind transpire and with that I felt a greater connection between me and my work develop.
C+B: Share some details about your process for creating.
KED: There isn't a specific time of day when I create. It's whenever I feel inspired and/or need to get an idea, or the start of one, out. I create in my office and usually have music in the background. I like a variety of music and what I have playing is dependent on the mood I am in.
C+B: What do you hope people take away from your work?
KED: That those who see my work get inspired to look more carefully at the world around them; to see beyond the distraction of the conspicuous and discover beauty in a combination of elements and everyday life.
Find and support K.E. here:
IG: @k.d.__art
(Sweet Harmonies, 8’’ x 8’’, mixed media collage, ©K.E. Downham)
If my work was a meal it would be: A mixed salad with a side of dessert.
My ideal collaboration: Working on a community wide artistic (photographic collage, canvas or mural) project that connects people of different cultures, experiences, backgrounds and mediums that harnesses the experiences and skills of each person taking part to give meaning and creative expression to what matters most in their lives.
If I didn’t work in my current medium, I would like to try: Hmm, my first thought is pottery since since my fondness for and interest in trying the medium has grown in the last year and a half.
Issue 5 Writer Spotlight | Holly Harrison Cline
C+B: Tell us about yourself, Holly!
HHC: I am a full time parent and homemaker right now, so my days are filled with the adventures of keeping house and keeping up with my one-year-old son. The experience of becoming his mother has been a huge inspiration in my writing these days.
When I’m not exploring playgrounds or libraries or the kitchen cabinets with my kiddo, I try to fit in as much reading and writing as I can. I love to read fantasy, poetry, and non-fiction (especially if it’s about food!). A lot of my reading these days happens in the form of audiobooks.
I also try to get outside as much as possible, especially to run or hike. My resolution for this year is to spend time outside with my son every day. We’ve missed a few days so far, but we’re getting out way more often than we would otherwise. Being outside has always been restorative and inspiring for me. I am happiest when I’m around trees, I think. I’m currently working on a novel that, in its earliest form, was inspired by a run down our local rail trail.
C+B: How has your relationship with your work changed since you first started creating?
HHC: When I first started writing, and for a long time after that, I was really focused on the outcome of the work. Any piece I didn’t finish felt like a failure, and only those I deemed “good enough” were ever shared with a wider audience.
These days, I am trying to think of writing more as an experience than a means to an end. It’s an experience that I am so grateful to enjoy both on my own, and in the community of a few dear friends. I’m hopeful that, if I continue to lean into the experience of writing, I can loosen my grip on some of the perfectionism and more fully enjoy sharing my writing, even in its early stages.
C+B: Share some details about your process for creating.
HHC: When I have the chance, I find I do my best writing in the morning, when things are quiet and my brain and coffee are both fresh. If I can, I try to focus in blocks of two or three hours, so I have the time to inhabit the work.
I often write in silence, though I love the hum of a coffee shop. Working in a cafe or library is almost always a productive time for me. It holds just enough social pressure to keep me from wandering away from the work, without being disruptive.
These days, writing time is precious, and I fit it in whenever I can. I have a routine of writing for ten minutes in the morning, just to keep up the practice. That time isn’t for trying to move forward on any particular project, but just to run the tap, to keep the water from getting too rusty. Often, during the day, I’ll take notes here and there on my phone or in a notebook—bits of dialogue, snippets of poetry—and then pull things together during a longer stretch of quiet time in the evening.
It’s been a challenge to adapt my writing habits to this new rhythm of life. Last year, I read Big Magic by Elizabeth Gilbert; in it she talks about falling in love with your creativity, stealing any moment you can with it, even if it’s only a few minutes. I try to hold onto that spirit.
C+B: What is something exciting that you're looking forward to in your life or creative life?
HHC: I am really excited to start connecting with other writers and artists. For so many people the past few years have been really isolating. My husband and I moved to a new town maybe six months before the pandemic began. And I’ll admit that, as an introvert, I didn’t really fight the isolation. If anything, I leaned into it. But I’m excited to start reaching out, to share my work and to see what others are creating. After so much time away, I’m eager to find new communities.
If my work was a meal it would be: These poems, and the larger collection they’re a part of, feel like a cup of coffee. There’s warmth, there’s comfort, there’s energy to them in the light of day. But they’re also what keeps me up at night. Sometimes it’s that jittery joy that keeps me up, the wonder and excitement. But other times, it’s that gut-burning anxiety of a mind that won’t let go and can’t rest.
On the other hand, my in-progress novel is just a straight up bowl of macaroni and cheese. It’s warmth, it’s comfort. It’s a treat for adults who need a break from everything being an adult means in our world.
I would love to be able to share my work with: It would be a particular honor to show these poems to Louise Erdrich, for two reasons. First, she authored the novel that I reference in “Remember These Things.” The book, Future Home of the Living God, made an impression on me, and I still carry images from it with me. I would love to be able to share with her how her work inspired mine.
Additionally, her memoir The Blue Jay's Dance, is one of the first books I ever read about motherhood, and it was a source of great peace and hope when I thought about the prospect of bringing a child into this world.
Some creators I am inspired by: I love this question! There are so many to choose from, but these are three of my absolute favorites these days--
1. Brit (@britchida) is an incredible abstract artist. I especially love their abstract diagrams, and the poetic check-ins they share with their digital community.
2. J.S. Park (@jspark3000) writes out of his experience as a hospital chaplain. I am struck by the beauty, compassion, and honesty he brings to raw and difficult topics.
3. Kelly Harrison (@kellyharrisonarts) is a fused glass and mixed media artist. I love the curiosity and joy she brings to her art. (She’s also my mom, which means I’ve gotten to enjoy a front row seat to watch her explore and create her artistic identity. Her courage in sharing her own work and finding a supportive artistic community has encouraged me to put myself and my work out there as well.)
If I didn’t work in my current medium, I would like to try: If I couldn’t write, I think painting is the medium I would turn to. I’ve painted on and off over the years, in all sorts of different forms: theatrical scenery, greeting cards, attempts to keep up with Bob Ross on a nature scene. Painting to music, especially, has felt like a freeing experience.
While I’ve enjoyed all of my various forays into painting, I’ve never explored it enough to feel like I could tell a story with the medium. I’ve seen some phenomenal artists who can, though, and it’s something I would love to learn more about.
My hope for those viewing my work: When these poems are read, I hope that someone feels that strong resonance of 'Yes. I have felt that. I have been there. I didn’t have the words before, but here they are.' It’s an experience I’ve had as a reader so many times; it feels like a gift to find words for an experience that felt so isolating or unspeakable.
I also hope that these words do offer a little bit of hope.
Issue 5 Artist Spotlight | Gabriella Giaconia
C+B: Tell us about yourself, Gabriella!
GG: I am an elementary school art teacher in the Lower East Side of Manhattan. I love going to art galleries and museums around NYC, going for walks by the water, painting and making my own art, spending time with family and friends, trying new restaurants, reading, going to the beach.
C+B: How has your relationship with your work changed since you first started creating?
GG: I've become much more consistent in making work—the book, "The Artist's Way" helped me realize so much about being an artist and the importance of making art and looking at art regularly.
C+B: Share some details about your process for creating.
GG: I recently turned my bedroom into an art studio, so now I am able to have a designated space to create in my small Brooklyn apartment. During the school year, I make art on nights and weekends, but this summer I will have lots more time, and I am so excited for that.
C+B: What is something exciting that you're looking forward to in your life or creative life?
GG: I'm grateful that I've been able to access the creativity in myself, and that I will be able to act on it forever. Creativity is innate in everyone, but programming, etc. has made it hard for most people to recognize that.
Find and support Gabriella here:
IG: @gabbygiaconia
Website: etsy.com/shop/BelleandBumble
(Untitled, 24’’ x 30’’, mixed media, ©Gabriella Giaconia)
If my work was a meal it would be: I think anything that is a process and is intentional—maybe a pasta dish from start to finish, from making the pasta homemade to selecting tomatoes for the sauce. An intentional, thoughtful meal.
I would love to be able to share my work with: Julia Cameron because her books and ideals have had a profound impact on my life.
Some creators I am inspired by: Anna Valdez @missannavaldez, @gethappymedium, Leah Kirsch @leahkirsch, Haley Bowen @haleybowenart
If I didn’t work in my current medium, I would like to try: I would love to try graffiti art or murals—I have never really worked on a large scale like that, and find it really interesting and beautiful. I think it would be a fun challenge.
My hope for those viewing my work: I hope my work makes people curious, introspective, and inspired about their own creativity. Maybe the colors and layers and shapes remind them of something from their own life that makes them want to explore.
Issue 5 Artist Spotlight | Toby Gordon
C+B: Tell us about yourself, Toby!
TG: I was an acquisitions editor in educational publishing for thirty years, but always painted in my free time. I retired several years ago and was thrilled then to start painting full-time. Living on the southern coast of Maine, I take daily walks and am continually inspired and influenced by the surrounding landscape—the marshes, the rocky coast, the vegetation, high and low tides, the way the sun hits water in the early morning versus the late afternoon. The shifting light and colors, no matter the season, affect what I paint, whether I’m focusing on landscapes, still lifes, or nonrepresentational work. The natural world is always at play in what I see, feel, and paint.
C+B: How has your relationship with your work changed since you first started creating?
TG: When I first started painting, I felt there were “right and wrong” ways of doing things and I was cautious in my practice. Years later, I feel there’s no need to be precious about any of this. Paint, paint some more, and just keep at it. If it doesn’t work, don’t hesitate to obliterate a work and start over. Those paintings often end up being my best.
C+B: Share some details about your process for creating.
TG: I start painting immediately after I walk. I often begin with small 8x8 gouache and watercolor pieces—what I’ve come to consider my morning mediations—before I dig into larger oils. These works on paper are often quick, playful, and serve as a way of focusing my attention. There is no plan for them, just a beginning mark—they then develop in a kind of free-associative way. Over time, I’ve deepened my interest in and relationship with these water-based pieces and now take them as seriously as my oil paintings.
C+B: What famous creator would you most want to show your work to and why?
TG: I think painting is often like poetry—a brief reflection of an internal state, a moment in time revealing something previously unknown. For this reason, I’d like to share my work with Jane Hirshfield, a poet of great wisdom and wonder.
C+B: What is something exciting that you're looking forward to in your life or creative life?
TG: After having spent the winter in Asheville, NC, visiting my adorable 18-month-old granddaughter (and her parents!), I am looking forward to getting back to my Maine studio and to plein air painting this spring.
Find and support Toby here:
IG: @trg210
Website: tobygordonart.com
(Approaching October, 8’’ x 8’’, watercolor, ©Toby Gordon)
My ideal creative retreat: I would relocate to a beautiful new place for a few weeks, spend time getting to know it, and paint away. I’d never have to worry about meals as they would magically appear and all menial tasks would magically disappear!
Some of my favorite creators to follow: Sarah Faragher @sarah_faragher_painter, Rick Fox @rickfoxpaintings, Chris Liberti @chris_liberti_, Carole Rabe @carole.rabe.painting
If I didn’t work in my current medium, I would like to try: I would work with textiles, weaving and sewing. I often turn to fabric artists to be inspired by their stunning designs and palettes. There’s a vibrancy to textiles that I find energizing and powerful.
My hope for those viewing my work: I hope my nonrepresentational work will create a feeling of energy and excitement and my abstract landscapes will evoke a strong sense of place, whether real or imagined.
Toby Gordon
Issue 5 Writer Spotlight | Dagne Forrest
C+B: Tell us about yourself, Dagne!
DF: For the past twenty years I've worked in website development and marketing with my husband. I feel so fortunate to be home-based, as it allowed us to be much more available to our children when they were young, and it's work that engages us with other small business owners and creatives where we live.
It was only after my kids were mostly grown that I returned to writing for myself, to create, and for me it has come at the right time. It's very much an activity that I fit in "here and there," but I have the confidence to do it that way and don't stress when I don't have time to write. My list of ideas to explore simply increases when I have to take short breaks.
I've also recently joined a much loved literary journal (Painted Bride Quarterly) as an editor and a member of its podcast team, and am so grateful for the opportunities this affords. It's an amazing team to be a part of, and it gives me a very different perspective on the writing and editing process that I wouldn't otherwise have.
C+B: How has your relationship with your work changed since you first started creating?
DF: I think that trusting myself has been huge. I used to think I needed lots of well defined, protected time (and space) for writing, but I don't. It's always lovely to get spells where I can just commit fully to writing, revising, editing, or whatever stage I may be at in a piece, but realizing that most of the process of creating can happen dynamically, alongside my life, has been revelatory.
C+B: Share some details about your process for creating.
DF: If I wake up with an idea, that's the very best time to get it down, which I think is true for many writers, but it's often very cursory at that stage. I have to sit with it for some time, allowing it to bubble up on my daily walks or as I'm engaged in other activities.
In terms of the actual writing process it's frankly ad hoc, and I don't commit to a routine, which is pretty reflective of my life as a whole. If I found I wasn't writing anything as a result, I'd address that, but I'm happy with my output and the fact that I'll have small, intense bursts followed by very quiet or fallow periods.
I don't write in the same place all of the time. I use a notebook a lot, make notes on my phone, and for some pieces I move to the computer immediately, because I just need to. I trust my instincts and am always experimenting. I have done one writing retreat so far, and I loved it, but the big a-ha in life for me was to discover that I can write anywhere under most circumstances, and that was so liberating. If I could have discovered that when my kids were little...but who knows. I think I loved just fully living in those years, the good and the tough, and I read voraciously with my kids as well as for myself.
C+B: What is something exciting that you're looking forward to in your life or creative life?
DF: After a couple of false starts, I think I finally have an idea for a chapbook that makes sense for me, and I'm having fun pulling it together and creating pieces that will be in conversation with and yet very distinct from each other.
I'm also trying to arrange to meet up with my Painted Bride Quarterly colleagues. I'm based in Canada, while they are in the US and the UAE, and up until now I've only worked with them remotely, which I think is not uncommon for many people these days.
Find and support Dagne here:
Website: DagneForrest.com
Dagne Forrest
My ideal creative retreat would be: A few dedicated days on my own in a small, quiet place with good light, with access to the pleasures of town (good food, outdoor music, interesting book stores), and amazing walking, and couple of great online workshops lined up. That's something I was able to do for the first time in 2022 and it was perfect for me. One of the workshops was with Gabrielle Calvocoressi, whose work I adore, and I still pinch myself that I had the chance to take part in one of their workshops.
My ideal collaboration would be: I would love to pair poems with the work of a visual artist in a collaborative chapbook. Not just a cover, but visual art throughout, with the words and the visuals in conversation with each other.
I would love to be able to share my work with: I've honestly never thought about that until now. I suppose that it would be pretty neat to know that the incredible Polish poet Wisława Symborska could read some of my poetry that's concerned with physics and the existence of the universe, though it will never happen on this earthly plane. I return again and again to "Pi" and "Miracle Mart" by Symborska.
I mostly think of ordinary readers, the poets and non-poets alike. I have an older stepdaughter who has an impressive career and cultural life in London, England, and when she tells me that she sometimes shares my work with friends, it really moves me.
If I didn’t work in my current medium, I would like to try: I'd probably just return to the kitchen, where I spent so much time when my kids were small, baking and creating good things to eat, and listening to the work of other poets and writers, as well as a lot of music! As it is, I'm often torn about creating anything new when there is so much in the world I have no hope of ever experiencing as we are now so rich in art in so many genres by so many different voices.
My hope for those viewing my work: A sense of slow (but not too slow) consideration.
Issue 5 Artist Spotlight | our thomas
C+B: Tell us about yourself, our thomas!
ot: When not creating, I’m a non-profit administrator with a focus on fundraising and communications. In addition to being a collage artist, I’m also a haiku poet, and I list among my inspirations the sea, Japanese gardens, birds, and forests.
C+B: How has your relationship with your work changed since you first started creating?
ot: When I first tried making collages I was very much driven by two unfortunate tendencies: comparing my art to the works of other artists and starting with a specific idea of what I wanted the final piece to look like. Those can be soul- and art-killing habits. I’ve really embraced the idea of process and also of intuitive making, and that perspective is just much wider, more beautiful, and deeper. Even my “failures” are part of a longer, more resonant arc now, and that feels authentic and meaningful to me.
C+B: Share some details about your process for creating.
ot: Creating collage is very much an intuitive, organic process for me, and so I tend to work best in shorter bursts, 45 to 75 minutes at a time. I find that if I push beyond that, I start thinking rather than feeling my way forward. One advantage of shorter bursts is that I often return to pieces still in progress, and in the interim they feel like they’ve taken on new perspectives and possibilities. That’s one reason I like to work on several pieces simultaneously.
I tend to make a little offering to the universe before I start working – expressing gratitude for the time and ability to engage in something so powerful and intimate as art making. While I’m working, there’s definitely an “in the studio” mix that I listen to, an eclectic (and continually growing) playlist that jumps across genres, moods, and time periods; the Velvet Underground might be followed by a Handel Oratorio and then Minor Threat followed by Charles Mingus.
C+B: What is something exciting that you're looking forward to in your life or creative life?
ot: As both a haiku poet and collage artist, I’m working toward bringing both mediums in conversation with each other. I tend to treat them and engage in them separately; one or the other, never both together. I’m working on a project right now that applies cut and paste techniques to haiku; I’m very excited by it, though I worry the audience for such an approach might be pretty small. Still, it’s pushing me beyond my comfort zone, and that makes it worth it even if it doesn’t get shared with the world.
Find and support our thomas here:
IG: @our.thomas
Website: ourthomasart.com
(The Material Has Been Arranged, 6.75’’ x 9.75’’, paper collage, ©our thomas)
My ideal collaboration: I think good collaboration ideally allows each creator to remain quintessentially themselves, while also pushing each to grow what’s possible. A lot of the collaboration I’ve seen in collage is what one might label “call and response.” One creator starts the piece and hands it off to the other to further develop or finish and so on and so forth. That play of both freedom and constraint – and of discovering how one’s work might spark another artist – can be powerful. I haven’t done much of it, but I’m definitely open to exploring the possibilities.
A creator I admire: I don’t think one can work in collage without referencing in some way Joseph Cornell. His ability to employ common objects and images to create otherworldly mystery and narrative is so powerful and alluring. Another of my collage inspirations, the reason I began to explore collage, is Nick Bantock, the creator of the Griffin and Sabine books, where images adorn letters and postcards to tell an evolving and mysterious story. Again, it’s that ability to signal some sort of deeper, more resonant world that exists beneath the surface of the ordinary that I find so compelling. I hope my best collage works begin to hint at that other world that exists inside me and inside those who experience my collage.
If I didn’t work in my current medium, I would like to try: Well, I do try my hand occasionally at watercolor, and so that might be a starting point for further exploration if collage wasn’t possible, and I’ve always been intrigued by oil painting – maybe I could become a fine tonalist painter.
My hope for those viewing my work: I hope in looking at my work, viewers feel in some way stirred by it – made curious, surprised, excited, intrigued, or inspired – reminded in some small way of the deeper world that exists below the surface of our everyday lives. Collage feels like a fantastic medium to accomplish this sleight of hand.
Issue 4 Artist Spotlight | Gennaro Gonzalez
C+B: Tell us about yourself, Gennaro!
GG: I am an elementary art teacher working for the public schools in Worcester, MA. I enjoy drawing, painting with watercolor, and listening to dialogues or monologues regarding a variety of themes while I am doing my workout at the gym. Since I was a child, I have always been inspired by cartoons, comics, movies, illustrations and fairy tales. What is not generally known about me is that I am a "half-blood" like Harry Potter: I am part Italian and part Puerto Rican.
C+B: How has your relationship with your work changed since you first started creating?
GG: I strongly believe in the power of mastering techniques to make “tangible” my visual thoughts. For that reason, coming to know many artists, designers and creatives, in general, is important. Spending time and money on books and high-quality supplies is crucial for personal growth as a creative.
C+B: Share some details about your process for creating.
GG: I prefer to create in the evening time when most of my daily duties are completed. Basically, creative time is my relaxing moment. I create in my little studio at home, having good jazz music as a background or listening to Italian Facebook pages, Youtube, or other websites. I would like to dedicate more time to my art. Currently, my focus is studying for my college course. I am in the process of obtaining my initial license as a school teacher. Yes, even teachers have homework!
C+B: What is something exciting that you're looking forward to in your life or creative life?
GG: I find exciting exploring more techniques related to drawing and watercolor painting.
Find and support Gennaro here:
(A femmena e o purp, 23cm x 35cm, watercolor, ©Gennaro Gonzalez)
If my work was a meal it would be: It may be a baba (a typical Neapolitan pastry).
I would love to be able to share my work with: I would love to show my artwork to Adam Hughes, an American illustrator whose artwork and sense of humour inspired me.
If I didn’t work in my current medium, I would like to try: Probably, I would use digital painting. I had a bit of experience with this modern medium. Its colors are brilliant. Nevertheless, the opportunity to erase mistakes with a simple click gives a sense of confidence. Digital makes working so easily, as if nothing has happened.
My hope for those viewing my work: Sense of imagination that is fed by studying mythologies, novel, and other stories.