Beata Chrzanowska

"House" Study

2012-02-04T21:15:00.000-08:00

Study I did in preparation for my solo show in Milwaukee, coming soon...

"House"
Acrylic on canvas and wood.
2012

"Alice Practice" at MOCT

2012-02-04T21:06:00.000-08:00

This piece was made for a show at MOCT titled "The Cover Show". It was a show where artists made work inspired by a cover of their choice. I chose Crystal Castle's "Alice Practice" featuring the great Madonna with a black eye.

The piece is still up, so check it out!

MOCT "The Cover Show"

2012-01-09T13:08:00.000-08:00

For "The Cover Show" this January I am remaking the cover of Crystal Castles "Alice Practice". Here is the projection of the blue prints for the painting. !!!

The Show:
MOCT
7pm-2am
January 20th, 2012

Facebook event:
http://www.facebook.com/events/194850367277495/

"Not So Small"

2012-01-03T15:34:00.001-08:00

Acrylic on canvas.

Done when I didn't have time to do anything. Finally got some job rearrangements done and now I can focus on some upcoming gigs! Yay! Including a group show coming this January 20th. Stay tuned...

Beata

Tools of the trade.

2012-01-02T17:07:00.000-08:00

Working messily to make something clean. yay!

Art Context 1

2011-12-20T13:28:00.000-08:00

We are surrounded by so much fertile soil, plant a seed.

"Automotive Her" from Art Milwaukee's Fashion Show

2011-12-08T09:30:00.001-08:00

It was incredibly cold this night, to the point that my paint started to coagulate. Ahhhhh! It was an outdoor live painting session with hundreds of people watching on my progress. Not as nerve-wrecking as I thought. I didn't get a chance to finish this piece at the show because, well, you know... but when I got home I finished it and it felt incredibly good to be painting.

This was my second live painting gig with Art Milwaukee. Every time I feel better about doing it.

Beata

Rose Pickering Quote

2011-11-29T14:20:00.000-08:00

Rose Pickering, versatile actress with Milwaukee Rep, dies at 64.
I have never met the gal, though we worked in the same theatre.

My favorite quote of hers:
‎"I think we are herd animals. We have to have communal experiences. We get something from sitting shoulder to shoulder in the dark. For some reason, I am one of those people who have to get up and act it out."

Studies Studies Studies

2011-11-29T12:51:00.000-08:00

Sky Installation with Richard Taylor

2011-11-27T17:28:00.000-08:00

Not too long ago I went to RUUD Lighting to help Richard Taylor instal work that he first installed about two decades ago. As the company grew, their space had expanded and so they asked Richard to come in and add to the skyscape. The first day of installation lasted all day but we got a lot of work done. Teamwork!

2011 MIAD Student/Alumni Art Sale

2011-10-20T11:23:00.000-07:00

Today at 6:00pm - Saturday at 5:00pm
October 20th, 2011
@ Milwaukee institute of Art & Design

Stop by MIAD during October Gallery Night/Day for your chance to purchase works by current and former students of Wisconsin’s only independent, non-profit college of art and design. Don't forget to view all of exhibitions open at MIAD during Gallery Weekend.

Preview Party, Thursday, October 20, 6 – 9 p.m., $20
Friday, October 21, 5 – 10 p.m. &
Saturday, October 22, 10 a.m. – 5 p.m., free

Great finds for beginning and experienced collectors!

The 2011 MIAD Student/Alumni Art Sale, which features works across all media, will give members of the community an opportunity to own pieces created by established and emerging artists and designers.

Over 100 artists have registered to take part in this year's event!

Proceeds benefit the participating artists and designers.

Art Milwaukee Grand Ave Jamboree with Natalie LeRoy

2011-10-08T13:50:00.000-07:00

I am honored to announce my collaboration with Natalie LeRoy at the Grand Ave Mall for the Art Milwaukee 1 year anniversary. We worked on 2 drastically different sized canvases and we improvised the whole process. Working with house paint, acrylic and using nifty ref. photos and our imaginations to produce images on canvas. About every half hour we switched places and painted over what the other one had done previously. The works turned out pretty sweet.

This looks like something i want to do more of. Care free, improvised, beer infused painting, Awesome!

Thank you Nat!

Also thanks to Hector for videotaping and photographing the event.
Credits to Nicolas Grasset, Art Milwaukee, and Jb Poplawski for the photos!

Addicted To The Right Things

2011-10-06T00:12:00.000-07:00

Come to Grand Avenue Mall today,
Milwaukee WI,
Oct 6, 2011 6-9PM,
for live painting by yours truly and my accomplice Natalie LeRoy for an extravagant collaboration. It's for the Art Milwaukee 1yr Anniversary.

woot woot!

Facebook invite: http://www.facebook.com/event.php?eid=168369303242475

Workin'

2011-09-28T16:50:00.000-07:00

Hi ya'll

Never being fully employed is not such a bad thing. I have more time to work, which is what is happening today.

I also now finally have my own overhead projector, yeah, it's kind of ancient looking, but damn, it is a classic. This is not a projector to mess with.

Aside from all that, have a great day!

Beata

Jason Yi Studio Visit

2011-09-25T14:11:00.001-07:00

Hi Everyone,

Recently I stopped by Jason Yi's Studio In Riverwest, Milwaukee WI. He is a teacher at the Milwaukee Institute of Art & Design and an artist. We talked about taking risks and how liberating that is for an artist. I totally agree, how will you ever know if you don't try? He said he is taking more "risks" with his work now than he has ever done in his life.

His studio isn't huge, but it is comfortable sized, and he's had it for a long time. Having a studio would be fantastic, especially with the weather getting colder and my intrinsic drive to work with oils again.

His current work visually plays around with control and letting go. He is making large mixed media pieces that deal with topography. For the "letting go" medium he uses insulating foam, Great Stuff, which has a life of it's own and takes minutes to apply. He then goes back with pencil once the foam is settled and makes lines for hours and hours. Eventually going back to the foam and shaving it. This juxtaposition of control and not, it's refreshing and it drives the work.

I am starting to realize how important it is to do studio visits. I have done artist interviews where I write them out word for word. With Jason though it was a casual talk about art, life and insulating foam; just as satisfying as an interview.
Got to keep that in mind.

Jason will be having a solo exhibition at the Wright Museum of Art in Beloit, WI in mid-January. The work will be up for two months.

More on Jason Yi?
http://www.jasonyi.com/

More on Beata?
http://cargocollective.com/beatachrzanowska

Icon_ology Feature Artist

2011-09-25T13:49:00.000-07:00

Hi everyone,

ico·nol·ogy (ī′kə näl′ə jē)
noun

"the study of the meaning of works of visual art through the analysis of subject matter, symbolism and imagery, style and medium, and historical context"

Recently I have been featured on one of my favorite fashion/beauty websites ever! icon_ology.
I feel greatly obliged. Thank you.

http://iconolo.gy/archive/figure-beyond-beata-chrzanowska/2037

Beata

UWM "Milwaukee: A City Intersected" Show Photos

2011-09-17T15:38:00.000-07:00

Hi ya'll,

I went in on the first day of "take down" to photograph my work at the UWM Gallery hoping to still get some pics of everything hanging up. I was way wrong and so I documented it laying down, my babies. I still had some fun though.

And a big thank you to gallery assistant, Peter Gehrig, for posing with my work (to show scale). Also a thank you to Lindsay Marx for the close up of one of my "faces" and the thesis statement shot. And last but not least, a thank you to the Union Art Gallery for their own documentation.

These are still very much for sale, holler if you are interested!

Beata

A Little Shepherd Express Love

2011-09-16T18:01:00.001-07:00

Hey everybody, The UWM Show, "Milwaukee: A City Intersected" got a little press from our fellow Shepherd Express newspaper.
Check it out!

http://www.expressmilwaukee.com/article-16096-uwms-energizing-milwaukee-a-city-intersected.html

yay!

"None" Study

2011-08-18T10:59:00.001-07:00

A little study I thought i'd share with you all. It's a test for a large series I am doing in Milwaukee for a show for 2011.
I have also been really busy for the "Milwaukee: A City Intersected" show opening to the public on Sept. 2nd at the UWM Union Art Gallery
2200 E. Kenwood Blvd., Campus Level
Milwaukee, Wisconsin

Facebook Invite:
http://www.facebook.com/event.php?eid=195731230480753

Hope to see ya there!

Blast from the past

2011-08-01T14:45:00.002-07:00

When I found this a week ago in one of my old sketchbooks I got really excited because there is a thread in the sketch to the work that I do now. Exciting!

This little motr fkr has been sneaking around all along ;p

Eddie Villanueva show at Hotpop

2011-07-22T20:10:00.000-07:00

Recently I went to Hotpop to check out the work of Eddie Villanueva. The show was titled "Space Scraps & Totems"
He is originally from Milwaukee, with a BFA in painting and printmaking from UWM.
Now living in Madison he is working on his undergrad, saying that it "feels like a residency". A great way to think about it!

There is a lot of juxtaposition in Eddie's work. Those including 2D & 3D surfaces, soft & rough textures, geometric & organic shapes, and chaos & control.
He says that one of the things that has always followed his work was his color palette. Later on he developed an appreciation for animals, religious icons, gaudy objects, and floral patterns.

Before going to grad school he hung out in Milwaukee trying to figure out the art scene and what his work would look like outside of the academic setting. He didnt feel challenged and felt like further schooling would help him explore a deeper meaning to his work. He wanted to reevaluate his work in a more personal, professional matter.

The juxtaposition factor, the subject matter, the colors and the use of geometry was what had attracted me to his work. I can see a thread that connects to my own work, and so it was a pleasure to see something similar, like a brother from another mother :)

His work will be up at Hotpop till Sept 22nd.

His artist statement:

Space:
I'm referring to the systems of understanding that are inscribed in the spaces that we occupy. Structures, pathways, sight lines, ergonomic placement, symbolic placement and structural design all play a role in how we read space. These painted panels and installations continue my critique of the hierarchies inscribed in constructed and imagined spaces.
Scraps:
Preciousness is distracting. When an object becomes fetishized it debilitated the maker from exploring its potential past its current state. With that, I have developed a personal practice of letting go. The installation's disconcertingly short lifespan coupled with it's ambitious scale allows me to make something that is fleeting and reflective of the human experience. Struggle, love, pain, fear, hope, life, death.
Totems:
Signs, symbols, systems, and structures are the basis of all human communication and understanding. We look for reason and understanding in all things. It is human to attempt to communicate our internalized narratives with stories and analogies. There is an excellent essay by the art critic John Berger titled, Why look at animals? My interest in the use of animals as less about their actual being and more about the seemingly innate need for animals to act as a tool to describe something that is internalized. Totem poles, Disney movies, religious observances, sports teams, hieroglyphs, brands and logos.

Thank you,
Eddie Villanueva

Want more Eddie?
http://eduardojvillanueva.com/

Want more Beata?
http://cargocollective.com/beatachrzanowska#1225285/FFFFACE

Milwaukee: A City Intersected, Opening Reception

2011-07-20T12:43:00.000-07:00

Opening Reception Featuring, DJ Asher Diamonds
Friday, September 2 · 5:00pm - 8:00pm

Union Art Gallery
2200 E. Kenwood Blvd., Campus Level
Milwaukee, Wisconsin

A group exhibition of artists whose work tells stories about neighborhoods, people and communities in Milwaukee. A diverse array of artwork, including graffiti-based art, prints, paintings, photographs and more, including a mural created by youth from True Skool, a Milwaukee organization that provides arts education and community service opportunities to youth.

Artists include:
Michael Arms, N. Adam Beadel, Beata Chrzanowska, Mike Fredrickson, Kari Garon, Michael Goelzer, Mark David Gray, Jessica Kaminski, Chantala Komaninvahn, Sarah Luther, Greg Martens, Chris Miller, Kristopher Pollard, Nirmal Raja, Ric Stultz, Symphony Swan, Erin TerBeek, Dean Valadez, Maikue Vang, Matthew Vrabel, and True Skool.

So Come out and lets have a grand ol' time!!!

"Running Man" Stop-motion Video

2011-07-15T11:19:00.000-07:00

I used the Britannica Junior Encyclopedia, Volume 4, "Boomerang to Canoe"

I think i will chill on the book-cutting for a little while and see what other materials I can bring to life with stop-motion. The point of this video is for the viewer to appreciate the use of materials and to really feel the intensity permeated by the visual/musical effects.

MARN: Preparing & Sharing

2011-07-04T12:06:00.001-07:00

It started off as ink in a sketchbook. A therapeutic doodle. It became a wood sculpture that later became a wire sculpture. It has taken the role of a drawing on my arm. It has become heavier and heavier with every transformation, eventually surfacing from metal. It has been pushed around and manipulated as it was photographed. It has broken in two from all the strain. It survived. The creature, impatiently waiting in a single idea, has thrived through and taken as many forms as possible. It has planted a seed for future ideas and has become an endless obsession.

The creature is a collaborative endeavor between Beata Chrzanowska and Richard Taylor. After showing Richard some of my videos, we decided to take a 2D idea and build a kinetic sculpture.
It is a geometric form build from metal tubing and welded together with tools beyond human strength. It moves to the music, like water moving to wind. It is an emulation of a living, breathing being. A creature with limits and endless potentials. Activated with a push of a button and endlessly existing in space.

WE MADE A SCULPTURE:

WE MADE A VIDEO:

WE SHARED IT:
At the Intercontinental Hotel's Gallerie M

Showing off my geometric tattoo in front of my kinetic video.

The model used for the final sculpture seen in "The Creature" video.

Thanks to Richard Taylor for making this collaboration possible.

Want more on Richard?
http://www.taylorsculpt.com/

Want more on myself?
http://cargocollective.com/beatachrzanowska

MARN Mentor/Protege Exhibition 2011

2011-06-23T09:26:00.000-07:00

Come out tonight and join me and all the other MARN Mentors/Proteges who worked a year to get this show together:
Thursday, June 23 · 5:30pm - 8:30pm
Gallerie M; Intercontinental Hotel
139 E. Kilbourne Ave, Milwaukee WI

Featuring Milwaukee Artists::
Josie Osborne
Jennifer Price
Eddee Daniel
John Lusis
Santiago Cucullu
Shannon Molter
John Riepenhoff
Jordan Adams
Richard Taylor
Beata Chrzanowska
Anne Kingsbury
Stevie Kinast
Fahimeh Vahdat
Leah Schreiber
Mark Lawson

Read about the artists here!
http://www.intercontinentalmilwaukee.com/gallerie-m/exhibit/

Eye Perlies BOSS piece

2011-06-20T12:28:00.000-07:00

This is a part of the Eye Perlies series.
Watered down ink bases with teeth and eyes drawn on top of them.
Can't say how much fun I had with these, and I learned so much too.

This is the biggest piece in the series.
The BOSS
18x24in

Revisiting Thesis

2011-06-20T08:29:00.000-07:00

Recently I had a conversation with my new roommate about one of my paintings hanging in the kitchen. This one:

I felt like I looked at it for the first time again, and though I can never go back to the exact feelings I had about it during it's creation, I recognized a past feeling of satisfaction, and a vulnerable happiness.

I wanted to go back to that moment, that intimate moment of being in a studio and feeling like every mark is so official and important. It was quite wonderful.

We commented about the composition. The gentle shoulder mark inviting the white space to become a part of the figure. How the white plays a important role of bringing attention to the concentrated bursts of color. How the chaos and order need each other in order to survive.

It all took me back to a place, a nostalgic place, that I yearn to find again.

America's Wonderlands

2011-06-01T21:36:00.001-07:00

Let's see where this takes me:::::::::::

America's Wonderlands Collage

2011-05-31T16:53:00.000-07:00

Currently working on a collage piece, kind of like the direction it's going.

It was originally going to be a painting but i just decided to start cutting out shapes from an amazing picture book and wha-bang! It's starting to evolve into a landscape of imagery, a sea of mountainous snapshots of the world.

Also, check out my society6 page, you can buy some of my prints there!
http://www.society6.com/beyatah

And for more of my work check out my cargo collective:
http://cargocollective.com/beatachrzanowska

And last but not least, have a great day!!!

Motivation Cats

2011-05-27T15:00:00.000-07:00

What do I do when I get tired of making stuff?
I make more stuff that is FUN, QUICK, and EASY. No, not a 15 minute dinner Rachael Ray!

Ba ha ha ha ha.

"May the Fourth Be With You" Star Wars Show

2011-05-19T15:02:00.000-07:00

A long time ago in a galaxy far, far away, Star wars will eternally exist through media, technology and merchandise. It is an epic saga that has dominated the mass consciousness for over 30 years.

From the incestuous relationship between Luke and Leia, Jedi mind tricks, abominable snowmen, to teddy bears helping win the war, Star Wars has become source material for countless parodies, spin-offs and even a musical.

"It surrounds us and penetrates us. It binds the universe together". It has become a pop culture and public domain figure, which has planted itself early on in the minds of children and kept true up until adulthood.

A cult classic, it is, and we are encapsulating its celebration. Homaging an "unofficial" national holiday dedicated to Star Wars on May the 4th. "The force will be with you, always".

A BIG thanks to Waldek Dynerman, John Kowalczyk and David Beyer Jr. for the photos!

One Hit Wonders Show via Huey Crowley

2011-05-18T10:15:00.000-07:00

Friday, May 20th 6:00pm - June 2 at 10:00pm

JACKPOT GALLERY
825 E. Center St
Milwaukee, Wisconsin

ONE HIT WONDERS
A show curated by Huey Crowley

FEATURING WORK BY:

Patrick Sharrow
Unknown Travis kid
Sam Foster
Thom Romero
Ben Miller
Huey Crowley
Johnny Fitzgerald
Allison Leigh Lindner
Carly Huibregtse
Sean Cairns
Anthony Mikkelson
Michael Senise
Skully Gustafson
Stevie Kinast
Max Senesac
Luis Galvez
Peter Puskas
Elderly Milwaukee Hoarder who goes by the name "Norma"
Dane Haman
Greg Jacobson
Ryan Ranney
Katie Batten
Brad Warsh
Julio Cordova
Jordan Adams
Boris Osterov
Armahn Gonzales
Waldek Dynerman
Jen Price
Jon Raleigh
Ryan Duggan
Ellyn Dougoud
Shannon Connor
Calvin Whitehurst
Elijah something
Patrick Jilbert
Janson Rapisarda
Al Higgins
Matt Plain
Deb Leal
Cody Frei
Beata Chrzanowska

.... and MANY, MANY more.

B THERE OR B SQUARE!!!!!!!!

Beer bongs and grilling!! Woot!

Afterbar at the Uptowner!!!!

Art is Moving Interview, woot!

2011-04-21T22:54:00.000-07:00

Recently got interviewed by Art is Moving.
Sweet blog.
Check out mine and other artists interviews.

http://artismoving.blogspot.com/2011/04/i-am-artist-beata-chrzanowska-wisconsin.html

Thanks Lauren and Lisa!

FFFFACE soup

2011-04-14T20:09:00.000-07:00

Last flow of FFFFACE artworks. I hope.

Interview with Beata Chrzanowska by Guildess

2011-04-10T13:04:00.000-07:00

Hello everyone,

I recently was interviewed by Guildess, a female artist guild in Milwaukee. They're mission is "to increase women’s involvement in the arts through exhibitions, outreach, education and community service".

This interview was done in part of International Women's Day.

It was an honor, and here is the transcript:
http://guildess.wordpress.com/2011/04/10/interview-with-beata-chrzanowska/

The Art of Staring (FFFFACE Show)

2011-03-24T11:40:00.000-07:00

Some finally photographed and edited pieces from the FFFFACE Show, 2010.

"Jelly Incisors", Acrylic on wood, 2010.

"Junior Mints", Acrylic on paper, 2010.

"2 Moons and a Bottle", Acrylic on paper, 2010.

"Milk", Acrylic on wood, 2010.

"Astro-Naughty", Acrylic on wood, 2010.

"Much Talented Man", Acrylic on paper, 2010.

"May the 4th Be With You" Submissions

2011-03-23T09:35:00.000-07:00

Art show celebrating "National Star Wars Day" on MAY THE 4TH!
Holla!

You and anyone interested are invited to submit work.
A Star Wars Extravaganza!!!!

Deadline: A week before the opening, BUT early submissions are very welcome.

Drop off location: MIAD, Drawing studios, You will know which one when you see it.
OR let me know, 773 420 7173, bchrzanowska@yahoo.com

For now CREATE, WATCH Star Wars, EAT cookies, and SUBMIT!

BAMMM!

Location & Time:

Jackpot Gallery
825 E. Center
MAY THE 4TH

Questions?

773 420 7173
bchrzanowska@yahoo.com

Also Facebook link: http://www.facebook.com/?ref=logo#!/event.php?eid=206685879357566

Interview with Kira Leigh

2011-03-13T22:12:00.000-07:00

Interview with the very talented Kira Leigh.

I stumbled upon this artist on Deviantart.com one day and was blown away. The first piece of art I saw was "In My Nature". I love how busy and weird the work is, something that just keeps giving, color beyond color, texture beyond texture. The human form filtered through an imaginary world of oddity and beauty.

"In My Nature"

*
Beata: Name, Age, location?

Kira: Kira Leigh, 23, Brighton MA USA

*
Beata: How would you describe your work to someone who has never seen it?

Kira: When individuals come up against overwhelming internal and external stimulation, be it negative or positive, they cope with it in ways easiest and most healthy for them.
I'm the same, except I create meditative, anxiety-filled, visual renditions of the things that overpower me.

Each piece relates to an event, topic, person, idea, thought--anything I have strong feelings about--and that topic is translated into my own strange, adult, gross little cartoon world.
Somehow, all that is easier to digest, and easier to understand than the actual topic itself.

"Thiefs"

For example, this piece: "Thiefs" is about people thinking I'm ripping ideas off people, and about someone who recently plagiarized a piece of my work.
I'm obviously disturbed by it, but it makes no use to vent or raise holy hell. Its better to use your emotions for fuel to make great work.

Ultimately my work isn't hard to understand, its just the strangeness that makes it difficult to decipher.

*
Beata: You post a lot of your work online, how do you protect yourself from theft? Do you feel protected?

Kira: I don't generally think people will want to steal my work really ever. This isn't an ego thing/lack there of,
its purely logical. It isn't anime and can't be readily popular. Its not hipster enough to warrant people to drool over it.
It isn't tritely folksy enough to reel in the super indies/moms. When work repeats in only certain circles of thought;
street artists, young/old artists, stoners, progressives, feminists, surrealists, poets, you tend to cut out the rest
of the bullshit. I'm speaking in terms of labels, and while it can be harmful, it helps illustrate my point: Too many
genitals, too little sex appeal. Beautifully constructed but not kosher enough to tickle everyone's fancy.

If they don't take it, I don't need to feel protected.

*
Beata: Your work looks very spontaneous. Do you plan out colors, or is it merely an intuitive process?

Kira: Sometimes I'll draw/sketch something a few times to get it right. Mainly a head, or a specific viewpoint,
almost like working out that specific area of creative and spatial understanding, and then I'll just go for it.
I will often ask myself how I feel. Ask myself what looks better/draws the eye in at this particular part in the drawing.
Every part responds to the part before. Sometimes it works, sometimes it doesn't.

I'm fast at processing information.
I waiver when it comes to physically discussing my feelings. It has to be intuitive then, doesn't it?

*
Beata: What did your work look like before this technique came about?

Kira: This technique was always already there in different forms: the obsessive "making". I just want to make things. I daydreamed too much, played too many video games, stimulated myself in entertainment too much, so that I actually started to have to produce in order to contain all these thoughts, images, and feelings I was receiving. I'd just draw. Tell myself: Go. I can't handle feeling it, and so its going on paper.
I can show it in poetry too. I just think in symbols--spontaneous creativity is what I do.

Later on, living my actual life began to fuel how the work looked. Regrets about the past and issues with abandonment? I'd make installations of idealized childhood room using thrifted items and paintings. Get body dysmorphic disorder? Fuel surreal/gross/figurative line work with excess anxiety on the easiest transmutable surface: paper.

Sorry if it feels like winded. I'm never asked these questions, so its hard to wrap my head around them fully.

*
Beata: Another motivation to my work is the fact that art plays a role in documenting my life, like a timeline. Do you acknowledge that?

Kira: Definitely, but at the same time, my art is really my life. More than my life.
Its more like an emotional timeline for me, and very much its own entity. I don't think of my life as being very exciting, or very
much worth documenting.

"Great Beasts"

*
Beata: I love working from a live model, or photographs; in a nut shell, I get inspired from realism. What is your reference, if any?

Kira: I actually draw from life a lot, but not as much in my finished pieces. I draw on the bus or the train, in cafes, I draw my friends, usually just parts of them that I want to get down on paper. I can approximate the human form readily without having to sketch, but if there's a weird angle, or something doesn't look right, I will seek a resource. I get inspired by avant-garde fashion photography, what other artists are doing, patterns and symbols moreso than real life. My work is about a twisted fantasy, so I tend to use direct realism sparingly.

*
Beata: Do you go to school? Where?

Kira: I'm graduating in May from the Massachusetts College of Art and Design (Boston) with a bachelors in art education/fine art. I think its the same thing on the transcript. I finished my ninth semester as a student teacher last fall, and this semester I don't need any more credits to graduate, so I'm just working and making art on my own.

*
Beata: Did you take any art classes in HS, college?

Kira: Plenty. General Art, Drawing I, II, AP Art. I drew terrible anime in middle school and early high school. But I was never focused enough to do the whole figure, so I'd piece them together.
Or I'd just bust out a figure--I loved drawing monstrous girl characters like from Parasite Eve--and embellish it with multiple heads or something. Its obvious I was destined for grossness at an early age.

massART is all about the art. I took basic classes, an oil painting class, wheelworking, paper making, photography, fibers, sculpture, printmaking--pretty much everything.

"Take Take Take"

*
Beata: How do you support yourself? Does your art help you do that?

Kira: I work at a real estate office doing data entry. It isn't glamorous, but my co-workers are the nicest people ever, I can wear what I want/listen to what I want, and I get left alone to do my thing.
Its pretty much the dopest job I've EVER had, and I'm so lucky to have it. It covers rent and enough for bills and art supplies.

I don't sell very much art or prints. Not enough to support myself, anyways. My last piece sold for $360 at half commission, and that would've been a great help, if not for the fact that..well, it was half commission.

I'm trying to get my work out there. Its a struggle. Lately its received fantastic critical response from gallery owners and big-wigs in Boston though. I'm hopeful that it'll go somewhere, and that I can be successful.

*
Beata: What are ways that you network?

Kira: I go to parties that my friends host, meet new people, talk about art, host my own art parties, attend gallery openings, try to get my work into shows (sometimes I succeed!) post my crap all over the web, leave stickers of my art all over Boston...I do everything short of going directly to the galleries with a portfolio. I'm really shy and anxious when it comes to things like that, which will probably lead to me not getting anywhere with art.

*
Beata: What kind of artist are you hoping to become (Gallery, commercial, web)?

Kira: I want to be a gallery artist. I don't see myself doing commercial illustration. I can see my work being on skateboards, and the Proletariat in Boston loved my work for that and t-shirts, but I don't think I'll directly make commissions for people. I come off as very hostile on the web for some people, which I'm try to curb, so I doubt I'll ever be a big "web" artist.

"Cycle"

*
Beata: What do you consider your studio space? (The "production factory" of your art).

Kira: We have a room with a balcony that we use as an art studio. I work in there for larger stuff or things that require toxic chemicals, like spray paint.
Most of the time I make art while sitting on the couch, watching horror films/anime or listening to music.

*
Beata: What kind of art do you find yourself drawn to? Artists?

Kira: I'm drawn to art I want to learn from, or art I think is particularly clever in concept or execution. Also, humor, ;)
The artists I tend to try and get to know are sweet as pie and a little bit ridiculous. I like humor in my art friends.
If a piece, or a person, takes themselves too seriously I get very turned off. Art that is overworked, over trite, or over-controlled. Stereotypes are not my friends or interests. I like weird people/things.

*
Beata: Other than what we see on the internet, what other art do you do?

Kira: Ceramics, photography, collage, I'm starting to make music with a group of friends, street art, installations, and I sometimes make anime portraits of my friends and myself for shits and giggles.

*
Beata: Tell me about your hobbies.

Kira: I play video games all day. Thats what I do. If I'm not making art, shopping at thrift stores, or enjoying nature, I'm playing video games. It was a bad habit as a kid, but the older I got the more it helped me understand the world, and opened my eyes up to deeper things as games became more complex. I also watch a ridiculous amount of horror movies (when netflix is working). Its pretty much my genre, as well as old Godzilla movies. Oh, and lets not forget playing magic cards and pokemon cards, for the most dork points ever.

*
Beata: What role does family play in your work?

Kira: Not much directly. My parents were both artistically inclined but never did much with their skills. My mom was amazing with pen and ink, my dad was a great oil painter, but now they're both in very different careers. Indirectly, I had an emotionally taxing childhood, and because of their issues at the time, I was affected enough to be able to use it to make art. I'm an only child, and a surviving twin. I think being alone a lot means you need to either look for outside stimulation or create your own. I created my own. My parents give me lots of support which is awesome, and my mom buys my prints, which I find silly as when she visits she can see them anytime.

Want more Kira?

http://kiraleigh.net/

http://kmain.deviantart.com/

Commentary on the art of Bernardí Roig

2011-02-17T17:15:00.000-08:00

I am fascinated with White. Pure, clean and un-touched. Intimidating like a blank sheet of paper thirsting for it's first mark. I am especially fascinated with how artists push the validity of white. The importance to this void. By leaving a lot of white in their drawings, paintings, and treating it as a vehicle to a work.

In this series of sculptures, Bernardí Roig does that exact thing. He uses white to blend the figures more into their environment all the while bringing attention to them.

The sculptures seem to comment on human failures.

The want to revive something that is faded and gone.
-Carrying light fixtures to awaken a dark void
-Gestures of defeated slouching
-Pushed up against a wall with a block as if just another element of the space
-Peeking out from the shadows of a deserted staircase
-A physique confirming bad health decisions

The work can either mean failure or hope. The important thing is that the character is "doing something" rather than completely giving up. Aesthetically the work really speaks to me. A coy, realistic and intriguing approach.

More from Bernardí Roig:
http://www.lipanjepuntin.com/desc.php?id_autore=47

The Werks (un-Coy'D)

2011-02-15T21:47:00.000-08:00

These works will be up for the remainder of February at Fox Glove Gallery, 2011.
(826 E Locust St. Milwaukee, WI)

d'(<*>)L.(<*>)'b The Werks

Ah you know...Drawrings.

2011-02-07T20:20:00.000-08:00

The Werks Show Poster Wit Info :D

2011-01-31T21:41:00.001-08:00

The Werks Show @ Foxglove Gallery

2011-01-27T12:52:00.000-08:00

Hi Everyone,

Thanks to everyone who came to Studio Deep End for their final winter show. Opening day was a bit chilly but whoever made it out that night, kudos!

Currently Art and I have been spending a lot of time together. We are hoping to make some interesting work for the Foxglove Gallery on Feb. 4th. The work will be exploring the elements of power through line, ink, and the unfamiliar being.
I have been really inspired by the tonal potentials of ink. This probably came about from the cruel nature of winter shying me away from color and attracting me to white and black. Though i'm a December baby this winter has made me hate the season I was born into. The work is an emulation of my inner thoughts, and a way to cope.

Thought i'm very busy with my day job and almost every time I sit down for hours with Art I get a headache, I am hoping for the best to come out of all of it. Relationships aren't perfect. And though Art is very supportive, he can be very exhausting.

I'm hoping for the next show to be in nicer weather, where we can all gather. We will walk and ride our bikes and wear sunglasses. And eat watermelon! Holla!

Lastly, my friends, thank you for all your support. It is always appreciated, more than you probably know.

Beata

----------------------------------------------------------------------------------

d'(<*>)L.(<*>)'b The Werks

Foxglove Gallery

Friday, February 4th 5:00pm – 10:00pm

826 E. Locust St.
Milwaukee WI, 53212

The works of Beata Chrzanowska and Neil Subel.
Faces and Spaces.
Food and drinks!

Look at pictures.
I made them.
So did other people.
I'm your friend.

----------------------------------------------------------------------------------

Interview with Reginald Baylor

2011-01-20T20:40:00.000-08:00

With guest appearance from Richard Taylor

One early afternoon Richard Taylor and I took a stroll over to Reginald Baylor's new studio, across from MIAD, to talk about: art, life, whiskey, and everything in between.

Beata - How would you describe your art? Its meaning?
Richard - This might take an hour.
Reggie - I'll describe it first, it's straight edge. That's the best description for me. Whats it about?
Richard - Be careful, Reggie studied philosophy.
Reggie - What's it about? It's about persons, places, and things.

Beata - What did your work look before you acquired this technique?
Reggie - It was similar because it was always obvious that I liked the line. I was fascinated with the line. So my work was generally always straight edge. Some of them had very commercial aspirations, very graphic. All my drawings, sculpting class...even with sculpting class they were simple, I love minimalism; straight edge.

Reginald Baylor
"White Lady"
48x60 Acrylic on Canvas, 2009

Beata -When did the turning point happen? You said that a lot of your work looked a lot like what you're doing now, but when did you feel like this was something that you wanted to pursue?
Reggie - When I discovered tape. It was the tool. It wasn't my ideas, it was the tools that I fell in love with. Kind of like a wood carver falls in love with grain; really dictated by the tools. That's when everything started making sense.

Beata – You work with very thin tape. Did you work thinly from the beginning?
Reggie- No. Everything was square when I first started, squares and rectangles and triangles before I realized you can bend tape. Dealt with geometric forms before I did anything that even remotely same, like it was moving, organic.

Beata - Where did you go to school?
Reggie - Oshkosh, Wisconsin.

Beata - Was that an art school?
Reggie - Not an art school, but it had art degrees.

Beata - So you got an art degree there?
Reggie -Yes. I attended it, for a long period of time.

Beata - What did you do after graduation, you said you were a truck driver?
Reggie - Owned a night club. Which was really fun! I had a night club at the age of 20 to the age of 23.

Beata - Was that a family business?
Reggie - No, it was myself, my brother, and one other guy, who thought we can bring electronica music to Oshkosh, Wisconsin.
Richard - Apparently it didn't work.
Reggie – No, it worked too well. I was too young, not business smart enough. Could fill the joint, everyone was having fun, but we were just too young to think it was a profitable entity, and not less of a expression. We just went head first at this concept of DJ-ing. You know this was the beginning of hip-hop and electronica music, and two turn tables, and this is a completely new form of expression. We were like whoa, this is going to sweep the world. We should start with Oshkosh Wisconsin!
Richard - You're right it did sweep the world, it just didn't sweep Oshkosh.
Reggie - Then I got married and moved to California.
Richard - So were you at the turn table?
Reggie - That wasn't my strong point, I was more of the doorman, bartender, the greeter, that type. Our only rules were, you had to be of age. We didn't care who came in, that was another problem.

Beata - So when did the transition happen from truck driver to artist?
Reggie - Well I always did artwork, even when I was doing night club and truck driving. I always did it on my own. I realized that no gallery was going to pick me up, so I wasn't doing it for the money, but I always did it. Right after college, kept drawing and painting all the time. I wouldn't say I ever stopped being an artist, I just didn't start a so-called professional career until 3 years ago.

Reginald Baylor
"The Night is Nearly Over"
84x72 Acrylic on Canvas, 2009

What kind of art do you like?
I am an abstract expressionist fan, and then I love minimalism, and then I like all the rest. I'm a big fan of repetitious art. Like if someone uses nothing but rope. Like artists who use nothing but tires, nothing but drums, nothing but metal. I like to be proven, and it's hard to be proven if you're not really too experimental with the materials. And every time you see it, it's something new but it's still the same materials. It's sort of the same process.

Beata - Talk more about your process.
Reggie - Straight edge, I use tape to create lines, so that none of the colors blend.
Beata - I noticed that first you put a certain color down and then you tape over that, and then you paint in....
Reggie - ...the negative space, and then pull the tape off and it gives you that line. It really isn't that difficult, it's just time consuming. It's that craft part of it. I'm like Richard, i'm sure he can tell you that cutting, grinding and welding all have different points of interest but you grind because you probably actually really like grinding, or is that the worst part?
Richard - That's the worst part. I like the welding.
Reggie - See, I like the taping but I don't like the filling of the colors. I don't like the painting part.
Richard - It's all for a higher goal.
Beata - Every color you put down, it changes the work so much that it drives you to continue and finish.
Reggie - If you say so. Maybe. Yeah! It's cool when it comes together. Sometimes there's two canvases going on at once.

Beata - What kind of advice would you give to someone like me? Someone who just graduated from art school, has an average salary job, and is trying to become a successful artist.
Reggie - Do a lot of artwork, constantly do your artwork and save your money. You can't be an artist without the artwork. That's the first thing.
I have a lot of people who say they're artists, and you say, well, can I see 10 pieces?...they bring a sketch pad. They say, well, here are 10 ideas I want to do.
An it's like how long have you had that sketch pad where you had these ideas that you wanted to do?...well, for eight months. Which ones have you started with?
But then I ask them what was on TV last week? they'd know that, because they sat and watched the whole show. So yeah, do a lot of artwork. It's fun.

Beata - What is the best advice you have ever gotten?
Reggie - Advice from my mom and dad.
Mom: “I don't care what you choose in life, as long as it's respectful and legal”.
And my dad was: “You can give UP but don't give OUT”. No, “You can give OUT, but don't give UP”.
Which both work equally, the inverse is good too.

Beata - How do you support yourself?
Reggie - Mom and Dad. No...that's not true at all.
Well fortunately we're a two income family and for the last 2 years my wife took the grunt of it. But then this past year, my artwork's been able to sustain my income.
Beata – That is the ultimate plan, the artwork being able to support the artist.

Beata – Do you suggest getting a studio right out of school? Financially, it's a problem for me. I liked having a studio at school and I need that area where I can focus. What are your thoughts on that?
Reggie - One of the things that I think i've been lucky with in where i've gotten, is that my studio has always been in the public view. Even when I first started in the Marshall Building it was open to traffic. Then I moved to the Pfister, then back to the Marshall Building where there was always traffic. Here it's even more traffic. That works for some and it doesn't for others. But it allows for a lot of PR and networking, and advertising, just because you have windows.
If you are in your studio you have to somehow take on that responsibility. People will never ever see your work unless you came out of your studio and then hang it somewhere.
Beata - Killing two birds with one stone. That's very lucky.

Beata - How do you inspire yourself?
Reggie - The fantasy behind being an artist is not as influential, to me it's work ethic. Craftsmanship and quality control mean the same thing to me. So it's really this business thing that has changed over the last 3 years. In art, buying new materials...you need to be able to afford to do it. So its what you need to do with your brand of artwork so that you can make sure that you can make artwork every day.

Reginald Baylor
“Nasturtiums”
72x60 Acrylic on Canvas, 2009

Beata - What role has family played in your art career?
Reggie - Significant, because I was always encouraged and not discouraged.

Beata - Do they get it?
Reggie - Some like it, some might not, but I think from their point of view they just appreciate that I like what i'm doing.
Beata - My parents are from Poland. Very conservative and traditional. There has always been a doubt. Though, they have been very encouraging.
They live in Chicago, and I feel like every time I go home there, it's just hard to get inspired. It feels like a traffic, you're so distracted by a lot of things. I like that i'm living in Milwaukee right now, and they do support me but I feel like they don't quite get it yet. I almost need to prove it to them that this is what I want to do.
Reggie - And that's probably true.
Richard - I think there are a lot of similar situations here. Parents, of course, want all of us to succeed in life, and yet its difficult for a lot of them to embrace the fact that their child is an artist.
Beata – My parents were like, financially, how are you going to support yourself?
Reggie - Well that's the main issue, most average American families know bankers and accountants and lawyers; people who are in these professional industries that do pay. How many families know of an artist who is living with a self-sustaining income because they are artists? I don't think my parents have met one.

Beata - Do you make “your own” work, or mostly commission work?
Reggie - 90% maybe more is for myself. Commissions are nice but they're not that frequent.
Commissions are a little more frightening because someone has expectations outside of yourself, and you're just worried that theirs and yours match. But it's much easier when you absolutely don't care how you want things, you're just doing it for your own self expression. But theres problems with that too, because you also think, well after I spend all this time doing something that I believe in, what if no one likes it? All artists conceptualize their work also through the viewers point of view, because otherwise why would we show?
Richard - That is a very important point. The commission question is a very good question. Like you said, some commissions are a blast and others could be from hell. It's all about how your aesthetic aligns with the aesthetics of the patron, if they align it's great, if they don't it can be painful.
Reggie - It's a trust issue. Some commission guys love your work, then have an idea, then will not just simply trust that your interpretations of that idea will be successful.
Richard - Or they're fixated on a piece of yours that you did in the past, they don't necessarily want it replicated, they want an echo of that. The echo is pretty strong in their mind but it may not be so strong in your mind.
Richard - You might be so past that.

Reginald Baylor
"Black and Blonde, Blonde and Black Paper Dolls"
72x60 Acrylic on Canvas, 2009

Beata - How do you get into larger galleries? Do you seek them out?
Reggie - No, I have not up to this point. They're now just starting to look at doing that. I never have been able to figure out how all that works because I have never been represented by any gallery my entire career. Which is fine. I became my own gallery.
It's great to have gallery owners who are extremely knowledgeable and who know the clientele and the market well. The only thing that I saw was the lack of exhibition.
You do want to go to a gallery because you have a show up for two months and your show probably doesn't come for two years. In a medium in which the viewing is the most important part about it you think you want the viewership to be up as high as it possibly can all the time. Because art is to be viewed. And I like having my stuff out, not stored.
Starbucks claim to fame was not only that they have good coffee, but for the first time of all time, people saw the coffee being made, right there in front of them while they waited. That was a new experience. So, what you're (Beata) doing with the video**, and photographing the process is really the new thing. People want to see not the product but they want to see how the product came to. HG TV, all these chef shows, all these model shows, these reality shows. They're really about not the story but the process.
Richard - For your studio I can see you literally painting the process. You can literally come in and see the artist, see the process not just hear of it.
Reggie - And a lot of times, in a time frame from one visit to the next, the person sees the process again at another stage and their idea of where the work is going completely has changed.
We're competing for America's eyes. You are literally demanding that the viewer stops and pays attention.
Beata - With youtube, anybody can just hop on there and see videos. The artist Blu has a bunch of videos on youtube, so that's another reason, it's so easy for someone to hop on the net and find that instead of looking for a specific painting.

**
Beata Chrzanowska
"Spazz"
2010

Beata - How do you network?
Reggie - All the social media, facebook, twitter, whatever we get our hands on.

Beata - How busy are you? Hours per week? What other hobbies do you have?
Reggie - Eight in the morning to six everyday working. 40% of that time lately working on art.
I do all the drawing, it's gotten to the point where like I said I like taping, she (Heidi, assistant) rather paint than tape.

Beata - Any computer programs to help you come up with your ideas?
Reggie - I have to do it the old fashioned way. As far as making the color choices, that's really the only thing I can foresee doing on the computer. I thought about starting to draw on the computer

Beata - Hobbies?
Reggie - Whiskey.
Richard - Whiskey is his favorite hobby.
Reggie - Whiskey at my local Tavern, drinking hole, one after work, maybe three times a week, but I do that because I have a lot of friends there.

Beata - Do you ever collaborate?
Reggie - I don't think i've done a full collaboration.
(looks over at Richard)
He's very shape oriented too.
Richard - You have these two linear guys.
Reggie - I can imagine something can happen.

Beata - Have you ever done an artist in residence program?
Reggie - Ragdale in Lake Forest for a month and at the Pfister for a year.

Beata - Any suggestions on that?
Reggie - Any of them, they're all slightly different, they're kind of cool, the environments are always unique.

Beata - Did you get a scholarship for that?
Reggie – For the Illinois residency. For the Pfister I got selected.
They're out there. You can create your own residency. You can go to a hair salon, and they have an extra booth that's not being occupied because business is down. People don't mind integrating artists into their environments, it's a win-win for everyone. Looking for space there is an opportunity to do that free in exchange for your art skills.
Richard - You can look for store fronts, work in it until someone rents it.
Reggie - Katie Musloff, who's at the Pfister right now, is thinking about her next residency possibly being at a hospital. She does portraits where she does live sittings. There are patients who have time to sit. Which is somewhat beautiful because she loves having conversations with these people that are waiting in the hospital. That's brilliant. I can't imagine one hospital not willing to accommodate that. For the publicity of the hospital, the goods for the patients that are there, and the arts. There is a company called the Cubicle Chronicles where they convince people to give up a cubicle. Because every firm has a cubicle with nothing to be done with.

Beata – Ever done any international residencies?
Reggie – No, not at this point of my life because (a) I have a family and (b) I couldn't afford it unless it was given as a gift. I'm really not as interested in developing as an artist because I can do that here.

Beata - I believe that no matter what kind of art you make and as long as you are persistent and believe in what you produce, you will always have some kind of audience and success. You just got to keep doing it and showing it and bringing it up. That is how I do my own work. I do it for myself first. I'm not worried about finding an audience, because I think my work will attract someone.

Reggie - I was listening to NPR and some guy came up with a formula with exactly what you said. What is the equation for success? After doing a lot of research and interviewing as many people as you could, his equation came to: do what ever you wish to do 10,000 hours more then the other person, and theres your answer. So if you took a woodcarver and gave him a block of wood and a tool and you took a block of wood and tool. The one who spent 10, 000 hours more at carving wood would be better and more successful. Talent was not it, it wasn't concepts, it wasn't ideas, belief, it wasn't any of that. It was self-persistence and work ethic. You can't learn unless you actually apply your thoughts. A lot of people spend time applying their thoughts without actually doing it. Those who actually do it then learn how success and failures work and make adjustments. The outcome is 10,000 times better.

>For more on Reginald Baylor:
www.reginaldbaylor.com/

207 East Buffalo / Suite 100
Milwaukee, WI 53202
120 North Broadway

phone 414-220-9222

>For more on Richard Taylor:
www.taylorsculpt.com/

RRTaylor@wi.rr.com

>For more on myself, Beata Chrzanowska:
chrzanowska.blogspot.com/

chrzanowska@yahoo.com

Oldies but all in good fun.

2011-01-06T13:10:00.000-08:00

And all this just reminded me of how much I MISS figure drawing.

Sol LeWitt writes to Eva Hesse

2011-01-05T13:33:00.000-08:00

At this point of my life I almost look at art as a person and not a thing that plays a significant role in my life. We fight, we cry, we laugh, we get drunk together and we all attract crowds because we look so good next to each other. It's everything that involves a relationship which can be the best thing ever or the worst experience imaginable. I specifically love this letter because the first time I read it I thought to myself "Man, I wish I had a friend like that!" who could blatantly just tell me the honest truth and not let me suffer in my own thoughts as often people do in times of failure and weakness. This is a great wake up call, and as honest and aggressive as it is, it sends out a a message to simply "not give a fuck", which is what we all need to do once in a while.

Beata
-------------------------------------------------------------------------

1965, Sol LeWitt to young artist, Eva Hesse:

Dear Eva,

It will be almost a month since you wrote to me and you have possibly forgotten your state of mind (I doubt it though). You seem the same as always, and being you, hate every minute of it. Don’t! Learn to say “Fuck You” to the world once in a while. You have every right to. Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!

From your description, and from what I know of your previous work and you [sic] ability; the work you are doing sounds very good “Drawing-clean-clear but crazy like machines, larger and bolder… real nonsense.” That sounds fine, wonderful – real nonsense. Do more. More nonsensical, more crazy, more machines, more breasts, penises, cunts, whatever – make them abound with nonsense. Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world. If you fear, make it work for you – draw & paint your fear and anxiety. And stop worrying about big, deep things such as “to decide on a purpose and way of life, a consistant [sic] approach to even some impossible end or even an imagined end” You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO!

I have much confidence in you and even though you are tormenting yourself, the work you do is very good. Try to do some BAD work – the worst you can think of and see what happens but mainly relax and let everything go to hell – you are not responsible for the world – you are only responsible for your work – so DO IT. And don’t think that your work has to conform to any preconceived form, idea or flavor. It can be anything you want it to be. But if life would be easier for you if you stopped working – then stop. Don’t punish yourself. However, I think that it is so deeply engrained in you that it would be easier to DO!

It seems I do understand your attitude somewhat, anyway, because I go through a similar process every so often. I have an “Agonizing Reappraisal” of my work and change everything as much as possible = and hate everything I’ve done, and try to do something entirely different and better. Maybe that kind of process is necessary to me, pushing me on and on. The feeling that I can do better than that shit I just did. Maybe you need your agony to accomplish what you do. And maybe it goads you on to do better. But it is very painful I know. It would be better if you had the confidence just to do the stuff and not even think about it. Can’t you leave the “world” and “ART” alone and also quit fondling your ego. I know that you (or anyone) can only work so much and the rest of the time you are left with your thoughts. But when you work or before your work you have to empty you [sic] mind and concentrate on what you are doing. After you do something it is done and that’s that. After a while you can see some are better than others but also you can see what direction you are going. I’m sure you know all that. You also must know that you don’t have to justify your work – not even to yourself. Well, you know I admire your work greatly and can’t understand why you are so bothered by it. But you can see the next ones and I can’t. You also must believe in your ability. I think you do. So try the most outrageous things you can – shock yourself. You have at your power the ability to do anything.

I would like to see your work and will have to be content to wait until Aug or Sept. I have seen photos of some of Tom’s new things at Lucy’s. They are impressive – especially the ones with the more rigorous form: the simpler ones. I guess he’ll send some more later on. Let me know how the shows are going and that kind of stuff.

My work had changed since you left and it is much better. I will be having a show May 4 -9 at the Daniels Gallery 17 E 64yh St (where Emmerich was), I wish you could be there. Much love to you both.

Sol

Steve Kim Interview

2010-12-13T18:29:00.000-08:00

Dated Winter 2009

Steve Kim, a Los Angeles based, Korean Artist, creates paintings based off of his personal collection of photographs. He uses pictures because of their instant reference factor and because there is always something to "highlight" in them. Where he chooses what to paint and what to leave out.
The way Kim sees the picture? "That looks fun to paint".

Kim's work is very inspirational to me, there is a loose unfinished feel to some of his paintings. He chooses enticing color combos and his use of white helps bring out what's most important to him.

Let the narrative begin:

"Octobaby" Oil on canvas - 30x40 - 2008

*
Beata Chrzanowska - Last semester I felt lost with where my thesis was going so the following winter break I spent all month researching and figuring out what my real passion in art was. Figures, the body, color, white space, and shape, blended together and resulting in a landscape inspired from figure drawings. These elements are the vehicles for my thirst to create. What process drove you to the kind of work you produce today?

Steve Kim - I went to Art Center for illustration and while I really enjoyed working from figures and such, and I really felt disillusioned with illustration in general. The notion of "making things up" really irritated me. Things were already so complicated when I had something to look at (a figure, a photo) to work from. How the heck was I supposed to make stuff up and do it any justice? I wasn't impressed by the visual shorthand that seemed to make up a lot of illustration. When I started working from photos I was happy because I didn't need to start from scratch and fail before I began. With a photo, I had a slice of the real world in its infinite complexity to play around with.

That said, I've never let the idea of "construction" alone, and it's something that I've been hacking away at here and there. It just takes a lot of time and effort, to build things from scratch, at least for what I have in mind. Goes to show understanding what it is that you like is not a simple thing.

*
Beata - I will be graduating this May and though it will be great to finally start making work on my own I am concerned about my financial stability. Time is also an issue. How do you support yourself? How do you balance a day job and the time spent creating your work, if there is a separation?

Steve - Some people like a separation between their work and their art. Like a day job that isn't too creatively demanding so there's something left in the tank for the studio. I don't really buy into that too much. I'd rather have a creative job over a tedious one. I can't say much about financial stability because I just got out of school. I love teaching to death so that's probably how I'll try to land the much sought-after "stability".

*
Beata - Most of my work is figurative, whether it be nudes or portraits. Still-lives and landscapes alone have never given me that same satisfaction, there wasn't enough life in them as the human form permeated. Your work is mostly based off of figures and sometimes animals, what is it that draws you to painting from people as opposed to objects and nature?

Steve - I like things that are alive because to me they are fundamentally more complex, and out of that complexity comes a certain something (beauty, I guess) that is just a lot more fun to paint than trees and landscapes (aka background--which if you've noticed I don't spend much time on) and such. You can covet, admire, envy, lust after a person. Not so much with a rock. Treehuggers would disagree but a crap load more emotions are involved with people and the animals that resemble them (not too interested in drawing insects thank you) and if I want my work to end up emotionally engaging I figure starting out with a lot of the same stuff is sound strategy.

*
Beata - Currently my paintings have a lot of white space that is only made more obvious through the clustering of color on the canvas. At times I feel like the white should be filled in with a color, giving the piece a more finished look. In your piece “Blue” the loose brushstrokes and linear work give the piece a level of incompleteness, yet it is a finished piece. How do you decide when your work is finished and how do you defend your level of completeness to the viewer?

Steve - Ah, the single most noobie art question ever. When do you know it's finished? There's no real answer for this sort of thing, because every artist will have their little smart answer that sounds good but sorta sounds stupid at the same time. But anyway, for me, it's about good-ness and different-ness. It ought to be sufficiently good and sufficiently different from what I've made before. If I come to a point where whatever I do, I won't really make it better so much as different, well then I'd rather start another painting.

"Blue" Oil on canvas - 24x24 - 2006

*
Beata - A friend of mine did a project where he took an dirty, used tissue and tacked it up to a wall with a small typed up piece of paper stating something like “I was beaten, raped and left naked and all they left me was this tissue”. It was an “artist brat” move on his part and we all hated the piece, yet we couldn't stop talking about it. So much meaning sprouted from this "piece of crap" piece. So my question is, have you ever done something similar? An "artist brat" move that you know will make people look at you and think, “Seriously?” Just so you can observe their response?

Steve - No. I just want to make something good that people will like.

*
Beata - I have a very small studio that I do my painting in, and once in a while I will have to turn all my current paintings around so that I don't get influenced or hindered creatively by them. Do you ever find yourself getting unintentionally influenced by your work or the work of other artists?

Steve - I turn my paintings around too. Solves a lot of problems. I'm probably most influenced by my fiance's work because I live with it and see it develop and talk about it. Aside from that I don't really pay much attention to other artist's work because frankly there isn't much that I really like. I know that sounds really stuck up but art isn't something I got into because I love it so much. It's more like world hunger. You get into it because you see problems that you think you can fix.

"Dolly and Burt" Oil on canvas - 24x36 - 2008

*
Beata - What kind of art do you find yourself drawn to today?

Steve - I look at mostly stuff that isn't really art, but more like illustration or design, like concept art for video games.

*
Beata - I first found about you through devianart.com. But recently I noticed you no longer have an account, if I am not mistaken. Why did you decide to get rid of your account and what did you move on to, if anything?

Steve - I had wanted to clean up my online presence and thought that included deviantart, which, let's be honest, is a pretty cheesy place to be. I regretted it almost immediately and started a new one at ------------- I realized that I like art communities, any art communities. If there was one for fine-art I'd be a part of that too. But there isn't. So I browse and hang out in places like deviantart, conceptart.org, cghub, etc. because that's where people actually talk about art. I guess real artists are too busy to do that sort of thing.
(Steve no longer nas a deviantartart, again)

"Printing Mom" Oil on canvas - 36x36 - 2009

*
Beata - A teacher told me that just because you have a lot of art, doesn't mean you have to show it all. He said to show what you want people to know you for. So I started cleaning out what I had posted on deviantart to preserve the consistency. Artist's like Damien Hurst are known for doing different forms of art and yet they are well known and successful. How did you go about exposing your work? And what has worked well for you?

Steve - He has a point. But it's kinda pointless cleaning up your deviantart account because that site itself is so not consistent in the first place and really not the place you wanna link a curator or whatever to. It makes sense to have your edited work on your own website though. I show all my work online, just in different places.

*
Beata - I will be out of school soon and I am wondering whether in five, ten years, I will have the same passion for the figure and approach as I do for it now. Do you think there is a possibility that your future work will look different from the work you do know? Do you think you will ever get sick of working the way you do now?

Steve - I certainly hope my work looks different five years down the road. And of course I will get tired of working the way I do now. That's kind of the point. To do something fun until it's no longer interesting and finding something else. It's called progress.

*
Beata - Another teacher told me that if I wanted to make it big NY was the place to visit, network in, and show my work at. He said it would "change" me either in a negative or positive way. As you receive more recognition do you see the art world becoming more critical of your work or more supportive? And how do you see it influencing you as a person/artist?

Steve - I think your teacher sounds really cynical and is generalizing to a fault. Who is the person that you "would have been" anyway? Yes, networking is critical. Participating is critical. But how you go about it is up to you and as personal as how you approach your painting or anything else in your life, and there's no reason that aspect of art can't be fun and engaging. Despite myself I've found nearly every aspect of art making enjoyable, even the things I thought I hated--like the getting to know people part :).

As for recognition I think it's a little too early for me to be able to comment on that.

"Green Ethan" Oil on canvas - 24x24 - 2006

Steve Kim is currently working and living in Los Angeles.

Want more Steve?

e-mail
http://www.stevekim.net/

facebook
http://www.facebook.com/stevekim.net

digits
562 640 1440

Arctik Region Stop Motion

2010-12-03T11:55:00.000-08:00

FOR BOYS AND GIRLS!

Wish Youtube can make this better viewing quality, but it is what it is.
To see the full view please click on the video!
Enjoy.

Arctik Region

2010-12-01T22:48:00.001-08:00

Dedicated a day to this baby, making a video of the process, will be up before this week. Enjjjoy.

OLDIES but NEWBIES

2010-11-29T11:41:00.000-08:00

OCD at its best.

Victor's.

In a Foreign Country.

UP date

2010-11-20T08:40:00.000-08:00

Im coming to realize that I really need a studio space, it is freezing in the attic and the warmest place in my apartment is the bathroom. I have thought about making art in there and if i was on bad terms with my roommates, which i'm not, i can imagine them asking to use the bathroom and with the door closed, pissing a little in my water jar. Which would teach me to take the water jar with me when they needed to use the jon. And confirming that my artwork was dry before i left i would check it again after coming back in. But all of this would never happen..............of course.

But the point is that I want a niche, a cubicle, a rabbit hole, compartment, booth, partition, stall, workspace, place, forte, slot, vocation, métier, alcove, recess, nook, hidey-hole, cubbyhole, bay, cranny, corner, hollow, nook, Beata-marination-station.

Not having this is not preventing me from making art. Duh. Art and I are like that old couple you see, bittersweet to an extent but I will always hold his hand and have the youngins admire us for tolerating each other for so long.

This week was a bit rough but the wheels are turning. And Art is being quite the flirt.

Geometrics @ MOCT

2010-11-20T08:20:00.000-08:00

Up for another week at MOCT, Milwaukee WI.

WORD.

FFFFFFFACE at Jackpot Gallery PICS

2010-11-02T10:46:00.000-07:00

Thanks for coming, looking, talking, and staring, and then some.

Last day of the show:
Saturday, November 6th
4:00-7:00PM.

Images complimentary to friends and I.

FFFFFFFACE @ Jackpot.

2010-09-15T12:23:00.001-07:00

Friday, October 29, 2010
Jackpot Gallery
(825 E. Center St.)
Milwaukee, WI, 53212.

6:00-10:00 PM.

""""There is an intrinsic and inescapable curiosity within all of us. The desire to stare or observe is sometimes overwhelming and manifests in many ways. The act of viewing a picture of another person be it on the internet, in a yearbook or a gallery is small proof of the voyeur inside us all.
""""With this show, Beata and Jeff are confronting their own voyeuristic tendencies and turning it back on themselves by inviting an audience to come stare at them staring back.

Souvenir Show @ MIAD T-Shirt design

2010-09-13T12:58:00.000-07:00

SOUVENIRS

The 6th Performance Art Showcase,
At the Milwaukee Institute of Art & Design, 273 E. Erie St.
4th Floor Gallery

Wednesday, September 22nd.
7:30-9:30 p.m.

I am in love with...lines.

2010-09-08T10:38:00.000-07:00

From foundations. Still love the linework of this. Doing a t-shirt design inspired by this. Hoorah!

No home internet and new art @ Crisp:

2010-09-04T15:06:00.001-07:00

Recent works. I got into a huge painting mood one weekend. These were done in oils on primed canvas. As much as the toxicity of oil paint repels me, when I see oil paintings or when I am in the process of painting in oils, I remember why I ignore it's dangers. Though as long as you don't get it on your skin and paint in a ventilated area you should be fine. So, in other words, I should be fine.

Hanging at Crisp Restaurant, located on Brady street, Milwaukee WI. The show will be up until the end of September, 2010.

Not at Crisp, but a product of nonstop painting:

Triptych hanging at Crisp:

Oh! and lastly, moved to a new place and don't have internet therefore I will try to update as much as possible when I have a chance.

The Guineas.

2010-08-22T18:57:00.000-07:00

These happened in the process of trying to make something else. Like guinea pigs perhaps.

GarbageMan by *xluvmexrabitx on deviant ART

Ferocious by *xluvmexrabitx on deviant ART

Found some work from last semester.

2010-08-02T17:41:00.000-07:00

So I have been making many smaller paintings that I have been neatly stacking in my room. They will have a special showing in Milwaukee hopefully soon. I will keep you all updated.

These are just collages that I never uploaded. But they're here now! so enjoy.

Body in a room by *xluvmexrabitx on deviant ART

Sunday Afternoon Pose by *xluvmexrabitx on deviant ART

Body and Stripes by *xluvmexrabitx on deviant ART

Just Because by *xluvmexrabitx on deviant ART

Chicago and venue hunt.

2010-07-19T07:43:00.000-07:00

Hi friends. Leaving Milwaukee and the fact that i graduated represents a new chapter in my life. I thought i was going to stay in Milwaukee for a little longer but decided that because of personal reasons i have to go back to Chicago. One of the first things on my agenda is finding a studio space once in Chicago. I have been doing a lot of smaller studies that are mostly about the different qualities of the face. I would like to show some of these paintings, considering they might be of like to other people. I'm looking for a showing location here in Milwaukee, and i am hoping to find something soon.

I'm recently having problems with my computer so a lot of things are going kind of slow right now. I'll be updating soon though and show you what i have been working on. For now i'll leave you with a thumbs-up, because they make the world go round.

thum up by *xluvmexrabitx on deviant ART

Prints on Etsy

2010-07-01T20:13:00.000-07:00

I am now selling prints on Etsy

Link: http://www.etsy.com/shop/xluvmexrabitx

I will be posting more stuff up soon.

Thanks errybody!

Drawings, Mixed Media works

2010-06-25T13:06:00.000-07:00

Spazz (Dan Deacon "Woof Woof") Video

2010-06-24T17:17:00.000-07:00

Recent work and Video Stills

2010-06-21T13:50:00.000-07:00

"Fixed Pink" Acrylic and collage.

Video Stills from "Globe Head".

First drawing that inspired the creation of "Spazz" video.

Globe HEad Video

2010-06-20T14:35:00.000-07:00

I did this painting a year ago and didn't have the chance to put it into video form until now.

GEometry faces and GAGA

2010-06-12T14:17:00.000-07:00

Cardinal Points by ~xluvmexrabitx on deviant ART

LADY GAGA by ~xluvmexrabitx on deviant ART

Have a few ideas running that I have a feeling are going to clash. Gaga

Moved and piecing together.

2010-06-05T12:11:00.000-07:00

So i can say that finally I can rest a little and take a break from moving, packing, cleaning, and organizing. Though I'm like a bull and my ambitions prevent me from regaining my strength. My back aches, my feet, my arms have scratches all over from the move. I stayed up till 3:30 AM last night organizing and afterwards made some tea and read a few chapters of a book that my friend recommended to me. Our new place looks great, better than any apartment i've ever lived at in Milwaukee. It's spacious and I'm trying to keep it that way. Clean Apartment = Clear Head.

My Etsy account is coming soon.
I'll have info up soon if anyone is interested in buying original art/prints.

Thank you for anyone who is supporting me, whether with their friendship, their advice, their encouragement, their love, etc.
I appreciate all of it. I am a very motivated person but an extra push from an outside source is always appreciated.

Here's a peak of what's coming up.

Plans for Project GAGA are moving along as well.

Self Portrait & GAGA studies

2010-05-27T22:26:00.000-07:00

B. by ~xluvmexrabitx on deviant ART

In the process of moving out so I'm doing some smaller studies with acrylics. I miss painting with oils though. I have outlines for my figurative triptych ready and have Project Gaga stretchers all set for painting. All I'm missing is ventilation, and I'll have to go for the cheap kind for now, the outdoors.

GAGA by ~xluvmexrabitx on deviant ART

Final Semester's Studies

2010-05-26T14:10:00.000-07:00

Favorite One by ~xluvmexrabitx on deviant ART

Giraffe by ~xluvmexrabitx on deviant ART

Dhome by ~xluvmexrabitx on deviant ART

Her said purple by ~xluvmexrabitx on deviant ART

Weight by ~xluvmexrabitx on deviant ART

Painting continuing series of my thesis today. In the process of getting a new camera, so some of my work isn't photographed yet. Till later.

Balcony Painting

2010-05-25T12:10:00.000-07:00

In the process of moving out of my apartment. My room is so messy. Paintings are still going though. I did some sketching yesterday for my new work. I'm trying something new. Instead of connecting paintings by color/geometric similarities, why now do one painting in parts? I will still paint each part separately, we'll see what happens.

I don't have a studio yet so i think oil painting will have to be done on the balcony. It's probably healthier that way anyways.

Till, then friends.

Amped for new project: Gaga + More

2010-05-18T15:11:00.000-07:00

I am spending a lot of time preparing surfaces for my new series of paintings. These will be about power, color, and of course Gaga, Lady Gaga. I realized how many people out there close to my age, or even younger, are doing something outstanding with their lives. Such as Gaga. How success comes from the result of luck, motivation, and dedication and naturally, talent. When it really comes down to it, our goals in life revolve about being able to pay for it, pay for our lives. No matter how we live whether we are comfy in our little homely apartments and mansions, or on the streets, the thing that divides these conditions is finances. Whether we want to admit it or not, money is important, or at least enough to help us get by.

It makes me think, what happens if money wasn't an issue? Then what do we have to strive for? Is this where exploration of the world comes into play? Forms of distraction? Travel? Electronics?
It almost seems that success for an artist is like a flip of a coin except the odds are lesser than that.

Art is a risk. It's hard to make a living just by selling your work. For me that would be bliss. That would be pretty much like living the dream life. Gaga DID start off like most artists, trying to make ends meet, as the stereotypical "starving artist". Her life is so much different now because she figured it out the tricks.

I have been thinking a lot about this idea recently; about my future and what progress I could or couldn't have 6 months from now, where a lot could change. I feel a lot of pressure with my art, about work, even about what state I'll live in. All I know is that I am out of school and there is nothing and no one to tell me to get up in the morning, or get to work, no teachers, no deadlines, I'm left to make my own rules.

Most importantly right now is that I want to make work. It's a risk, yeah, but I need to take it. I have people telling me I will be happier doing this or that, but honestly I've spent 4 years in school, got my BFA, and I didn't do it so I could draw pictures and go get a "real" career. Art school wasn't play time for me. I want to make art, and that's my priority. Everything that I do in the next 6 months will assist me in achieving that goal. That is what I love and I just want to do it.

So the last 2 weeks since I have been out of school I have been making and stretching canvasses, and these hands are proof, to this tedious yet enjoyable task, gessoing.

Thesis Studies posted on Deviantart

2010-05-13T08:52:00.000-07:00

http://xluvmexrabitx.deviantart.com/

She Green by ~xluvmexrabitx on deviant ART

Necessity Friends by ~xluvmexrabitx on deviant ART

Fer Faan by ~xluvmexrabitx on deviant ART

MAN by ~xluvmexrabitx on deviant ART

On Andy Warhol

2010-05-12T13:31:00.001-07:00

Now I know why Andy Warhol kept a journal log: organization and knowing what day of the week it is.

Thesis Show Work/Details

2010-05-04T21:09:00.000-07:00

UPDATE

2010-04-29T21:02:00.000-07:00

I am currently looking for a job in Milwaukee. I feel like I will have something by the end of the school year which would be fantastic. I will keep doing art and hopefully be part of some shows before the end of Summer break :D
I will be posting more of my work up soon.

ps: I am totally up for collaborative work, human figure projects, commissions and of course, selling my work.

Collage, Milwaukee, and Abroad

2010-04-27T21:27:00.000-07:00

Some of my work featured at last Friday's collage show hosted by Calvin Whitehurst and Sara Caron.

Thesis Statement "Figure Beyond"

2010-04-27T21:10:00.000-07:00

Represented in different ways through history, the ubiquitous nature of the human form makes its beauty easy to overlook. Structured with bone yet covered with a vulnerable flesh, the figure emerges with a sense of power harbored with interactive shapes and colors. Through painting, it breathes and interacts on the canvas, bringing life to the paralyzed state of geometry and color. Stagnant whites permeate the clustered chromatic instances of excitement, amplifying visual and conceptual contradictions.

Senior Thesis 2010!

2010-04-03T19:25:00.000-07:00

My Senior friends and I are holding this event where we all decided to show work to celebrate the four years of college we have studied at.

Ge golly, maybe it will get us jobs!

Milwaukee Institute of Art & Design
273 E. Erie St.
West Milwaukee, WI

Friday, April 16, 2010
5:00pm - 9:00pm

Please come to see great artwork and celebrate with us.
I hear something about food too.