CHITRA GANESH:

Chitra Ganesh is an artist from Brooklyn, NY. I first saw her prints, which interested me because she utilizes multiple different printing techniques to create each one. She also does digital and photo-based works as well as very striking paintings and installations. The influence of Hindu culture and folklore is evident in her recurring female forms. However, the ascribing of deity-like qualities (such as multiple arms, eyes, and tongues) to her human subjects is particularly interesting and I think can be read in many interesting ways. There is of course an overall disturbing feel to most of her work as a result of the violent and overtly sexual narratives and themes she deals with. The fact that she combines two completely opposite ways of perceiving/addressing sexuality and the female is interesting, certainly daring, but I wonder what kind of specific commentary or message she is trying to communicate? Is it something specifically related to Hindu or Indian culture, culture everywhere, or just shock?

For more images or info click here

WILLIAM WEGMAN

Normally I think I might be adverse to the whole "me and my dog" art journey thing. However, the somewhat twisted or backwards feel that exists in some of William Wegman's work is very intriguing. He plays with the recognizable form of a dog (a Weimeraner to be exact) in a variety of ways. Either he dresses them up in clothing, or other materials, or uses the dogs' natural poses themselves. While some of his canine photography and prints focus more on exploring the dogs' form in a more classical or symbolic sense, there is always an element of playfulness in his work.

JOAQUIN TORRES-GARCIA:

My father recently came to know one of the board members at the Menil Museum here in Houston. (My father supports me a lot and tries to help me meet people that are involved in art around here) So we had lunch with him today and he gave us a personal walk through of the current exhibition,Joaquin Torres-Garcia: Constructing Abstraction with Wood. I had never heard of Joaquin T-G. but I think that somebody knew I was coming and sent me this show. The exhibit focused mostly on the artist's wood pieces, carvings, sculptures, superimposed paintings, and his wooden toys from the 1920s and 1930s. Although the imagery and textual content was different than mine, his overall aesthetic was quite similar to what I have been trying to achieve lately with wood.

I like his system of compartmentalizing everything in his composition. Everything seems to be there for a reason, and there is a lot of different stuff. Even his small wooden toys were very intuitive. He observed that his children were always interested in finding out how things function, so his toys disassemble in various ways. His carvings and wooden paintings were interesting in that they seemed to be telling the same story, a constantly projected vision of the world and how it should be, or maybe how it already is. He repeats a lot of symbols between works, namely anchors, clocks, fish, and religious symbols.

Garcia lived from 1874 to 1949. Although he was originally from Uruguay, he lived and worked in Italy, France, Spain, and New York. For more images and about the exhibit, click here.

MARIA FERNANDA CARDOSO:

click CARDOSO FLEA CIRCUS to see the videos!

Maria Fernanda Cardoso is a Columbian born artist living and working in Sydney, Australia. I first saw her work in the Sicardi Gallery in Houston, Texas and I later stumbled upon her most famous project: the Maria Fernanda Cardoso Flea Circus. The Circus stars Cardoso as the Queen of the Fleas and features many live performing fleas. It is a varied and interesting performance piece, one which I think speaks directly to her Columbian background. Nature, insects, and animals, are perceived differently in Latin America; there is still an element of mysticism and folklore surrounding them. The flea circus, with its colorful carnival tent, maintains that fanciful, magical realism quality and makes you think (or rather imagine) about the relationship between humans and nature.

Uncle Charlie

Uncle Charlie (Charlie Hardwick) is a Houston based poster artist who has been making rock posters for over twenty years now. His clients have included bands such as Radiohead, Red Hot Chili Peppers, and the Beastie Boys. I first learned about Uncle Charlie when I was teaching myself how to silkscreen in high school. I was making fliers for my own band at the time, and after handing one to a teacher of mine, she informed me that she was married to one of the premier local poster artists. Naturally I became quite familiar with his work and even got the chance to interview him briefly. Anyway I figured he would be good to share with you all since he is a good example of a working artist from my area of the country that you all may not have come across otherwise.

While these are examples of his most recent work, all done in giclee, some of his older silkscreened posters can be seen in a very thick book entitled The Art of Modern Rock. What I like about his posters is the use of color, as well as the overall sense of completeness he gets through composition. There are many subtle touches, both in terms of design/decoration and in terms of imagery. You really want to look at these posters and explore them. I find that there is usually something a little bit disturbing or grotesque in each of his posters, which is interesting when paired with the bright attractive colors.

While I find his newer work to be more refined and perhaps more mainstream, his older work had a particular quality to it that I believe embodied the character of his signing name, Uncle Charlie. Cartoony and grotesque figures dominate his posters from the mid-90s, and each seems to tell a short but usually horrific story.

For more information and images, check out Uncle Charlie's website

STATEMENT #4

As a person of mixed racial and ethnic background, I am quite familiar with existing in and identifying with two different groups at once. Although I identify with two unique cultures, I am often pressured to choose between the two. It is an awkward, sometimes uncomfortable position to be in, and at times it makes me feel that I am not a part of either camp, but in my own grey area between the two. I suppose this is the reason for my fascination with people's perceptions of each other, and my own perception of myself, which is constantly influx. The act of making art has, as a result, become for me a constant reexamination of myself, as well as a way of questioning notions of truth and identity.

What defines identity? As people, we individually identify with communities greater than ourselves, with society, collective entities that often dictate certain protocols, perception, and cultural codes. In a sense, then, we are what they say we are. These groups use various tools and constructions to differentiate themselves. Clothing and fashion, social cliques, race, sexuality, language, possession, and nowadays technology are all basic methods of building an identity. And yet, on a much more personal level, there are the much more interesting and mysterious relationships that individuals develop through their experiences that really seem to either define, or completely shroud them. Intimate elements, and nostalgia, in the form of keepsakes, heirlooms, words and text, and collections, help us to remember who we are. While these things are ephemeral by nature, they carry a timeless quality.

Exploring this ironic truth raises questions about reality and perception, as well as the idea of simultaneous attachment and detachment. I try to achieve a similar sense of uneasy truth in my work by juxtaposing or combining seemingly opposing imagery, dealing with collections and series, and through my choice in materials. Wood, paper, string, and clay maintain the natural and handmade quality that I think also exists in my prints, while simultaneously belying the occasionally modern and technologically generated content of my imagery. I also believe that such natural materials and the direct human involvement in their manipulation helps to give my objects and prints their own intimate and timeless quality.

Statement 3

What defines identity? There is more to it than "identity is who you are". As people we individually identify with communities greater than ourselves, with society, collective entities that often dictate certain protocols, perception, and cultural codes. So, to an extent, we are what they say we are, or what we are supposed to be. As a person of mixed racial and ethnic background, I am quite familiar with existing in and identifying with two different groups at once. Although I identify with two unique cultures, I am often pressured to choose between the two, which makes me sometimes feel that I am not a part of either camp, but in my own grey area between the two. What interests me about all this is picking up on the tools and methods that people use to identify themselves, and then visually re/deconstructing them. Some examples might be clothing and fashion, social cliques, race, sexuality, language, possession, and nowadays technology.

I attempt to do this in my work in a number of ways, though primarily by juxtaposing or marrying seemingly opposite imagery. By presenting an image or collection of images that has something amiss, something that seems contradictory to our normal way of perceiving, I hope to momentarily confuse my audience. The approach varies depending on the project, but I try and stick to simple materials in the presentation of my prints and collages. Wood, clay, string, and nails maintain the handmade quality that I can think can be found in prints, while simultaneously belying the occasional modern and technologically generated content of my imagery.

My way of working, as well as my desire to engage the viewer through a sort of “double-take” reaction, stems from what I believe to be the human experience as well as my own personal life and my imagination; my own personal search for self, which is constantly influx. Through playing with notions of truth and perception, I want people to temporarily join me in uncertainty, and investigate, question, and reevaluate the way in which they see the subject matter as well as themselves.

Tom Huck

Tom Huck is a St. Louis based artist who works primarily in print media, his specialty being woodcuts. The influence of Jose Posada and other famous printmakers such as Goya and Durer is quite apparent in his large, layered and almost chaotic scenes. Huck's prints are quite large, and contain a stunning level of detail and use of contrast. He achieves a surreal level of depth despite the abstracted and grotesque nature of his characters.

The grotesque quality of Huck's figures is emphasized further by the carnival-like feel to his prints; they evoke the idea of the spectacle. These prints in particular come from series that the artist bases off of strange narratives, urban myths and stories that nobody can say are or aren't true. There is also definitely an element of social criticism, though masked with an uneasy humor.

It's as though Huck presents us with beautiful but exaggerated depictions of real scenes, pieces of the human experience, and then yanks the rug out from under us by challenging ideas of beauty, sexuality, and morality. The violence in his imagery is quieted and almost completely subdued by the various and numerous layers of action and scenery.

Check out Tom Huck's website and gallery: EVIL PRINTS

Elsa Mora:

Elsa Mora is a Cuban born artist living and making work in Los Angeles, California. What drew me to her work was the intimate quality she infuses in her images and sculptures. Her characters and scenes are silent stories and faces, nameless creatures and women looking over their shoulders at you and drawing you in. There is a beautiful natural quality to her pieces, which she maintains through a variety of media. Interestingly, while she makes and sells prints of work, these intricate black and white designs begin as paper cutouts.

I enjoy the handmade look to her pieces as well. She makes use of many different craft materials to make things such as buttons, enamel cameos, porcelain, and paper sculptures which she often incorporates in installations and collages. To me, Elsa Mora's approach of combining human and natural (plant and animal) imagery, such as bees and dragonflies, takes advantage of the inherent symbolism and narrative quality in nature, and comments on the human experience. Her arrangements deal with communities and relationships, memories and experiences.
I particularly like this piece from a 2001 exhibition entitled MUTE. She used handmade porcelain objects that represented an accumulation of her silence about past traumas and experiences in her life. Her presentation consisted of massive photographs of the objects interacting with her body and overlooking a table displaying the porcelain objects themselves, which I thought communicated her personal story very clearly and intimately.

More Images.

Artist Statement!

As people we all individually identify with communities greater than ourselves, with society; these collective entities often dictate certain protocols, perception, and cultural codes. So, to an extent, we are what they say we are, or what we are supposed to be. As a person of mixed racial and ethnic background, I am very familiar with existing in and identifying with two different groups at once. Although I identify with two unique cultures, I am often pressured to choose between the two, which makes me sometimes feel that I am not a part of either camp, but in my own grey area between the two.

This grey area, I believe, exists in some form for everyone on some level. It’s when all the pieces don’t seem to fit right, and we are forced to take a step back and reevaluate ourselves and our world, as well as how we interact. Culture (language, dress), race, possessions and collections, intimate narratives, and experience are all different ways in which we identify ourselves. Each of these can be visually deconstructed and subverted through the juxtaposition or marriage of contradictory imagery. Hopefully, as a result of adding the extra piece that oddly doesn’t fit, people will venture into the grey to investigate, and perhaps leave with an interesting thought or two that they might not have had otherwise.

My imagery, as well as my interest in the “double-take” reaction, stems from what I believe to be the human experience, as well as my own personal life and my imagination; my own personal search for self. Since these things are always changing in some way or another, so is my visual content and my approach. I enjoy injecting a bit of humor or surprise in addition to unease and discomfort, or confusion and disgust.

Artist Statement!

COMING REAL SOON!

Barry McGee

Barry McGee was a graffiti artist during the 1980s, but he became particularly well-known for his murals and gallery installations. His work incorporates text and imagery from contemporary urban culture, as well as found objects, which combined seem to always comment on the human experience. I first learned about Barry when I was in middle school, but he is an artist who I keep coming back to. His trademarks, the almost grotesque cartoonish faces that seem devoid of much or any emotion, are my favorite aspect of his work. They seem to betray a hidden character within all of us; they carry a strange realistic quality that a traditional portrait would not have.

Information about the above mural

*video interviews with Barry McGee*

New prints from OBEY GIANT

*Obey Giant is a street campaign by print artist Shepard Fairey

Ingredients:

When I become frustrated or just stuck and don't where to go next, the answer often comes to me in the form of a new media, technique, or material. It's sort of an 'exploration = evolution' way of thinking I suppose, and it has always had satisfying results for me. Labeling oneself a 'painter' or 'printmaker' can be self-restricting sometimes. Although I fancy myself a 'printmaker', not all of my ideas really lend themselves to print media (though of course you can be very creative with it).

Despite the general theme or content that I might be dealing with, what I really want to do with art is provoke a pretty specific reaction. By presenting an image or collection of imagery that has something amiss, something that seems contradictory to our normal way of perceiving, I hope to momentarily confuse my audience. I want people to investigate, question, and reevaluate the way in which they see the subject matter as well as themselves.

While this type of reaction can be achieved through the use of opposing imagery as well as through more technical means, such as color choice or scale, the use of a new or different material can have the same effect. This is something that I have only recently thought to explore, but I have already found inspiration in clear plastic gloves, thumbtacks, plaster, cardboard, linen, sand, and bricks. To me these materials could be used either on their own, or in conjunction with other media that I work with in order to create that element of unease and confusion. It is important, however, to consider the physical and visual implications of any new material or found objects.

Despite the fact that new media and materials are exciting and definitely a progressive step for me in my experience, I still often think in terms of screen-printing, relief printing, and lithography. Not only are the results beautifully graphic and multiple, but the process is marvelous. Your body performs a series of steps and then repeats them over and over, becoming like an art machine, with usually very gratifying results. The inherent need for layering in designing a print also forces me to organize my content. Printmaking is also very connected with drawing (especially litho), which I love to do. I also always find myself returning to painting, perhaps for its wild, expressive nature, but also for its solace.

Juan Muñoz

*Juan Muñoz piece on the Barceloneta beach

While studying abroad in Barcelona this past spring, I had the chance to see a lot of wonderful art, both old and contemporary. To me Spanish art, and the culture as a whole really, carries an inherent exoticism. It might have something to do with the beautiful and arid landscape, the music or the cuisine, but it always existed for me as some fantastical realm far away, old and wild. Spanish artists are great characters, with unique flamboyance and swagger, very passionate and overflowing with personality. I met several artists as well as young writers and curators in Barcelona; they all seemed to come from a different time. They fully embodied the romantic ideas of their titles with all their energy and a distinct quirkiness. I think that there is something to be said of their 'passion', a word that has become cheesy in our culture, almost shut away by our need to be suave and cool.

Nevertheless, much of Spanish contemporary art is influenced by American contemporary art and post-modernism. Installations, text based work, video and sound work, performance, interactive and public projects are the main artistic language in Barcelona. I stumbled across the work of an artist by the name of Juan Muñoz on the beach in the city. I didn't even like this particular sculpture all that much, but I decided to research him further for my contemporary Spanish Art class at the local university.

Muñoz began making work around 1982. He had studied in New York City and I think that the influence of minimalist art, as well as post-modernism and the work of newer conceptual artists like Bruce Nauman is very apparent in his work. I like that he took what he could from all these different philosophies and ways of making art and ended up with a very personal and continuously evolving result. His art is very much concerned with context and association, Muñoz manipulates space and consequently the viewer. He wants you to develop a relationship with his sculptures and installations, which is something complex, but I think his work lends itself to this approach. As a viewer your role is shifted and you become an integral part of the work. Through the use of subtle 'tricks' and illusions he attempts to expose our human weaknesses in terms of perception and communication. I love art that makes me do a double take and think about how we look at the world and even ourselves. For me Muñoz' work is an experience, something that I hope to achieve in my own work in the future.

*For an interview with Juan Muñoz, click here.

For more images, click here.

Introduction

It's always a little strange to look back and wonder how we ended up where we are today. For me, however, it is a simple reminder of how art has been there with me the whole way. I have been making art for most of my life; it is something that I can always come back to, a place in which I can always find new meaning and motivation. With art, the world is quite literally your oyster. There are endless visual and existential possibilities. I love that I can take inspiration from anything and produce my own unique interpretation for others to see and think about. It is the same satisfaction and excitement that I would imagine a scientist deriving from designing and executing their own experiment, never entirely sure what results to expect.

Making art is always an experiment, whether it be with colors forms, texture, composition, new materials or techniques and processes. It is also so on a more conceptual level, dealing with juxtaposing loaded imagery, the subconscious, or even telling a story. There are far too many different approaches to choose from. I like to work in a variety of media, including acrylic and oil paint, gouache, watercolor, pen and ink, and collage, but I especially love printmaking. The flat, graphic quality of prints first grabbed my attention through the massive lithographic posters of the turn of the century. The flat but vibrant planes of color and high contrast line work of Lautrec, Cappiello, and Cheret led me to pursue printmaking, which I soon discovered to be a medium with a lot of room for creativity. Although I also enjoy exploring many different themes in my work, the notion of identity, and its deconstruction, has been my main focus recently.

What defines identity? There is more to it than "identity is who you are". As people we all individually identify with communities greater than ourselves, with society, collective entities that often dictate certain protocols, perception, and cultural codes. So, to an extent, we are what they

say we are, or what we are supposed to be. As a person of mixed racial and ethnic background, I am quite familiar with existing in and identifying with two different groups at once. Although I identify with two unique cultures, I am often pressured to choose between the two, which makes me sometimes feel that I am not a part of either camp, but in my own grey area between the two. What interests me about all this is picking up on the tools and methods that people use to identify themselves, and then visually re/deconstructing them. Some examples might be clothing and fashion, social cliques, race, language, and nowadays, technology.

I have played on these particular ideas primarily by mixing and matching imagery that does not feel like as though it is supposed to be mixed. One example would be an image of a black man with white hands. I have also gone more in the direction of social commentary with a series of "Gangster Portraits" portraying minorities dressed in stereotypical thug attire but brandishing Nerf dart guns. Text is another subversive tool, one that is particularly important in that it implies a message and a language, it implies communication, though it doesn't necessarily actually say anything. As a culture study I hope to create a series of poster advertisements in which the names of the products are spelled as they are really pronounced in Texas and the southwest of the United States. Shoes would become "chuz", and chicken would become "cheekin".

Font itself, such as wingdings, as well as computer languages such as binary code and html also fascinate me. The technological feel of these texts led me to search for more technological/electronic imagery to combine with human means of identification such as clothing, organic imagery, and even human anatomy. My most recent show, "Electric Cactus," a collection of ink and wash drawing and prints dealt primarily with this type of imagery, fusing plants and circuitry as well as lights and microphones.

My work is intended to twist and mesh reality that throws the viewer off initially, but hopefully has them leaving with their unique interpretation and a thought or two they might not have had otherwise. I aim to continue experimenting with the subtle juxtaposition, or rather marrying, of contradictory imagery in my work, though not all my content is based around this approach, nor related to identity or technology. I often feel a need to return to painting and drawing, whether it be traditional still life or an abstract expressionist 'search for self'. I also enjoy doing work as a designer and poster artist.