It is a very long story. I will try to explain it, in a shorter version. Last summer, my cousins and I, were up at my Grandmamans country house, doing our annual painting weekend. We paint outdoors together all weekend. So all of a sudden this strong large old Willow Tree stands before me. I just had to paint it. But I wanted to do it a free expressionist - abstract style. So I laid the canvas on the ground and filled my hands with paint and rocks and went away at it. Willow Tree took me all day(+) to paint and it turned out to be one of my favorite paintings ever. Shortly after, the Kohl Gallery in Toronto, was interested in displaying it for sale. When I decided to be the first artist of ARTICO to do a solo show at the Rivoli, I thought to myself, I have to do a series on abstract paintings - around the thoughts of my "Willow Tree". When it was all confirmed that I was doing the solo show, I started right away and painted for one month straight. I took everything else out of my life - like Modeling, Acting, Computer Work, etc, etc. - everything. I just focused on my new series. Mixing thoughts of nature and humanity, I created over 20 paintings around the "Willow Tree" masterpiece. It was important to give out a positive message and have a title for my show, that had a warm feeling to it. These tree's are actually me! I know it sounds funny. But one night in my process of the making of my show. I went to visit my friend Pavla, a professional artist. She turned the lights out - leaving one little light on my painting. We had a long look at it. She said, "how does this painting make you feel". I discovered that the painting was a reflection of me, my life. I was astonished. The tree is strong, some branches - like my life - are rising high and proud and some are lost flowing to the ground, the colors are cold and warm - a little confusing - the tree has growth in it and is full of possibilities. Shortly after when I went home; I wrote a few titles for my show, on a piece of paper. Embracing Life was one of the titles I wrote down, that kept catching my eye. I thought it was a really nice message to give out and that it went with my entire story about these tree's and I. I learned in this process, that it helps to talk about your art, with another artist. I found it helped me understand what I was creating this time and why.

I think it can help Artists of any level, a great deal. I know that there are plenty of Artists out there in Toronto, that are very hungry to meet other artists. We can talk to each other about art and understand each other better than doing so with non-artists. We see the world in a different way. We are a non-for-profit organization. ARTICO is also developing many ways to get exposure for our members. Every month, one of our artists have their own solo show at the well known Rivoli Restaurant and Lounge in Toronto. This is also teamed up with HOT Hearts Open Toronto, on the same night. HOT does a televised music show at the Rivoli and now our ARTICO artists are combined in, with this tv program. It is great exposure for anyone who is working hard at being an artist and wants to get their talents out there. ARTICO is 100% a friendly, loving and supporting group. We had our launch group opening show, last December 2007. I think close to 200 people attended the opening and exhibition. Not to mention, the exhibition ran for one month in the Rivoli Lounge and they are a very busy place. So everyone that went out for dinner and entertainment at the Rivoli, saw our group art exhibit. We are a strong committed team, so you will hear a lot of good things about the ARTICO group in 2008. We are in the process of contacting Newspapers, TV Shows, Magazines, other Galleries and so much more, to get our name out there. And what is so nice, is that we are all doing it together. I feel it is really positive to work with other artists. No ones great talents should pass us by. Please note: Our ARTICO & HOT TV program airs on Czech TV every third Saturday of each month on OMNI TV Channel 4 at 10:00 a.m. Enjoy!

I think my personality shows a lot in my work. But if someone hires me to do a painting, sometimes it doesn't have anything to do with me. But, I have been fortunate, that a lot of people who hire me, give me a lot of freedom to do what I like with the painting.

Yes and no. I think it is my time now. I have been painting on canvas for over 10 years now. But It has only been the last few years that I have been taking my art seriously, studying fine arts and finding my place in this world. I think everything happens for a reason.

I find myself very poetic, caring and always wanting to learn new things and help others. I get most of inspiration from other artists, friends & family, visiting galleries & traveling. It is good to have a good support system behind you too. It is not easy being an Artist. I have to thank my parents, my husband and my late brother - for believing in me and putting up with me.

Although I have been painting all my life on personal and commissioned paintings: I have only been showing my work on the internet and being involved in exhibitions over the last year. In this process, I am learning a great deal on how to price my work. Having said that, my prices will be going up this year. My prices at my solo exhibit at the Rivoli are higher than usual. My paintings that are displayed at KOHL gallery are in the hundreds range. I have been told many times, that my previous prices were too low. I'm glad that people are mentioning this to me and It's also a very huge compliment too, at the same time. I am not going to sky rocket my prices up. They have just adjusted a bit. I think I am a very talented artist, but I still have a lot to learn. Don't we all though.

If I lost my hands, I would paint with my feet. If I lost my feet too, I would paint with my mouth. I'm not complete, if I can't do my art.

I would like to model for Claude Monet aka: Monet. He is my favorite artist from History. I like how he has a lot of movement in his work. I really like his subjects and how he compositions them. I really enjoy looking at his work all the time. I think me and him would work very well together. I would also like to paint for my Grandmaman one day. Her website is www.artmodern.org . Because she is the painter that I always looked up too, she showed me the ropes and she inspires me all the time.

It just happens inadvertently, all the time. I go to paint one thing and then it turns out looking like me in some way or form. It's so funny. I hear this happens quite a lot, with other artists too.

I always name the painting when it is complete. Usually a title comes to mind right away. But if I'm having trouble coming up with a name, I'll sit back and gaze into the painting.

I have about 8 unfinished paintings lying around my studio. I don't like doing this too often, but sometimes I have no choice. The paintings always do get completed though. I prefer to do one painting at a time.

I am mostly a painter. That is what I enjoy best. I do love to dabble into everthing though. I get bored very easily and like to experiment. Lately I have been adding a lot mixed media to my paintings, like rocks, shells, metal, beads - you name it. I think it's fun and looks very interesting. I bring my sketch book everywhere I go and draw what I see or from imagination. I prefer to use conte when I draw. I love my imagination drawing. They are really vivid and sometimes I don't even understand what I drew. My Grandfather Earl, gave me a wood burning set a few years ago. He is a wood sculptor, burner and carver. I always talk to him about his art. So, he overjoyed me with a woodburner one year for Christmas. It's like an extremely hot pen at the tip. The hot tip of the burner can make thin or thick lines, when you pressed it up against wood. You may want to wear a mask, because the smoke can burn your nose sometimes and don't even touch the tip where the heat is. I usually burn scenery pictures on plaques of wood. Currently in woodburning, I am working on a huge piece of wood and it has something to do with Toronto and our Galleries. Use your imagination. My project will be out in the next few months. I will keep VRV posted.

I mostly paint inside my studio. This is because I have everything all set there and it just makes life easier. I do take my painting equipment outside in the summer a few times. I do draw very often outside in the summer months. My favorite place to draw, is on my boat.

I don't paint every day at this time. But I hope one day I will be able to do so. Right now, I am a full time Model, Actress, Artist and part time Diploma Fine Arts Student, at the Toronto School of Art. I am a very ambitious young woman. I like to keep myself busy and learn new things all the time. I started Modeling Acting and doing my art full time, 2 years ago. Before that, I was the Quality Assurance Director for one of the leading Freight Brokerage Companies across Canada, namely Freightworld Logistics Inc. I was working with Freightworld for 8 years and I learned a lot about running a business, dealing with people all over the worls and so much more. As I got older and closer to the love of the Arts, I decide to put all my energy into what I truly believe in. I strongly feel that you should go after your dreams. My talent website is: www.CharleneOnline.com.

No, I don't think it's like any other business. It can be very hard to get your name out there. The point is to get many people to recognize your art. So this takes a lot of hard work and patience. You may love your art, but maybe other people don't in this Century. So that can get you down and be frustrating. But you have to keep doing your art if that is what your heart is telling you.

I'm just starting to try to get galleries to display my work now at 27 years old. I find it a lot of work, but I have a lot of faith in myself and I'm a go getter. I have a lot of energy and persistance. I am a versatile painter, so I can do many styles. I think that is key. Some people may think I'm a little wet behind the ears and I have a lot to learn. But that's okay for them to think that. I already have accomplished so much, so I know I have a successful future ahead. Some people are amazed at how much I have accomplished over the last few years. Many people in Toronto and around the world have been showing so much of their support, towards my work and my first solo exhibition.

Accomplished Artist can mean so many things. But I would say the ultimate is; when you are an accomplished Artist, your paintings sell for top value prices and the public, collectors and dealers are buying them. You are remembered, admired, respected. This all happens after a long life of painting - usually. Some are lucky and make it faster than others. You have to work very hard at it - depending on what your goals are. You need to put top quality and care in your work and take your time with each one. I'm extremely happy and humble, where my art career is at right now. I have bigger dreams for myself...and that's okay. Everyone should have dreams. I'm studying fine arts, modeling, acting and working on my art. I love to be busy in different areas. But one day I plan to just focus on my art.

Abstract is my favorite. I like to look at things that make me wonder what was the artist thinking. Abstract is fun and makes me feel really over joyed. To see how an artists puts a different perspective on something is amazing. I love vibrant colours and lots of texture. There is so much you can do with abstract and they are great conversation pieces.

I always advise new and aspiring Artists to take some fine art coarses. I have studied at the Toronto School of Art, for the last year & 1/2 and I find it has helped me grow as an Artist. The teachers open your eyes to new techniques, history and so much more. I would also encourage them to sketch every day, reference life models and work on their art as much as they can - to build a wide range portfolio.

I think that there are a tremendous amount of great artists in Toronto. I find the art scene is very underground. I think more artist and gallery advertising on tv and radio, would be ideal. I wish I could see more art supply stores throughout the city. I would also like to see more people buying original fine art from local galleries, rather than fake prints they buy at Walmart for instance. An original piece of art would mean a lot more to them.

It's funny because I stumbled across a gallery last week, that I am absolutely in love with. It is called Jacob Gallery. It's located at the corner of Richmond & Spadina in Toronto - on the North-West side. I felt like I was at home, because I felt so close to the work. I enjoyed all the pieces that were on display. If you like Modern Abstract Art, then this is the place to visit.

I traveled to Europe - Italy, with the renowned Silvia Pecota www.silviapecota.com in 2006. She had 2 exhibitions in one week, during our trip to Italy. One was in Turin (Torino) and the other was near Milano (Milan). It was a beautiful experience to be a Canadian and traveling across the world, to help a great Italian-Canadian Artist, put her shows together. I was also the model in many of her works of art. Please find attached, some examples. I met a lot of wonderful people along this journey and it opened up my eyes. Silvia also took me to Venice one day and we did a photoshoot and visited all the art galleries. I was amazed to see the historic art in person, that I have only seen in pictures all my life. I am planning on going to the Artic with Silvia, in the near future as well.

My favorite artist on VRV is Deanna Musgrave. Deanna's work suits my taste in art and personality the most. I think she has a real sense of creativity and uses colors very well. There is balance in her paintings and I could look at her work for hours upon hours and see something new in them, every time. She has an original technique, which I find is very key in this industry. I look forward to seeing more of her art in the years to come.

I use a Nikon D70s, it's my first DSLR . I have a couple of lenses - a 18-70mm Nikkor and a 70-300mm Sigma Macro zoom lens. Very good camera and lenses to start with.

Stock, as I see it, is created with commercial market in mind. Art is passion which may or may not prove financially beneficial but is very satisfying.

Thats a tough one, Pamela Anderson maybe... Lol. Well, the first images that really awed and drove me towards photography are some war and travel photography from the National Geographic and some newspapers stuff.

National Geographic is like Ford, leading the way, all the way. Black and white classics, travel, people and places. They believe in quality, NG stands out from the crowd. And yes, it's my dream (which I will fulfill) to work with National Geographic.

Last year, on my trip to India, I saw some road side butchers and all that meat and barbaric way the chickens were held in tiny cages. So, I will use my photography to show people what these poor creatures are going through just to satisfy their taste. Also leather - Before and after images of animals.

As much as I hate to say it, I use quite a lot of Photoshop. But if it helps me create what I want and to be in competition, why not ! But yes in fashion photography (where I can control the circumstances), I do or try to do minimum PS.

I would open an asylum for poor kids and people. But if it has to be for art - I would work on some exceptional images from Africa and around the world in war torn and in poor countries to create a art series that can help raise money to help them. And yes I am a proud sponsor of a beautiful girl in Rwanda through WorldVision.

That is a real image, not manipulated. It was shot through a car at not so fast shutter speed. Those lights are of the numerous cars on the Toronto 401 highway at around 10 pm, which also inspired the name "City Of Blinding Lights"... Or was it U2. About Contradistinctive, well, I searched something related to Maverick on dictionary.com

For Nature, Travel and stuff its good, but for Fashion I would prefer moving to NY, Paris or Milan. Oh ok Paris.

Steve McCurry. I saw his biography on National Geographic as a teenager. I wanted to work as a war photographer and as a National Geographic photographer from then on. He is the photographer who took the famous "Afghan Girl" picture featured on National Geographic`s June 1985 cover issue. Steve McCurry has worked with some great Afghanistan leaders to help the war torn region.

"Gracious beaks", ha ha. My friend was whisking this Walnut Brownie solution in the kitchen, how the mixture flows down the whisk was amazing, so click click click. And yes, we did somehow (again) managed to burn the whole thing ! Must be a faulty mixture. Lol.

Buddhist Chants and OM Meditation music. Nightingale by Yanni !

Technically nothing, but yes for a good fashion shot - good wardrobe, make-up, hair and light are very important.

Absolutely nothing. There are very few things that drive me mad in life. Seeing others making someone suffer is one of them and yes it includes people defending eating meat or capable people not helping others.

Painting yes, a lot of times. But the fact that I am a photographer means I suck at painting.

As soon as I learned to distinguish between colors, bright yellow and orange are very catchy colors.

So now you want me to go through VRV, good one. I would like to meet Victor Bentzvi (click here to visit his page. His Holga Snaps are fantastic, that is kind of photography I would love to do. Love the borders of his images.

CONTACT is North Americas biggest photography festival, having that on Resume is pretty big. I will be showcasing my work at Ben Navaee Gallery, 1111 Queen Street East, Toronto. It will be a group exhibition.

Yes, I am happy with "digital art” category as this is the field I am working in right now. I am not a photographer, but I like to "shoot” people, objects, places around me that I I find interesting. My digital prints are composed using my hand drawings and photographs taken by me or my friends.

They were my teachers from the art school I attended many years ago. József Macskássy was a well-known painter in Transylvania and my painting teacher. He didn't really like my style of painting - because of my toned up colors- and strongly encouraged me towards graphics. Unfortunately, he died some years ago, but his words have given me the power to defeat the difficulties and to never give up drawing.

Anything unlike naturally real... In my opinion, abstraction begins in our brain which can produce wonderful images. I love to bring to life abstract concepts, like passion, strength, pain, – all these words have abstract meanings that can be expressed in many ways. Sometimes, they suddenly appear in front of my eyes like some visions or simply (physically) see them in my dreams. I like to turn my dreams into graphics, if I still remember them in the morning. I also like to put unusual things or parts of them together on my digital canvas; things that naturally shouldn’t ever be together. This is how I mean abstract – a word that gives me the freedom to manipulate with forms and colors.

I suggest, everyone should try it. Then we shall see.

Some of my works in PixelDance are photo manipulations or hand drawings reworked digitally in Photoshop. I mixed all kind of pictures and effects, brushes to reach the desired expression for my ideas.

Not really… I find boring making two similar or almost alike drawings/paintings. As far as I know, movies contain hundreds of alike images. I’ve never liked to make things twice. I'd rather new ones. On the other hand, making movies on computer needs more programming skills than I have or want to have. I am happy with my static images.

Well, this is a rather long story. I was born in Transylvania (Dracula's land☺) where I spent my childhood and school years under the leading of the communist dictator, Ceausescu. Being a Hungarian, my life was darkened by nationality-related difficulties, too. Those years cannot be wiped out from my mind. I could never accept such foolish behaviors and I have been struggling against those concepts all the time. It is said, that miracle lasts for only three days… but sometimes we have to wait too much for a miracle to show up. And even if it appeared, it was shortly destructed by a wrong regime. We had to enjoy the morsels we were left.

I’m afraid they will never change too much. I always felt I was rather a world habitant, than a geographically located country resident. I liked freedom too much to give up my feelings and concepts. Now living in Hungary, I am still encountering ’relics’ of the past so my images will be continuously arguing with Machiavellian authorities.

I’ve escaped and fell into many traps during my life. This is also part of my life, but instead of complaining I tighten my bandages and I stand up. Over again… Human behavior is my source of inspiration in this case. People behave differently in cumbrous situations; it’s like living in a chaotic cage, some want to get rid of the rope but run into the bars… I feel very annoying that talents (may it be art or science) disappear untraced or don’t even have the opportunity to show up, just because were born in the "wrong” country… This is the greatest trap anyone might get from the very beginning.

Well, I am glad you see it that way. First of all, permit me to remark that this painting has nothing to do with the movie named Omen! I wanted to express the unexpected danger that surrounds us. One can never be prepared enough to encounter the it. To tell the truth this image was created in memoriam of my father, who had suddenly became ill and died in a few months. The unforeseen sometimes can ruin one’s all plans, future or life.

Both of them☺ But if I were compelled to chose, I would rather spend it with Dalí. He has always been one of my favorites and several years ago I strongly forced myself not to imitate his works in any way.

I’ve never thought of it like a movie poster…As I mentioned before, freedom is very important to me. May it be real or just a projection of it, I must feel it’s presence around me some way. Maybe someday somebody makes a movie: The Lost Freedom on the Edge of Europe (hehe☺) Who knows? And the poster is already here…

In my opinion goals keep us alive, and it’s a pleasant relief to fulfill them, may they be easy or difficult. I hope I will have the strength to reach my goals. Due to some lucky circumstances I’ve started to make graphics again. Now my goal is to show something from my inner world to the outer one. I hope people will understand at least a little part, even if they don’t like all of it. I must cry out things and tell the world about this corner I live in.

The main software I am using is Photoshop, but I like Apophysis as well. I enjoy playing with fractals, without emphasizing their shape or meaning. The platform I am working on is Windows. Yes, I have a very long wish list that would make my life easier during creation, but I don’t want to bore the readers.

Being a "lonely wolf” creator, I do my graphics only by myself. Naturally I use pictures taken by some friends or expert photographers, but I think in most of the cases there is no need for a second person to prepare the photo for a composition. I am sure photography require different sets of skills, but for my paintings I gladly mess up the photos myself.

Shortly: „A woman cannot do such graphics”

Jewelry making is my second love. I was a child, when my mother showed me the first steps and tricks; I am still using them. I am making beaded jewelry right now, but I tried out other materials, like wire, polymer clay or cork. Even small stones and shells. Often the combination of these materials lead to some very beautiful pieces. I aim to make unique, one-of-a-kind necklaces, bracelets as there is a great challenge for me to create something never seen before. I love to wear unique jewelry and makes me happy when I see the satisfaction on my customers’ face.

Artual was born on the street, in one second. From the very beginning, I decided the domain for my home page had to contain the word ’art’ somewhere. After two weeks of searching for some proper name, I just said it out waiting in the bus station... I was very proud of myself and thought I was alone with that name. I don’t know whether it means anything, but I sadly realized that there are other using this name as pseudonym. Anyway, I have been and will also be using it for a long time.

I am sure it would be a very funny and interesting experience. Unfortunately, I am not a very good team worker, but, I’d be glad to try it out with some artists. There would be something new to me.

There are many excellent artists on VRVGallery, that I’d like to mark as my favorite. So is photographer Dunn Kenaani with his excellent photos taken from the world of animals, or Anna Vicherek’s fantastic "Imagination”… Or Laurin Jeffrey with those haunted places. I am in a very difficult situation…

Physically, after 17 years of silence, I’ve started making art graphics again last year. Spiritually I haven’t spent a day apart from my art, but the cost of living forced me to work on other fields. Finally my "rebellious” temper took me back to the path I have to follow. Hopefully I won’t ever be compelled again to do something else.

I am not at all surprised by your reaction. Here is why: The root idea for that gallery: “I want you to embrace that which disturbs you, knowing it’s not want it seems.” Things are not what they seem. The images challenge and disturb the waking consciousness because in direct confrontation with their representational quality, they inspire change and change to ego means death. The exposure and integration of the disowned aspects of our psyche, as symbolized by some of the images, leads to transformation but the ego experiences transformation as death so it is the ego that sees these disowned aspects as disturbing. I am using photography to bring our attention to that very process and emphasize that things are not what they seem; that embracing the pictorial/symbolic representations of our unconscious, including the content of nightmares, is vital for individual growth leads to wholeness.

Working from a place of respect and congruence, I create a safe-enough transformational environment in which some part of them (clients) recognize it is okay to share things they may have hidden even from themselves. When they do, they start to encounter disturbing but transformational elements, not unlike the ones in my Psychic Shiver gallery.

I let the unconscious take the lead. I suspend my analytical process and open up to images and ideas as they surface “from below.”

The models range form friends to ex-girlfriends, to a woman who worked at Second Cup whom I asked to model for me. Much like a director, my models become actors for my vision. I am guided by the depth of their ability to portray the character I envision and the success of the shoot is usually determined by their ability to follow and manifest my direction.

My primary focus is psychological but I don’t ignore the impact of the social/political environment and its impact on the individual’s well being. In my work as a therapist, I witness numerous ways in which gender, race, socioeconomic status, age, cultural background, and other individual variables affect peoples’ quality of life and emotional health.

I bought a fish tank to do another project that involved color/water ideas but I also liked the idea of creating shapes out of substances I wouldn't commonly consider for sculpture (in this molecular formation). It's the intersection of AIR, WATER and TIME (photography) that makes this project so engaging. I pressed air into water, rapidly pulled out the Rocket-Air Blower sensor cleaner and I pressed the cable release with the camera on the tripod at the appropriate moment. The camera was hooked up to the 50” TV screen so I could correct my timing on the spot. Lighting: one source (backlight with a soft box) but to give water more visible shape, I had black cards below and on either side of the fish tank. Of course, water surface will reflect it's environment.

Photoshop

It was the shapes that engaged my imagination that made the final cut. Some lend themselves more to projection than others.

Well, it took about 2 hours to shoot and another hour to process. When you get what you are after, you just know it.

Uh, I like that question… I’d say Phillip Glass

Fashion photography is about trends. Art is timeless.

I am still shooting with Canon 20D. I will upgrade but don’t feel a real need just yet. I would rent if I needed to work a project that required printing to large scale.

I used to be until I realized that gear is only one small part of quality. Lighting and post-processing are far more important. Now I focus mostly on concept. Technology is the smallest component of my work in photography.

External hard disk but it’s getting full. I’ll be buying a terabyte soon. I work on a mac and for now don’t see that it would change anytime soon… famous last words…

No but I love the idea. It’s the spontaneity of that process that appeals to me.

I’d get a team of like-minded creative individuals and pour the money in the media (billboards, TV, print, web, etc.) to present ideas like Psychic Shiver to the public at large.

Rarely but I do feel drawn back to the canvas. My representational painting ability is not well developed so I stick to ideas that are not limited by my technique.

The most obvious sign is technical failure/inability. It pulls my attention away form that which I should be focusing on: the piece as a whole. And that goes for both, mastery of medium and visual elements. Intentionality is something I sense so very subjectively but I trust my gut, holistic way of perceiving, to recognize intentionality and genuineness. This way of evaluating is of course entirely subjective on my end but I have found that there is some consistency in intersubjectivity when it comes to selecting more and less successful works of art even from among works of accomplished artist.

Often I ask myself: “Does the world need another photograph?” A related question then arises: “Why create?” “Why art?” and if I can’t answer that question to my satisfaction, then I wait until I can or just feel excited about an idea.

Assist. Assist. Assist and shoot. Shoot. Shoot.

Sure! But it is not up to the art school but up to the student to learn and develop. We all create in a context and I also believe: “Nothing in, nothing out.” Creativity needs to be stimulated; art schools and fellow art students maybe good for that. There is also the discipline, history, and structure that a formalized learning environment provides so well.

Jesse Lindsay for the organic qualities within the elements of graphic design

The dream series was living in my head for years. I had always ‘dreamed’ of living in LA – the colors of the coast are very influential to me. Before I lived in Los Angeles, I traveled to the West Coast frequently – and from the size of the ocean, the flowers, the trees – the air... Everything of dream – is what I feel from a skyline… especially on the west coast of America. Some go along with the season. Depends on the time of year that I paint it.

What I enjoy the most of dream is that the stroke work is very much ‘decided’ - there are many that I work on in a series at the same time – so that I can travel accordingly. The whole idea of the dream series – is that they stand on their own. You’re not supposed to be able to recreate it. In fact – when you look ‘into’ it – its passage is the message.

A lot of Hendrix and Zeppelin. I have an iPod so it shuffles around from the Doors to Peggy Sue, the Black Crowes were a big part of the beginning of Dream, Zero 7 and the Dandy Warhols. I like to drive the coast of California – listening to music and taking in the views and fresh ocean air.

(It’s fun to answer these questions – you’re asking quite a few that I’ve never been asked). The cities are people to me. The good, the bad, the attitude. You know when you live in a city – you make it your own. Maybe if you’ve never lived in a city – that might be hard to imagine... But cities are big – and they’re available – just like a small town. Each member (building) of a city is like a friend to us – a familiar passage way.

I was a professional photographer for over 15 years. I had captured my life in photos – and been able to ‘see exactly’ what happened. My paintings began as a way to fantasize about my world. I took some of my favorite stories and moments in life – and put them to canvas as I saw ‘my interpretation’. This is how I paint. I like to live in this world. It’s fantasy meets reality.

I’ve traveled quite a bit. So most of my work is based on my travels. I’ve got a big thing for skyscrapers and cities. I love to see how they are laid out. Are they commuter friendly – what are the cultures and how do they inter mingle. It fascinates me – much like PEOPLE – I see cities as people. I research through photography quite a bit in studying a new series. As I research – I imagine the culture – the land, the views – and I dream.

Australia has got to be one of the coolest places on earth. There is a botanical garden in the middle of a city surrounded by beaches and the great barrier reef! It’s a must – the people are a delight to be around! My trip to Sydney in 2004 was ‘life changing’ in my perception of that part of the world.

In the beginning - 25 years ago – I did not title anything. It was untitled 1, 2, 3 etc... But it got to be confusing – and titles became easier to recall the piece when people would ask me about it – even if it’s simply titled ‘blue city’ or ‘san fran’. I got a kick out of people looking and guessing – and after a while – onlookers requested titles. So I tried that for a while – and I just kept titling as my collections grew. Sometimes I do a series - especially with working titles - and I will name them a certain series and then just number them – wooden series, coyote series, windows of love and admiration series. If they are going to a show – then they get titled accordingly.

New World, Golden Hour, NYC/SF – all very memorable moments in my life.

I struggled quite a bit with Australia – but the results were exciting to live through. I would love to paint in that city. It’s on the ‘to do list’. I never feel like I can’t ‘paint’ a city - it’s more like / I’m not ‘ready’ to paint it until I research – travel or experience something to allow me to do so.

There was a time as a child, that I never imagined enjoying anything but living in a city. The wiser I get... the more I dream about living on a vineyard in the country somewhere on the west coast or south of France.

Album release party May 17th in LA. I have been fortunate enough to have gotten the complete album ‘The hour is upon us’ about 4 months ago – of which I’ve been listening to, making a series of work to showcase at their cd release party. The band is going to sign the back of the paintings. All of the donations/sales of the artwork will go towards the music video fund for the band.

They are good friends of mine – I am attending the CD release party – and showing my work at the gig. I’m donating the work to the band – all sales go towards their music video.

The fight for life.

I've been painting for the last 6 months getting into 'my blue zone'. I started the series with ‘hour of the shipwreck’ (fundamental) and ‘lone ship’ last fall. I have been working on a large group of paintings for the show - some of the 'other' work that I might consider for this group is titled 'foggy' - but most of this theme took me a long time to get into. I hadn't painted this dark in 10 years. So I did quite a few 'studies' to get my palette to darken. There are a few additional paintings that are 'drying' that I'm holding off on showing until the exhibit on Saturday the 17th in LA. But I have another 5 paintings right now - that I'm trying to get to canvas that won't be done for the show - as well, I know I'll have good energy from the album release party to paint from. I love their music - it reminds me of classic 'yes'.

True.

The Band 'HOUR OF THE SHIPWRECK(.COM)' - the album is titled 'the hour is upon us' I felt that a 'monarch' type painting of how I see things coming to life was time to paint. This piece took many months to come up with - it started looking like it does today - but the layers added to every detail (and still making it impressionistic) took months to have find me.

I feel that 'we're out of control' is really how I would re do it. This piece is titled because a member of the band was 'fired' a month and a half before the album release - it is 'his ship' that is in the tidal wave. The members of the band still remaining are the ones to the right - where they have a 'chance' of making it through. Seems to be another metaphor on how we make / find our successes in life. (at least to me :).)

I have painted 'human beings' - but in a much more tribal 'raw' form- slightly 'stick figured' - as the beauty of a human is not their form but their soul - their 'color'. And yes – most of the time – they might appear as a deity or a ghost. The people on the ship are all of us - we are alive today and someday we will all pass through the same doors when we leave this breath of life. But I see the shapes and colors as living souls - the cityscapes especially - when I look at a skyline – I see shapes that remind me of smiles or cheeks or hands and faces. As for the idea that they are ghosts – I was going for this – much like pirates of the Caribbean where they are both alive and in the fantasy world – during the film – it offers a super power to me – without the fear of death – we have much more to offer life.

This piece was made through a series of layers - I remember feeling very energized with this piece - it is a small piece (12" x 24") so it did not take me as long as it would a larger piece. The title is from the lyrics from the new album.

'LONE SHIP' is the second piece in the series that made me realize that I was about to do 'A SERIES' for this band. They are really great friends of mine - and when they saw the work I was creating from their music - they decided that we would move forward with a series for the full album. The music (which is available on myspace or their website) - is dark and mysterious - searching for a home in my opinion. As we do in life - we cross the waters – alone to find our land. It's a metaphor for me and how I see (my) life. It's not supposed to be sad - more spooky and ominous. You're not supposed to feel 'helpless' - you're supposed to find the beauty in being lost. If anything, I am hoping to offer the viewer ‘peace’ in their visit into my work.

All of these titles are based on the lyrics from the music. My 'mystical' series - was inspired by Led Zeppelin - thus the titles of that work. 'I've lost my way' might mean - we've found something that is surprising us. Thus the color of the piece.

I used to never title works - but now I get a kick out of it. I do ask others what they see - and formulate an opinion from a few 'friends'.

I get excited to see people looking at my work and if they ‘get it’ or not. Some people love my work – others don’t... that’s the beauty of ‘ART’. No?

Oh I’ve heard it all – I’ve done many street art shows where passerby’s comment on your work w/o looking to see if you’re there – I don’t mind it. The fact that they look & get anything from it is fine by me – Others make up for that stuff. The one’s who do enjoy my work – are much more fun to hang out with!

I do paint people sometimes – but my style is very abstract, I’m not a trained illustrator and I’ve always leaned towards more of a ‘picasso’ esque style with people – but I have done a few portraits over the years. I’ve painted animals also.

Both ways. When I’m painting in layers- I paint on many at a time – but sometimes I get into one painting that can be worked on continuously. I need dry time – it’s how I schedule my painting. So – the majority of the time - I have at least 2 paintings going – but when I’m prepping for a show – sometimes it’s up to 5 at once – it’s all about the layers and the energy that I am feeding off of.

Like I said above – A photo is an exact replication of a story or an event. A painting is an interpretation of a story or an event. You need to have an imagination to appreciate a painting. And you need to have a soul to appreciate a photograph.

Discovering new places to travel from it finding my canvas. Being a part of every one of them – somehow.

If I like an artist’s work – I try to go inside of their world to figure out how they came up with the series and if it’s a group of works – from a time period, etc.. I like to try to go in to see if there is a story about them in there – or if they’re telling someone else’s story. I find that the photo real painting is more of the ‘documentarian’ style of painting, where the abstract impressionistic style of painting is more of the fantasy – departure of depicting a story. More like a movie – where we might all have a different opinion in the outcome due to the events that jut occurred in our mind.

Pablo Picasso or Vincent Van Gogh

The series ‘shipwreck’ was painted entirely outdoors. I have a few studios currently set up. I’ve been painting outside for at least 6 months now. (yes – even in the rain season here – outside – but covered porch!)

My father and my grandmother were both painters. I studied for years in school and college as well. As a young child – I painted EVERYTHING in sight – my tricycle, the walls in my bedroom, my desk – I was a doodler.

My mentors being Van Gogh & Picasso. Tribal Art, hiroglithics being the first visual language to man.

If I could meet every person who ever bought a painting from me – I’d be SO happy! YES – spending time knowing the people who are taking my work into their life – makes me happy. My work is priced between a few hundred dollars to $7500 for originals. I’m always up for making a deal – especially to folks who love to support an artist.

There are many – LA is vast – and more and more areas are opening small galleries – it’s not the big places – I prefer the small ones. (No names with cool spaces)

I first created the “postkaraoke” concept. Its explanation is simple and you can find the meaning in its name. But everybody around me began to ask me about that “postkaraoke” concept and I decided not to explain it. I wanted people to discover it. With “bomatik”, same thing... Of course they have an explanation and they are the concepts about the new way of life that we live in. This is all I can tell. No more! It is like a game.

Firstly, I want to say that I don’t feel myself like an artist. I am a man who goes to his studio every day and kills his time playing with the things that he likes. That's all. I don’t know and I can’t imagine how somebody can realize that he/she is an artist. I don’t think sculpture and the painting are different. They are the same thing. Maybe the way that you create artworks changes –not always- but finally they are the same. And I also think for video, installation, cinema...

Really, I don’t know. I don’t want an easier life or a more difficult one. I want to pass my time then finish it like everybody. Life is difficult now, in the actual world, for everybody. I want to see, to hear, to taste, to understand, to feel and to create as much as I can.

I thought that this person was a crazy. I was living in Turkey and one week before I moved to Spain, somebody wanted to buy my painting “All About the Advertisement”... Now, when I think of it from the financial perspective, the same painting would cost at least 15 times more. Then, he was not that crazy. It is funny. And I want to tell this. It is important for me. I always think and say that: “I don’t sell my paintings, they buy”. Because I can’t create relaxed if I begin thinking about selling something. It is my personality. It is so simple and real. If I really wanted to sell something in this life, I could take another job and earn more money in an easier way than selling paintings. A painting is one of the most difficult thing to sell in this world.

Not really, but of course I can. I have already collaborated with my friends but that was made in the moment. We didn’t think that we might paint together. At times, it was funny because, me or other painter, would begin erasing or painting over what the other did.

Of course not, because I am all the day in my studio and I don’t care what the other people do. Because if I begin caring about this, I begin losing my time.

Sometimes I think the same thing. When I look at a photograph of my work, I see a photograph of my work. A good photograph or a bad one. When I see my work directly, I see my work. So they are different things. But of course I prefer to see my paintings directly, not from a photography image. A painting is not an image that you can transfer to an another surface. It's like poems... When you translate them into other language, they are completely different.

In reality, I went to these art schools for the studios that they offered me for free. I think that they don’t have anything special to offer to someone for his/her artistic life. You may have a good professor... rarely, but it is fine. It is not so simple to find them. If somebody wants really to create, he/she creates. With the school or without the school. Before, the art schools didn’t exist and people created amazing things. The art curriculum is not important. The professional life wants and insists on it but the most important thing is, if the person who creates is happy with his/her creation or not. That’s all.

Before painting, I was playing music, and I still do. And, of course, I have made photographies, videos, installations etc. But for me, the most important thing in my creation is the relation between my time and my body. If I begin to be bored when I create, -in the process- I cannot create or I create boring things for me. The way that I create cannot be boring for me. And the painting is a direct and primitive form to express the things that I feel or think... Sometimes, I have many ideas for a film or a video, but when I begin to think on how to realize them with the people around me, the computers...I don’t want to do it anymore. Maybe one day, when I will have more patience, I will try to make something like this. I write poems too. It is similar with the painting, really. And I enjoy it.

It is difficult to choose somebody in VRVGallery, because there are so many people I think make good work. But if I have to choose somebody, I like the “Collages” of Matthew Rose.

“Delik” means in Turkish “the hole”. The “delik” exhibition was realized in the real life, in 2007, in Espacio Forja, Valencia, Spain. The idea of the exhibition was to paint 19 4mX5m paintings and complete all over the walls of a huge exhibition space. And the place was finally like a “hole” that the people could dig in and lose or find themselves. Or none of those options.

It is difficult to explain this. I’m so inside my work and I can’t explain it. If I could explain, maybe I could be writer.

Normally, I work at the same time on many different works, but, in this case, I was living in Paris and I had two studios, one in Paris and one in Valencia. I decided to paint all of them in Valencia and I did not have so much time for to create them because I had to be in Paris for an other exhibition and for this reason, I had to lock myself in my Valencia studio and I concentrated and painted only for that project.

I still don’t know what is a good abstract painting. Maybe a bad abstract painting for someone can be rotated and can be better. I think a portrait can be rotated too. Baselitz did it with interesting results. It is all about our esthetic habit. When I paint, I don’t think about the direction of the painting and I don’t want to specify how the people have to look at the painting. Maybe we have to close our eyes for to look at a painting. Finally, I don’t believe the directions. Maybe we are all born rotated.

Coltrane? Radiohead? Boris Vian? Monk? Sonic Youth? It is so difficult to decide ...

I don’t really know if it is typical. I try to not to think so much what the people think of my paintings. Of course, it is so interesting and funny that everybody says different things about my paintings. I listen but I don’t think so much about them. It is impossible that you think the same thing as me when you see my paintings. It is similar when we look at the same stone... Are we sure that we see the same stone? But it is good that you travel in my paintings!

They mean “Ice Age”. There are four “Buzul Cagi”. They are different paintings. I don’t mind if there are different buyers. Neither do I mind if there are buyers.

Good question. I think it is impossible to know if a painting is finished in the meaning that you talk about . Maybe they will be finished when I die, maybe not. We always want to explain a painting. Why? I think always you can continue to put more in a painting. It does not exist a “perfect” concept for the painting. It does not exist a concept for the painting.

I am continuously writing and re-evaluating the way I express my work. I love feedback and adapt when I feel the critiques are relevant and constructive. Then, I design and redesign the site to remain updated.

I never hear silence. Nature is music. Insects, birds, the ocean have songs. There is always music. Even when in an enclosed room with no windows, I hear music. In fact, when I write poems and lyrics, my voice comes out with the rhythm of an ensemble.

Music with no soul, no passion, or understanding of rhythm. I feel it deeply when heart is amiss from music.

Yes, it is not only the music. It is my mind, heart, and soul in the moments. It is what I read that day, experienced that day,....

It permeates all.

I've done this before. This is very challenging to explain properly. I have not found another painter who connects in a similar way. I am not only in the physical plane, I am a tribal naturalist. Should others not connect and become in tune, it can become disjointed and contrived.

They are the vocal/textual expressions of my mind, heart, soul in the moments of delivery.

I do what comes naturally. I continuously develop new skills in order to implement visions. I think my process is never-ending and limitless. I started in my mind, heart, soul and outside my body began in the sandbox. Before walking properly, I danced. My grandfather was a big band leader and my mom played piano with a jazz band and for the ballet company. My grandmother was a dance teacher and my dad's a brilliant problem solver. My great uncle is a mathematician and concert pianist. My family is full of brilliant, engaging, multidisciplinary minds. I have never understood the need to separate disciplines. Everything is connected. I am not sure how to answer "Did it take a while?" Anyone who stops and says…"It is developed" stagnates. I will never stop exploring and developing my art, it is never-ending and exciting!

No, I create everyday. I am not only a painter. I sculpt, write, choreograph, photograph, shoot video…….

Not at all. I love what I do and sharing my joy with others. It is all the greatest playground!

I feel it.

My influences page explains my vast sources of influences from creative minds of many disciplines, including Carl Jung, Joseph Campbell, Richard Feynman, George Sands..

I have been asked to come to India, Egypt and Kenya, to name a few. I decided to organize a global tour.

No. But, I did very well even though I was struck by paranoia of failing. I received A's in international accounting.

Hate

I don't die to try anything, I just do it!

I believe a name only perpetuates separations between peoples who call "…." different names or have different interpretations of the unknown (that which was unknown in centuries past). I believe it has become mankind's greatest tragedy. I do not believe in religion. Religion creates separations between people. Religion was created by man for power, to organize people, to create constructs. For man to be so egotistical to think he can define everything and organize it in boxes, dictate to the universe his beliefs as if he is Right, and to believe that he is above nature or better than animals, is an outrage. The world turns by natural law. Animals synergize, plants synergize, many humans want to control and define it and dictate that definition to others. Tragic. I believe in an omniscient mind. Everything I do is a connection to universal spirit in this dimension and others.

Lacking. Art and music are extremely important for balanced development. I believe all children should be exposed to art, music, science, culture… All combined develop the ability to learn to learn and to solve problems utilizing many methods. A well-rounded education also enables the enhancement of forethought. For some reason, art and music are considered less important in education. I believe abilities in math and science improve with art and music education. They provide the foundation for a healthy spiritual development as well.

The basis of all pieces is an image. There are many preliminary stages to preparing the image beforehand; some scratching and 'stressing' techniques are applied through several layers of scanning for example. A large archival print is printed and I begin to stress, paint, and compose the final piece. Many layers of paint, charcoal, crayon, highlighter, aluminum, and wallpaper are just some applications that are separated by stages of sanding. The final piece is a resin finish surface encased in 1/4" aluminum which is etched with my signature by hand.

I tend to work on three to four pieces at a time. Sometimes it's best to hang a piece between applications for weeks without continuing it. This has happened a few times - I look at it like waiting for cloudy water to clear.

I never show my work before it is finished.

My family is proud of my work in progress. They've been supportive and love being the subjects in my work from time to time.

My technique has really been an evolution of experimentation and research. Learning how several elements react when applied together is only something that can be learned through practice and control. I often find material in my every day life that triggers an idea both technically and aesthetically. Wallpapers, tapes, shapes, signs, are all examples of this.

Technically, the toughest challenge of my work is room control. I work in a room that must be dust-free, low air flow, and still. The challenge has been one I have enjoyed however, and now embrace as an extension of a clean working environment to produce.

The term "communal understanding" is a reference to the ultimate goal of my work. All memories regardless of how personal they might be are interwoven into a larger social fabric, meaning that the act of remembering one’s past is far from a solitary exercise but is instead linked to a larger communal context. Instead of looking at old family photos as private sentimental glimpses of time, they become a public appreciation of a personal memory. It's slightly voyeuristic, which, in a reality TV driven culture, is translating. This often triggers individual memories for individuals as well; when they tell me every detail of a vivid memory I smirk because it's voyeuristic to me too.

I think about making video all the time. It's definitely something I would play with sometime I would imagine... Motion and music is beautiful too.

I often have commissioned work requested. Unknowingly, my work tends to translate well with a large audience. Baby boomers understand it from a time they are from. It triggers many thoughts, feelings, and specific moments in their mind. I find the younger generation, although appreciative and interested in the history of the image, enjoys the aesthetic and style it is presented. I certainly enjoy the wide range of perspectives and frequencies of appreciation. Within this audience I get a lot of requests for custom work and take on a limited amount each year. I've done large triptych pieces for board rooms in large corporations, album artwork, and some personal requests. Ultimately, It's important to manage time and concentration to my own personal work.

Interesting question. I can't say there's one comment that comes to mind. The most painful thing to hear is the expected, "It's photoshop". All treatment and stressing is done by hand. I guess in some ways we are so overwhelmed by imagery and adverts that its become so processed and expected. We're visually lazy and numb.

Photographing art is essential, but definitely not as rewarding as showing someone a piece of work in person. My work has a lot of finishing, and it can be a bit frustrating when those minor details are not prominent in a photograph. Coming from a photographic background, I shoot my own work and try to capture the presence as much as possible.

I am working on several things at the moment. I have a slew of shows this fall to prepare for with new works. I plan to travel and photograph for new works in the coming year. I imagine there will be a time when the themes in my work may change. Maybe dramatically, maybe not. Right now I feel my themes are just broken into, and still have a lot of facets to explore, expose, etc.

I felt pretty torn when I sold my first piece. To this day it is still one of my favorite pieces, but it was also more than that. It was learning to part with something I became very attached to. The image was of my mother on a poolside (titled 'Poolside 1:30') taken on her honeymoon. The piece was my first experience of letting go of something I really loved for the good of producing more in the future. Other than that it felt great.

I tend to use my walls as storage for works that I am finished or resting on before finishing. Space is limited. I do have a nice piece - a small canvas painting of the Manhattan waterfront. Much of my inspirational art comes from books and magazines, and even the net. Mostly books, which can range from Sunquest travel brochures from the travel agency to hardcovers of my favorite artists/photographers. It's a collection that is constantly growing and always inspiring.

Yes I am a full-time artist.

The Toronto art scene is small but effective. Everyone knows someone you know which can be very beneficial to promote community and artistic culture. Favorite galleries of mine include Lausberg, Engine, Headbones, and Cutts Gallery. These galleries all present solid contemporary work with technical execution. The outdoor shows amongst the spring to fall months are also great.

I trained at Sheridan College for Applied Photography, graduating top scholar in 2002. Painting and other hand applications is simply an ongoing trial and error/research procedure with practice.

I do get a little nervous before an exhibition. Art is expressing a large part of yourself, which can be very personal sometimes. An exhibition can be an intimidating reveal and somewhat of an open invitation to your thoughts and opinions. I'm slowly getting more comfortable about putting myself out there; that's what we're here for, isn't it?

I’ve been drawing since I was 14. I was inspired to think differently after moving to New York, which was right around the time I started high school. I found drawing and writing poetry as the best ways to express myself.

I guess I’m what they call a self-taught artist. I went to business school, not art school. And after I graduated college I stopped being creative for a while. I started to work at an ad agency and hated it with a passion. But then I started to find myself again and realized what inspired my in the first place. Magazines, the colors and the paper, the smell and the feel of those glossy pages. And many other things, but magazines have always been an enormous part of my life. To go back to your question, I learned by understanding what moves me and teaching myself how to express that onto a canvas, or whatever the surface may be. I have experimented with lots of different techniques and media.

There are many photographers out there that I admire and respect, and while I love photography, I never saw myself as a photographer.
As for sculpture, some of my paintings are a very much like sculptures. They have lots of texture. I take individual pieces of wood and sculpt or carve them and then piece them together on canvas. I do that with seaweed and dried flowers as well.
A lot of my inspiration comes from the surface that I’m using as well as the materials. For example, I just finished a new body of work on 12-inch vinyl records. The records themselves inspired the subject of the pieces.

It’s an incredible feeling. You feel like your work is finally appreciated .

It’s amazing how much time I spend on my website or promotional pieces. I design all my stuff, like postcards or whatever, so it really takes time. And then to reach out to galleries and clients is super time consuming. And email is a job in itself. I handle it by just telling myself that I have to spend, say, two hours every day working on the business side. And I will make time for it. Whether I spend the entire two hours, or put in 15 minutes here and there, I make sure to get it done.

Music is very big for me. Especially a new cd by an old favorite. Hearing that growth and evolution in their record is always an inspiration. And getting out there and seeing what other artists are doing is also important to me. I try to see at least one exhibit a week. I meet really great people at art shows. I went to a solo exhibit on the upper west side last week to meet a curator, and I ended up meeting another artist there. He’s an emerging artist, but as soon as he told me his name I knew his work, and now we email like all the time with updates on our art. That kind of stuff inspires me.

It depends. I used to work on one piece at a time, but now I have at least three different pieces that I work on at the same time. I also like to sit with my art when it feels halfway there or almost there. I’ll put it somewhere really prominent where I can’t help but walk past it or stare at it. I’ll put in front of me when I read a book. I know it sounds silly, but it really helps me see it in different ways until at a random moment I say “aha!” and I know what it needs. So the process is relatively slow.

I only heard one bad thing, and it was from someone that was trying to help me, or so he said. He probably had good intentions, but it didn’t come across that way. He asked where I went to art school and when I told him I didn’t go to art school his tone changed. He said I should put some stuff like portraits or something that shows I can really draw on my site because he thought people might think I’m trying to “bullshit” them with “all the pretty splashes of color”. I guess he figured if you didn’t go to art school and don’t show people in your work then you must not know how to draw. It’s sad how linear some people’s thinking can be.

Making time for my art while juggling all these other things. Especially because most artists have a day job like I do that pays the bills.

I’ve always been a huge fan of abstract art. I also really love street art. But I have to admit that most of the stuff at home is my own work because there’s a lot of it and I’ve got to put it somewhere. Besides my pieces, I have hand-crafted wooden plates and masks from Bulgaria, a colorful abstract piece I bought from the artist outside of the Met, and a smaller piece from a fantastic artist and old friend of mine who currently lives in Vancouver.

Right now I’m using latex based paints and enamel. I love the gloss and richness of the pigment that both of these have. I’m also doing much larger pieces than I’ve done in the past.

The name came at a time when I was becoming more “spiritually aware.” The idea that our soul lives multiple lifetimes, gaining experience through each of them, has always influenced my thinking even before I knew of the actual concept of reincarnation.
I wasn’t raised religious, so the idea didn’t really come from anywhere. There are just things we feel before we learn them.
So I named that series “Reincarnation” because I felt it represented the concept of reincarnation. I used pieces that were part of nature, but were considered dead—blocks of dead wood or dried up flowers, clumps of seaweed washed up on the shore—and I gave them another life in my paintings.

The titles of my pieces are very integral to the work. I tried to represent everything I felt when I was inspired to create the piece and what I was going through at the time in my life when I was working on it. It’s challenging and thrilling at the same time to put those emotions in one or two words.
I’m glad you asked about “25 Lines.” At the time I was thinking about the past 25 years of my life and what I had done with them and what I would do in the future. It was a turning point. That painting made me think about how important it is to keep on going even when it feels that everything is taking too long, or maybe not moving at all, despite your efforts. There are so many things in life that look like roadblocks. And the point is to find away to go around them, an alley, a backstreet, or a different road that will lead you back to the main one.
“25 Lines” is a painting about motion. Each stroke in that work is a circle. Even the big one that looks like a white circle is made of tiny little lines. Each of those lines represents an effort. And if you look at them individually, they may not seem like much, but as a whole they are one large, sweeping, powerful movement. So I named the piece “25 Lines” because in it I saw that the past 25 years have been lots of efforts that are paying off in a massive way.

I made that piece in the coldest month of winter 2007. I made it outside; it was one of the first in the reincarnation series. I wanted to represent both the bitterness of winter and the comfort of warmth in the piece. The painting is lined in dried leaves from an oak tree in my parent’s backyard.
The thing I’ve heard most from people is that they see the brown pieces as roads that all point to the upper right corner of the painting. Others have said that they see the upper right corner as a starting point and each of those brown pieces as different roads that separate. To me, both interpretations work in that I was in a decision-making type of moment when I was creating the piece and the red arch in the painting symbolizes the answer, the crossing over, the warmth. All the brown pieces are roads. Whether the begin at the top or end there is up to the viewer.

Probably the music that I’m playing on my new website. When I think of “Street” I think of the amazing street artists that come from Brazil and South America. Some sexy music from Brazilian artist Ceu or the Chilean group Los Mono would be a really cool background for the “Street” series.

It’s completely different. I was doing sketches with a piece of graphite or black charcoal then, but now I’m really fascinated with color and do a lot more abstract stuff.

I would need more information to answer this. First, I would have to ask whether the children have an interest in arts. It’s one thing for the parents to like art, but they shouldn’t force it on their kids. Also, what type of arts are we focusing on? It’s complicated. I think it would be a separate Q&A just on that question. The approach to bringing art into children’s lives is a fascinating topic and one that we need to focus on more. I wish I had an opportunity to draw when I was younger, but it just didn’t exist, and it probably never would have had I not moved to New York.

When I finish a painting, I just feel it. It’s the moment when I just know that it’s time to put the brush (or whatever I’m working with) down. It’s a feeling of completion, a feeling of finally being satisfied because I’ve said what I wanted to with that piece. And no, I never have an urge to go back to a painting and add to it. If I do, that means the painting was never finished in the first place.

I’ d chose Andreas Gursky because I absolutely admire his work and the way he sees the world.

I find it really difficult that new technologies change so rapidly. I have many ideas for digital works but I just don’t find the time to get to know certain programs thoroughly enough to realize them. But at the same time I really love all analog techniques and I very much prefer to work with my own hands than to move a mouse.

I feel very lucky for being able to express myself artistically. I am absolutely happy and content when I am working on a project so intensely that I can forget everything that is happening around me. It is very satisfying to work on something over a longer period of time and seeing it progressing. And the most exciting thing is to discover new ways and ideas unexpectedly, just by chance.

There are many great artists there and I am always discovering new interesting exhibitions! But to name a few, I particularly like James Robert Durant because he also does collages and the way he treats his material is very inspiring! Among the photographers I really like the works of Bohdan Turok, Sami Siva or Naman Gupta...

No, not really because it is very time consuming. At the same time I am also working as an art teacher and I sometimes feel like both things take up too much of my time that I would rather dedicate to my art.

I can’t really tell which one is my favorite because I like the fact that I am working on different series and with different mediums at the same time. However at any time I have a preferred medium that I focus on and then it is shifting again to another one. I guess I just like the change. The different series definitely inspire eachother and new series arise from existing ones. And yet I constantly find myself discovering how I am revolving around similar ideas and appendages. „The untold stories“ for example made me aware of the narrative qualities in my photographs and I came up with the „Street stories.“ At the same time „The untold stories“ animated me to try different ways of working with collage and so I developed the series „Sur-realities“ which is still quite new.

I am also working as an art teacher at a secondary school and I do lots of collage projects with teenagers of all ages! This could be a workshop for 10 years olds: They start by playing the famous surrealist game „le cadavre exquis“. By looking at their drawings they’ll discover how suprising, funny and creative unexpected combinations of pictures can be. After that I’d show them examples of collages of Max Ernst and inspired by him let them create their own fantasy creatures from images they find in different magazines.

At the beginning there was the technique of ripping off pictures from magazines with a sellotape. The combination of pictures was very intuitive and random. Looking at the results I tried to become clear of what it was that I was doing there. And so I came up with the concept.

I have my own „story“ to each of my works but I always leave them untitled because I want everyone to have their own thoughts and ideas about it. It is an important part of my work that in all images there is room for a personal approach. I never start with a certain story in mind, I just come across them. I usually open a magazine and choose the first picture that appeals to me. This single image already gives me certain associations which let me choose a second picture and so the story develops.

Yes, absolutely! It’s quite fascinating to see in how many ways these stories can be interpreted.

The original collages have the size of a broad sellotape. That means they are 5 cm high with different lengths. After they are completed I scan them and enlarge them in photoshop, print them and mount them so that the prints are about four times as big as the original and their visual qualities become visible.

I have started to work on that series about three years ago. Seeing it progressing I can say that this concept is now at a certain point where it is quite far developed. At the same time I have the strong feeling that there is still something more for me to discover by doing it, however I don’t know yet what it will be. But I will find out if I continue working on it.

At the moment my two favorites are untitled #24 and untitled #55.

I really like the idea that due to the panoramic format the final work can be seen both as a sequence (story) and as a panoramic scenery – just like an extended moment in time... In order to get that effect the transitions between the individual images are the most important part of the process. I am trying to match colors and/or shapes and I leave room for coincidental effects wherever pictures overlap. Doing a rectangular piece would result in a bit of a different concept. But I have done some rectangles before and right now I am experimenting with different usages of my material. So it wouldn’t surprise me if I came up with a rectangular series one day.

Deciding which picture to put next as each picture changes everything and determinates the further development of the piece.

I have a bit mixed feelings about this. I could imagine that it could work very well with a lot of my images and it could be quite interesting to see a patients reactions towards it. But at the same time I don’t want this series to be reduced to some kind of Rohrschach test.

Initially I was just strolling through the streets of Barcelona taking photographs of everything that was capturing my attention and so I built an immense archive of streetshots! In the course of time however these random shots evolved into several series that I am constantly expanding by adding new discoveries. At the same time I don’t restrict myself to looking only for certain kinds of subjects. I still take pictures of everything beautiful, mysterious or strange that comes along my way. I like the surprising, unexpected element about these random shots and the fact that they inspire me to new ideas for photo series.

I am using Photoshop CS3 and I must say that it is a very seductive and fascinating tool. However, in my current series I am just using it as much as it is necessary to bring out the visual qualities of my photographs in accordance with my artistic intention.

In the series I am working on right now I am not changing anything. The only subjectivity I allow is my choice of capturing and editing. It shows my own personal view on the city of Barcelona and the way I perceive its different aspects – a personal reality you could say.

That it is very hard to capture a special atmosphere or moment in a single picture. Shooting too early or too late can ruin everything.

The surrealists were the first artists who dealt with realities beyond those that are visible, like imagination, (day-)dreams, hallucination, the subconsciousness. In these series I am visualizing those sur-realities, hence the reference!

I am merging images of different sources and add imaginary elements to it. Just like in our subconsciousness where all the different things that we see or perceive are melted and expressed again in new combinations (like for example in dreams). Technically these series is one of drawn collages....

Good question, I don’t know... I just draw whatever comes to my mind, it is quite spontaneous, almost automatic in a surrealistic sense. But I guess it is just because my works show quite a personal point of view which is a female one. Therefore there is always a female protagonist in my drawings.

I really appreciate the work of Bohdan Turok, his ability to pull you into his work and disturb you, while at the same time offering clean aesthetically beautiful images.

Not quite, but on the way, she's the reason I live in Paris and continue to make photographs. She's also my toughest critic.

In my experience, commercial is more driven by the customer, their wants, and need for results, whereas the art I produce is me, my concepts, pushed and played with until I am happy with the end result.

Having lived off my art (music and photography) for a number of years, not at all. If someone likes an image I have created, they are more than welcome. The danger comes when the pleasure of creation is outweighed by the need for commercial exploitation, and one ends up loosing the passion. It's a delicate balance.

I had taken snapshots for years, but the roll that got me, was taken with my grandfathers camera, photos of my father sitting in his robe. The exposure was out, I had no real idea what I was doing, but for some reason fell in love with image making at that moment.

Yes, I had started making photographs while we toured. My only regret is not making more, so many missed opportunities when I look back.

I would fly everyone I know and love (and haven't seen for years) to an island, where we would eat, play & shoot.

Usually the one in my hands at that decisive moment. In saying that I have recently upgraded to a canon 50D, a beautiful piece. But I do occasionally pine for my trusty old canon AE-1, all manual, wind on film...

How similar the two industries are. Politics, shifting fads, and the sad truth of 'it's not how good you are, but who you know'.

Yes, it was a great experience, trying to find a new image everyday was a challenge, but a nice way to keep people in the loop as to what I was up to.

It was all in the timing, with the only post processing being the removal of dust marks from my sensor. The sun does shine here sometimes!

People here seem to appreciate the non touristic capture of their most photographed monuments. I think it worked well to approach the city in this way, something I consciously attempt to do in such a well photographed city.

My beautiful old 100mm macro lens, a bottle of water, and a studio flash, one hand shaking the bottle, the other shooting. The images underwent some post production, enhancing the color, and blurring certain areas.

My eyes are always roving, exploring, and I was in fact drinking from the bottle, observing the way the water moved inside the plastic. I grabbed my camera and voila. My girlfriend though I was nuts. Later, as with speedstream, I explored my motivation.

I would have to say 'softer landing' off the collider album. Parts of the track are in a smooth 7/4 time, and it has a beautiful liquidity to it.

Very similar in fact, though this time with a blue lighter. Similar post production.

The beauty for me lies in the color, the selective blur, and the fact of creating images from an inanimate object that revealed things about my emotions at the time. It often takes me a while, and some self exploration to understand what motivated me to make my art.

I sketched at school, and attempted (badly) some wood sculpture a few years ago. Otherwise no, it has only been music and photography, so far!

My favorite image is 'Cocooned' in the "Psychic Shiver' series by Bohdan Turok. It is a very modern image but very classical at the same time. I like the mystery and the story behind the veil.

The vision has to come first but I also put emphasis on the importance of mastering the ins-and-outs of the camera hardware and capture software workflow. Once they become tools and not obstacles, one can realize his/her creative vision while truly enjoying the process.

I think video is fundamentally very different from still photography. Capturing a sequence of footage that are destined for editing requires a different mindset compared to capturing a single moment in time.

There are about 15 tech sites that I visit daily. DP Review from UK and Rob Galbraith from Calgary are both very informative and objective. Alltop/Photography is also a great place to start as it is referred to as the 'online magazine rack'.

Absolutely. Art photography has been around for a very long time before the arrival of digital equipment.

I would like to document some historic architecture around the world before they all get swallowed up in the name of development. China is on top of my list. I also love to make a book on Antoni Gaudi's design.

I do like the idea of 'randomness' with these input devices. The outcome is almost always a surprise. Even with the rapid advance of technology, I believe the most important aspect of this creative process has not changed. It is always about 'capturing' the moment, regardless of the medium.

Time. I would like to have more time for my creative work.

I have been collecting these type of images for the past few years so it wasn't difficult for me to come up with the selection.

I have to admit that I'm one of those very picky artist when it comes to reproduction. Fortunately I have a lot of experience in real-world printing so I speak the same language as the service bureaus and printers. This makes it easy to get the job done right.

I think constructive feedback and criticism is essential to better yourself as an artist.

Most of the people who have seen these images were amazed that common objects in their surroundings could be turned into something interesting after some creative image treatments. We are surrounded by interesting objects in our daily lives. All we need is imagination.

The colours were in the original objects in the scenes. However, they have been enhanced and pushed to a surreal level through Aperture at the RAW stage. The hues in my images are never created in Photoshop through colour manipulations. As a matter of fact, the majority of my images never goes through Photoshop. Photoshop remains solely as a retouching tool in my workflow. However, I personally don't have an issue in what software photographers use to do their creative work. Gimp or Photoshop are good tools for photographic work.

The Sea Serpent is my favourite. I like the simple composition and the spiky spine creates a very interesting contrasty pattern.

Jazz would be suitable. Either Bill Evans or Keith Jarrett.

My brain is very much tuned to recognize various interesting urban decay. The challenge is the translation from an ordinary object to something aesthetically attractive. Over time, I learnt to concentrate more on the essence of the object I'm capturing.

I pretty much bring my camera with me everywhere I travel whether at home or abroad. I love interesting architecture so I'm always on the 'lookout'. If I do see something interesting without my camera, I always make a point of going back.

I have many. I always prefer cities with more history and culture. In Canada, I have to say Montreal. It's the people, food, smell, sound etc. that sparks your creativity. Like they say, it's in the air.

I learned by doing, it's the only way to learn what your style is.

Wow, that's an insane amount of money to use for a photo shoot. I guess I would use the photo shoot as an effort to bring awareness to Child Abuse. I think you can make a beautiful picture without all the cost its more fun for me to be creative with very little.

Working with the models on the serial killer shoots, doing all the make-up and special effects. We have lots of fun recreating these horrifying scenes. I enjoy working with my husband Jeff Welch, he is very sweet & shy but comes out really creepy in a photo, so I like the reactions I get when people think he is really that depraved and scary.

Yes, I started writing and painting around 8 years old, from then on anything I could get my hands on would be turned into something that looked like art.

Saul McFarland, love the stories from his photos.

An emotional connection.

I have been working on the series now for two years, can't seem to finish it. Since I have an orphanage of broken dolls I just keep taking more and more photos of them. So, I'm pretty sure it will turn into a life's work.

Haunting, sad, scary, I think the dolls make people feel uneasy.

Agnes is one of the few that I keep close to me when I'm working. I'm just like a child who names all her dolls and keeps her favorite one close by. By naming them I can then imagine them as real and makes photographing them more interesting.

I increased the exposure and reduced the clarity, it was a photo that should have been junked, but I tried to rescue it and was happy with the result.

The story is about my sisters and I, and how a child translates their experiences into inescapable nightmares. I saw us as dolls that were taken from our homes and subjected to the nightmares that still haunt us.

It took a full day just to shoot.

We shot in the Presidio in San Francisco, it was raining and misty all day.

Actress Lisa Greyson, Leslie O'Neill & my husband Jeff Welch.

None, it all went really well.

I have always loved the way old Hollywood starlets appeared in film and was eager to recreate it.

Its about being part of something that was monumental and knowing that it still lives on. You don't ever get tired of seeing Pin-up! I think for those who like to shoot pin-up and for the models, its a chance to go back in time and relive the fun times of dressing up an being sexy in a time where it was teetering on taboo.

Oh yes, they have appeared in magazines and websites around the world, people really enjoy the Pin-up images.

I do, its hard work, but I enjoy every step and detail. The benefit of doing it all yourself is that you can control what the final image will look like. I already see the image in my head and I know who and what I'm looking for.