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Questions and Answers with Julia Ibbini

 

How did your journey as an artist begin?

I’ve been making art since I was a very young child and it’s all I’ve ever wanted to do. However, it took until my early 30’s to actually label myself an artist. I spent most of my 20’s crippled with self-doubt about my abilities and then at some point, something changed. I had the thought “right, enough with that BS, I’m going to just try and make stuff.” I guess it started there.

 

What do artists do all day? What happens in your studio?

It starts with tea. Then I survey the complete chaos that is my workspace. My work is very meticulous, but it needs to be made in a space that is strewn with paper and other detritus. Once I’ve mapped out my day – all the machines (three computers and my laser cutter) are switched on and it’s sort of a dance between the machines and the physical assembly of the work for the rest of the day. Punctuated with more tea.

 

Can you tell us a bit about your relationship with technology and machines?

My entire practice is deeply intertwined with technology. I work very quickly – almost frantically, I want the work to be highly detailed and multi-faceted – but, I make a lot of mistakes and frequent changes. Computers make that process possible.

 

I’m always very careful to make sure a human element remains in the work. It’s that play between my hands (and all the human error that comes with them) and the machine’s precision that makes the work special.

 

What are you most proud of?

How my practice has progressed and evolved.

I was invited to take part in the Islamic Arts Festival at the Sharjah Art Museum last December. It’s a fabulous space and the pieces I showed there were some of my most complex. The opening was one of those moments where I was able to step back and realize how far the work had come.

 

What’s life like in the United Arab Emirates?

Hot. It frequently hits 50°C (that’s over 120°F) in the summer, winters are fantastic though.

It’s a very young country and there’s a tremendous energy and will to succeed, particularly in Dubai. Everything happens at a very fast pace. I have spent my whole life here so I’ve literally seen cities rise from the desert in the span of three decades, which is incredible.

 

What do you most enjoy doing when you’re not making work?

I run. I love distance running and when I have enough time to train I run ultra-marathons. The furthest I’ve run so far is 100km (62 miles) through the mountains in a day.

 

If you hadn’t become an artist, what do you think you would have become?

Probably very lost.

 

Susannah Martin Exhibition at the Kunstforum

 

Press release March 4, 2019

Susannah Martin JUST NATURE March 17 to May 26, 2019 at the Kunstforum of the TU Darmstadt

Press Tour: Wednesday, March 13, 2019 11 am Vernissage: Saturday, March 16, 2019 6 pm

For the first time, the exhibition JUST NATURE pays tribute in large part to the painterly work of the US artist Susannah Martin in the Rhine-Main region.

“Art is never chaste.” (Pablo Picasso)

The exhibition JUST NATURE in the spring of 2019 will deal with concepts of freedom that are reflected in the relationship between man and nature.

Which images of nature are prevalent in contemporary culture and how is the human body represented in the landscape? The exhibition JUST NATURE in the Kunstforum of the TU Darmstadt compares the predominantly digital life with the question of the relationship between man and nature and enquires into possible social utopias beyond the Internet and the virtual world.

In our exhibition LOST IN TRANSITION at the Kunstforum TU DArmstadt – From Fugitive, Ephemeral (September 24 to December 10, 2017), the American artist William Lamson´s video work “In the roaring garden” discusses the thoughts of the transcendentalist Henry David Thoreau (1817-1862 ). Thoreau described the question of the possibility of a simple life in nature, a remarkably current theme,  in his 1854 published book “ Walden-Or Life in the Woods”. These suggestions are taken up in JUST NATURE.

The exhibition, curated by Julia Reichelt, focuses on the work of the American artist Susannah Martin (* 1964, New York). Her paintings, which are dedicated to the classic theme of ” the Nude in Landscape”, are not only surprising due to complex allusions.  Known motifs can be found in it as well as certain periods of art history, such as the painting “Déjeuner sur l Herbe” (The breakfast in the open) by Éduard Manet (1863) or the period of the “ Lebensreform” movement around 1900.

Susannah Martin finds a completely unique pictorial language to represent the relationship of the nude in nature. For her, the exposed human being, devoid of any social indicators, is a symbol of the human being par excellence. In its relation to nature, the antagonistic gap between the natural and the natural state and the human being as a consumer or cultural being is reflected: “I am interested in exploring the nature of our enslavement to our own cultural creations and our psychic battle for liberation from these addictions ” (Susannah Martin)

Supporting Program Public Guided Tours Thursday, March 21, 2019, 6 pm also an introduction for interested teachers of all school types and Sunday, April 28, 2019, 5 pm

Reading Wednesday, May 22, 2019, 8 pm Cheating: Margarete Stokowski – The Downfall of the Patriarchate Moderation: Lisa Hille, Wilhelm Köhler Hall of the TU Darmstadt (next to the TU Kunstforum) – in cooperation with the Festival Sex @ TheCity

Conversation with the artist Thursday, May 23, 2019, 6 pm Susannah Martin in conversation with Julia Reichelt Lecture Sunday, May 26, 2019, 5 pm – Finissage – “ Lebensreform heute?! “  (Prof. Kai Buchholz, h_da Darmstadt) followed by a short tour and aperitif.

Pictures of the exhibition Available for download at bit.ly/2GtsTl7 Susannah Martin JUST NATURE March 17 to May 26, 2019 at the Kunstforum of the TU Darmstadt Hochschulstr.1, 64289 Darmstadt Opening hours of the exhibition Wednesday to Sunday, 1 to 6 pm

More information at www.tu-darmstadt.de/kunstforum . This exhibition is part of the Sex @ TheCity festival

Win Wallace Interview in Bant Magazine (Turkish)

When you look at the work of artist Win Wallace from Austin, Texas, you are experiencing a suspicious appetite that a mature fruit will make you realize later is rotten.

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Burying the dark details of personal mythology under the impressive color choices and striking compositions comes to life through the curiosity that Win Wallace awakens in the audience, taking strange and extraterrestrial characters hostage to the minister’s eyes. The artist, who is also interested in music since her high school years, is the origin of her black-and-white works based on poster and demo covers she prepared for groups from underground-punk and rock scenes. In his dark, black-and-white works, which he considers his all day somut works inde as the karanlık sun inde in his colorful drawings, he turns into concrete dreams revived in the moonlight.

Do you remember your first drawings? How old were you and what were you drawing? 
The first drawing that came to me when I thought about it was 8 or 9 years old. My mother had written me and my sister in art classes for kids at the art center in the city where we grew up. Lessons were in the basement of an old building. Our teacher, Mrs. O’Connor was wearing a shawl and a hat with flowers on it. We sat down on a chair in the corner and tried to draw it throughout the course. I was doing this for the first time. It was incredible for me to try to draw the person I was looking at and get lost in the curls of the shawl. At that age, I felt something inside me changed.

What were the first inspirations that influenced you as an art career? 
My parents’ house had a lot of art books, books of the classical period. My favorite amongst them was Jose Clemente Orozco, David Siquieros and Diego Rivera’s wall paintings. This book has become my obsession. In fact, the volume of the book was ruined because I always carried it and took it everywhere, and my father was not pleased. The stories in the book were very detailed and filled with shocking images that were so intriguing.

I’m not so sure I don’t choose art as my own career path. When you look at my life, you can actually say that my ”career Hay is more in the service sector. I have been working in various restaurants and bars since I was 15 years old. Since the hours of the service sector were generally flexible, it was possible to draw during the day and go to work at night.

” Balance is very important, not only in terms of aesthetics, but also in the light and dark elements of the story conveyed by a work. My hope is that my work comes to life. I’m not talking about the realism of my drawings in the photographic sense, but my goal is to create a sense of vitality. Ler

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You work in black and white and colors. When it comes to the use of color, I think that the choices are quite striking, you have a great feeling in both tonal choices and details. Why is black and white important to you? How do you decide if a job is black or white?
I don’t have a decision about drawing a drawing, ink or color. When an image in my mind starts to appear, I know what materials I will use right now. The origin of my pencil and ink works actually come from the concert posters I made for various groups by imitating artists such as Pushead, Posada or Raymond Pettibon. I also have the quality to produce a black-and-white work right after every colorful work. I work much faster in my black-and-white work, and it helps me to open a clean page after a time-consuming colored drawing.

In your work, you are fed by different interactions as iconography and style. Can you explain the process of creating a composition? How do you select and position images?
Yes, there are many art forms that I am impressed with, especially Baroque and other, classical ğ art movements. And of course, these interactions are reflected in my drawings. The balance is very important, not only in the aesthetic sense, but also in the light and dark elements of the story conveyed by a work. My hope is that my work comes to life. Not to mention the realism of my drawings in the photographic sense, but my aim is to create a sense of vitality. And, of course, life is for us all of the beautiful things that delight like flowers or music, and sad and tragic things like death and loss. I hope that I can achieve a balance of this opposition in my good work.

‘When I think in many ways, I actually want people to approach my work as a scene they encounter in a garden without waiting in the middle of the night.’

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I’ve read that they have divided their work into three categories: ballads, allegories and stories. Can you explain these categories and how they define them? 
These categories are not really very descriptive, they only allow me to draw around the three main forms of my work with flexible lines. The ıy Balads lar describe how I feel about my work and my portraits that include stories, songs and memories of a person. My pen and ink works usually have a shorter message or story, so I think of them as bir short Kalem. My colorful dolu daytime karakter works, which are more luminous, detailed stories, are full of characters and objects that resemble more than their own forms, and which together form a metaphor like “pride beraber or and greed Daha, so I like them as an allegory.

It is not easy to fully understand the subjects that you are dealing with. In almost all of them, surreal, strange and sometimes dark feeling is a common feature, but when it comes to the subject of drawing, there are layers of meaning that do not immediately turn to the viewer. What can you tell a viewer who wants to take more of what he sees from his work?
It’s a conscious choice for me to let my business speak of different layers. One of the things I like about figurative work is that they are accessible to everyone, because everyone can recognize the forms of human, animal and plant, for which there is no need for an art education or history. I hope that everyone who looks at my work can be in a private place to get in touch with them. But I also love art history and the symbolism that has accumulated in this history, not only in fine arts, but also in literature and mythology. So if someone knows about art history and can interpret my work through these layers, how nice ve But I don’t want to impose any restriction on how anyone will look at my job and how to interpret it, because it’s stealing your own life. In many ways,

Another common point in his work is his detailed figurative structures. What are the features that attract you to this style? Have you ever thought about turning to a more abstract approach? 
First of all, I can say that trying to draw a pile of leaves and flowers in a natural and realistic way is a very abstract experience in itself. Almost all of the art works that I met in children, books or churches were figurative. I felt that even when I saw abstract or even conceptual works that I liked very much, it did not overlap with my own practice. I also love concrete stories and their possibilities.

Since high school, you have made concert flyers and posters for many rock and punk bands in the underground scene. You even took part in different groups. Does music continue to feed creativity? What kind of music do you listen to while working? 
Music is a big part of my life, not just creativity. I still do music, I love recording or going on stage. We have a group with guitarist Brett Bradford, former member of Scratch Acid, a really great and impressive group of leaders in the Texas punk rock movement with The Big Boys, The Dicks and some other great bands.

There is a satisfaction from stealing and satisfying your creativity faster. It creates a very good balance against the prolonged, isolated and occasionally tiring nature of painting. And of course my studio plays music all the time: Thin Lizzy, Pharoah Sanders, High on Fire, Stevie Wonder, Tammy Wynette, from the ’70s, early Peace Mancho …

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What are your recent discoveries? Art, music, literature, or any other field …
Ufommamut, a magnificent heavy metal band from Italy, is one of my favorite discoveries. I also discovered another group called We are the Astreoid from Austin. They are very good, especially if you listen to live as it is very enjoyable. As for the visual arts, I met with my work with Jonathan Levin Projects, and I met Susannah Martin and Arinze Stanley … I think they are great in every way. Since I’ve been drawing so much lately, I’m ashamed to embarrass myself that the books are a little bit empty. But I keep reading Isabel Allende’s books slowly. Of course, he’s not a new writer to discover, but that’s what I’ve been reading lately.

Who do you prefer to be friends in your daily life, and what do you stay away from? 
In my social life, I used to be more creative with the musicians. I think Austin will always be a city of music rather than visual arts. I have serious social anxiety like most of us, so I’m not even sure how to think about this question. In my daily life, I refrain from driving meat, hard drugs and (if possible) motorways.

What are you working on these days? Are there any projects or plans you want to share? 
I am currently working on two solo exhibitions for Jonathan Levine Projects in Dallas and Craighead Green Gallery. These two will require me to be happily in my studio for the next few months. I have a lot of work to do and I’m really happy for the opportunities people have to meet with my work.

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Article copied from Google Translate, see full article here

Susannah Martin’s “Primordial Tourists” at Jonathan LeVine Projects.

Susannah Martin’s “Primordial Tourists” at Jonathan LeVine Projects.

Currently on view via Jonathan LeVine Projects’ virtual gallery is artist Susannah Martin’s solo exhibition, “Primordial Tourists.”

In her work, Martin seeks to contemporize the classic theme of the nude in a landscape; “I have always been fascinated by how artists throughout history have chosen to represent our interconnection with nature through the nude and how these choices reflect their epoch”.  Looking back throughout art history, she explains, “we witness the passage from the integration of man and nature in the works of the primordial cave dwellers to the slow and steady alienation culminating in the nearly complete disconnect that we see today in contemporary art.”

The exhibition is on view online until February 8th, 2019.

 

 Supersonic  Art article here

Part 3 of HeliumTalk with Jonathan LeVine

 

As promised we are keeping up our candid talk about the business, and the people, and the weirdness that is called The Art World!

Please send us your questions if you have any for Jonathan and Jorg. They are definitely not finished with part 3, they are still up for more talks, so write to hello@heliumtalk.com and they will see if they have some answers for you.

A new episode is online! Listen to part 3 of the ongoing conversations with Jonathan LeVine / Jonathan LeVine Projects here:

www.heliumtalk.com
iTunes: http://bit.ly/heliumTALK-29-iTunes
spotify: http://bit.ly/heliumTALK-29-spotify

Part 2- Jonathan LeVine speaks candidly about art on HeliumTalk Podcast

 

Second installment of Jonathan sitting down and speaking candidly with Jörg Heikhaus, founder of helium-cowboy, an artist under the name of Alex Diamond,  and host of heliumTALK podcast.  Take a listen here:

heliumTalk
Spotify
iTunes/Apple Podcast

Jonathan LeVine speaks candidly about art on HeliumTalk Podcast

 

Jonathan sat down and spoke candidly with Jörg Heikhaus, founder of helium-cowboy, artist under the name of Alex Diamond,  and host of heliumTALK podcast.  This is the first in a series of conversations about the changing art world and their long history amongst it.  Take a listen here:

heliumTalk
Spotify
iTunes/Apple Podcast

Hyperrealistic Drawings by Arinze Stanley in Colossal

Hyperrealistic Drawings by Arinze Stanley Capture Surreal Moments and Powerful Emotions

OCTOBER 25, 2018

ANDREW LASANE

Black Noise, 2018. Arinze Stanley

Self-taught Nigerian artist Arinze Stanley (previously) is a wizard when it comes to putting charcoal and graphite to paper. The artist creates hyperrealistic portraits at a scale just larger than life, spending hundreds of hours detailing his subjects’ skin, hair, and sweat so that the works are nearly indistinguishable from black and white photographs. The artist recently opened a solo exhibition of new drawings at Jonathan LeVine Projects in New Jersey titled Mirrors, which seeks to pull viewers in so that they can connect with and see themselves in the subjects.

From new takes on familiar works like in Negro Mona Lisa (below), to drawings with more surreal elements like Black Noise (above), the emotion that Stanley is able to depict in the faces and gestures is compelling even from a distance. Getting up close to one of his pieces adds to its weight, as the viewer’s brain tries to reconcile the amount of labor that went into each work.

In an artist statement on his website, Stanley explains that his art is “born out of the zeal for perfection both in skill, expression and devotion to create positive changes in the world.” In a press release for his current exhibition he tells Jonathan LeVine Projects that the process of drawing is “like energy transfer,” and that by transferring his energy through graphite, each blank piece of paper becomes art. Mirrors is on view through November 11 at the gallery’s space at Mana Contemporary in Jersey City, New Jersey. You can see more of his portraits on Instagram.

Negro Mona Lisa, 2018. Arinze Stanley

Faustina, 2018. Arinze Stanley

A Lady in Black, 2017. Arinze Stanley

Losing Dream, 2017. Arinze Stanley

Mindless, 2018. Arinze Stanley

Mirror 000, 2018. Arinze Stanley

Painful Conversations, 2018. Arinze Stanley

Originally featured Colossal

Video Interview with Arinze Stanley

Working primarily with charcoal and graphite on paper, self-taught Nigerian artist Arinze Stanley creates hyperreal portraits that highlight the African existence as a catalyst for social change and political activism. By addressing humanitarian issues both in his hometown and worldwide, such as modern day slavery and women’s rights, he utilizes his art as a way to speak for those who cannot speak for themselves. As a result, his lifesize drawings trigger an intense emotional connection between subjects and viewers.  Watch the video interview below to learn more about his process, inspiration and life in Nigeria.

Interview with Win Wallace in Juxtapoz

WIN WALLACE: FIRST PRIZE WINNER OF JONATHAN LEVINE’S 2018 DELUSIONAL ART CONTEST

Win Wallace is this year’s winner of Jonathan Levine‘s Delusional Art Contest. His work features many masked characters, usually with a cast of animal companions. They contain movement over stillness, sometimes with vivid colors contrasted against dim or black skies. Each piece has a life of its own, with characters and stories folded into it, providing a sense of exploration each time. We’re excited to have his work on our website as part of his first place prize, so read on below to get some insight into the world of Win Wallace.

Juxtapoz: First off, where are you from, and what got you into making art?
Win Wallace: I was born in South Carolina and grew up mostly in Georgia, but have been living in Austin, Texas for a really long time now. Not really sure how I got into making art, its just something I have always been doing since I can remember.

Who were some of the first artists that piqued your interest?
Well in my house growing up, we had this oversized book of the Mexican Muralists, like Orozco, Siquieros and Rivera. The book had big beautiful images of all their epic works, and it was just immediately captivating to me. I copied a lot from that book as a kid. I think books on the history of art were also so important because there weren’t great museums anywhere near where I grew up, but I could visit them and see all this crazy work in their pages. One individual that was also personally an early influence or inspiration to my approach to making art was Rev. Howard Finster. A true visionary artist, he lived a little ways from me back in Georgia. I would visit him as a teenager and usually bring something I made, or maybe an interesting thing I found for his art garden. Whenever possible, he would take the time out to talk to me about making art. He would encourage me to reflect on ideas that come unconsciously because they’re gifts. He was a preacher as well as an artist, so his feeling on where that inspiration was coming from was a bit different. The essential message was to be open to the pictures that rise up like in a stream and allow them to resonate a bit before they are corrupted by our own abilities to try and recreate them. Also, the honest and patient way about him, to take the time and genuinely speak with this weird long-haired kid showing up in his yard that liked art, has always stuck with me.

Have you always been interested in making highly-detailed work? What’s one thing that draws you to capturing every detail rather than abstracting or going looser?
I think being drawn so early on to more detailed figurative stuff has informed the kind of work I make. But in general, I just love the little things that might be hidden within a particular piece. A work can have its main subject, but so many other little dramas can be happening all around it that really add dimension or extra layers to the whole. There is also a compulsive element that happens when I’m drawing, where every leaf or petal deserves its own consideration. Every blade of grass is its own unique creation, with its own life and death, and it seems like that should be respected. Masses of leaves and flowers can be incredibly tedious to draw in any convincing manner, but by pushing through, it helps all the small elements build up until they give the drawing a natural sort of life. And even though my drawings are fictional, I want them to have some kind of life and character as if they were real. To respond to the other part of the question, I like a lot of artists that make looser work, but it just doesn’t connect with how I make stuff personally. And I disagree with some of the second half of the question, because I think a lot of abstract work contains a lot of detail too. And even very detailed elements of representational work can take on a very abstract character in some ways, if you really focus in on them.

Masks usually carry a multitude of meanings. What do they mean to you?
My work usually takes one of three forms ballads, allegories or parables. The ballads are usually the only one where masks come into it. There are a few reasons for them. The first practical reason is that they are created as portraits but obviously fictional ones. If the subject looks like Herman Melville, Grover Cleveland or someone’s favorite Aunt, then the unique life of that drawing gets sucked away or at least confined. But that practical reason also then opens up a whole new universe of possibilities to add nuance to the character in a drawing bringing it closer to something more real. Hopefully, folks can approach the work and have an unencumbered interaction with it. But then there is the level of the “meaning of masks” that is both more personal and also universal which is that all throughout time we wear them physically or otherwise. Masks just like portraiture as an art form have persisted in many ways to connect with a symbolic or aspirational sense of how we want to be perceived. Often times even the masks can be invisible and mundane, the roles we play at work or different day to day situations. I’ve spent a good bit of my life bartending which requires a more gregarious mask that is very different from the version of myself at work in the studio or other parts of life.

You also make music, what’s something you carry with you in recording or creating music more than you do while painting?
Making music has primarily been an avenue to continue being creative but instead of the more prolonged solitary way of drawing, it’s in a more social and conversational way with other folks. That being said, it helps keep the mind open to the inspirations that arise from thin air. In my opinion, creativity is a sense that we all have just like touch, taste or sound. In many ways its kind of the sum of all the senses because we have some conscious control over it and can draw all elements of our experiences and thoughts together into some tenuous semblance of understanding or appreciation at least. So keeping that sense tuned as finely but broadly as possible must be beneficial.

Where’s your favorite place to go and be alone?
My studio for sure, though my dogs are usually there too.

What exhibitions do you have coming up beyond this? What kinds of projects do you want to pursue with your visual art in the next year?
Besides the thrilling amount of work I am making for the awesome folks at Jonathan Levine Projects, I just finished something today for an upcoming show later this month curated by Curse Mackey and Tony Hawk in Las Vegas. There are a bunch of really great artists I love in that, like Pamela Wilson, Daniel Martin Diaz and friends Tim Kerr and Kengo Hioki. I have some stuff in the works with Craighead Green gallery in Dallas percolating, and some musical stuff with my band. This year has been pretty busy, but I’m thinking next year already looks busier. Very thankful for all of it.

Original featured on Juxtapoz