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Issue IV

Featuring:
Jimmy D. Lanza
Cyrus Glance
Sarah O'heron
Hayley Devitt
Max Davis
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Jimmy D. Lanza

What led you to your current focus on facial and Caterpillar sculptures?
A few years ago I had a dramatic experience, it all came by itself. I found an old sketch book of mine with a caterpillar drawn with its face and hands and it made me think a lot. I made a series of watercolors and then thought that the ceramic would be perfect for expressing their symbolism.
The vases are a consequence, I thought it would be nice to make vases too but I never thought about it seriously. One day on a trip to the mountains while I was about to have lunch (without thinking about work) I had the vision of what would later become the Friend Fly Face Vase. I drew it on a napkin and as soon as I got back to my studio I started working on it immediately.

What are some advantages and disadvantages of the mold making process?
The advantage of the mold are: The vase remains perfectly homogeneous and light. Reduce time and costs for the end customer.
The disadvantages: Making molds is an art, you have to dedicate time to it and find good masters. The plaster mold wears out and the pieces lose their definition over time. You have to redefine the piece by hand.

Any words of wisdom for those struggling to push forward with their work?
Having people close to you who believe in you and above all GOOD TEACHERS.
Don't try to make art for money but reflect on your work if the money doesn't come.
Don't try hard to find ideas. If you live your life you will find ideas, inspiration and you will be original without creative stress.
Do, do, do ... do!

instagram: jimmydlanza

etsy: https://www.etsy.com/it/shop/DanieleLanza

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Figure drawing. Charcoal. 12” x 18”

“Ellen” charcoal, gouache. 23 3/4” x 18”

Cyrus Glance

In your bio statment on instagram you have written " What I am dealing with is the aesthetics of the transitory" how has this become a current focus for you?

Ha ha, I took this quote from the tv series “Northern Exposure”. Chris in the Morning was explaining Art tonShelly as he worked on making a catapult to fling a cow. The statement is true in that I am constantly inspired by the beauty around me that is gone almost as soon as I sense it. I mainly work from photos Intake for this reason, but keeping in mind the aesthetic of that moment that attracted my attention.

 

How do you feel about your live figure works vs. studio works?

With the live figure drawings I have to be focused on what I want to portray in a set period of time, and the limitations that puts on the medium used. I feel it informs my studio work and keeps things fresh. I don’t feel my studio work would grow without the live drawing.

Any words of wisdom for those struggling to push forward with their work?

There are periods where I struggle with myself, feeling nothing is coming out right. It seems to be cyclical, but often new ways of doing things are born from the struggle, so draw, draw, draw. Also looking at Artists works, and reading about it helps to gain invite into possibilities.

Instagram: cyrusglance

Facebook: Cyrus Glance

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Sarah O'heron

Previously creating with threads and fibers to now working with metal and stones, how do you feel your experiences have changed or repeated?

The experience of making jewelry and being in the studio mindset has remained consistent over the years, but the process and environment have changed. Regardless of material, I always start with a sketch of my idea - advice I give to all my art students. However, as my craft has evolved into working with precious metals and gemstones the equipment and materials have also changed. When I first started “jewelry making” I brought my materials everywhere; on the bus to school, the beach, or on a long car ride. At the time, those materials were threads and beads. Now that I work with precious metals and gemstones, it’s important to have a safe & consistent environment to focus on my craft. As time goes on, I am always learning new techniques or experimenting with new materials that enhance my style and quality of work. In the recent years, I have had new experiences such as managing an Etsy shop, to vending opportunities, and commissions that have pushed me to try new things and grow. !

How did you end up having a concentration on jewelry making?

My first style of jewelry making was macramé friendship bracelets when I was in grade school. A family friend, Katie, taught me how to tie macramé knots and then I was hooked. From then on, my jewelry making obsession was a gradual progression. I was lucky my high school offered a metals class, and the

rest was history. I took jewelry classes at community college where I first started to learn about the history of adornment and I continued my study of jewelry & metals at the university level. Over the years, I have gone to contemporary jewelry conferences, workshops, craft schools, and galleries. Now, I enjoy seeing all the different jewelry that other artist are making and staying connected with the art community through social network sites such as instagram and Etsy. I plan on continuing jewelry and metalsmithing well into my retirement years. In the future, I envision an older version of myself, living in a secluded homestead, with an at home jewelry studio.!

Any words of wisdom for those struggling to push forward with their work?

The first thing to note is that everyone is on their own timeline. Keep on doing you, and don’t compare yourself to others or think

that you are not accomplishing enough. Energy put forth is energy earned, so keep on chipping away at short and long term

goals. Creative spells come in waves, and it is healthy to take breaks when life gets busy. Creating art should bring intrinsic

reward, so make work that you love. One of my long term goals since college was to have an at home studio, and I finally have a

nice set up. However, my next challenge is making time to work in the studio. There will always be new challenges, but such is

life. The key is to be authentic to yourself and your craft. If you care and find joy in your creative endeavors that is the first step

to success. Lastly, supporting other artists is a great way to network and build a motivating community.

Instagram: s.o.jewelry

etsy: https://www.etsy.com/shop/sojewelryandthreads/

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Hayley Devitt

How has your overall experience been when creating requested pieces for cassette covers, flyers, charity, and commission work?

This is something I would really like to get back into. Going back to school for social work sadly kind of took over a lot of my attention and time. However, I do have a couple projects assigned by friends right now that I’m working on. I think I have a long way to go in putting myself out there and getting more of the kinds of jobs that I want to do.

Over the years, I’ve loved doing this kinds of work but not all my experiences have been good, though. I have had many instances of not being compensated very much, or at all, and a few of my work being taken and edited without my say so, and that does not feel good. 

 

What have been some of your preferred surrounding when creating?

Music is a must. I’ve got to have some psychedelic music playing for most everything I do.  Its also nice to work alongside a friend or two. In the days when I roomed with an artist friend, we would work on our projects together, she would encourage me, and I was always really inspired by her work.

 

Any words of wisdom for those struggling to push forward with their work?

Something I would like to impart to others is that it is ok to make things that suck and chalk it up to practice. Don’t feel discouraged if something doesn’t look right the first time; not everything you make is going to be something you’ll want to share around. I know it can also be really hard to get started again after a long rut, and coming up with ideas is also something that must be practiced. I’m currently working to come out of a long rut in my own work, and I decided to try re-learning to draw, in a sense. For example, because my tendency in “sketching” is to want to make a fully fleshed out drawing right away, with painstaking attention to details already included. I want to re-teach myself some better habits like warming up and practice. To sum up: everything that you want to become better at, takes practice.

Instagram: rhodo.sally333

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Max Davis

Some of your recent works incorporate tribal and tattoo inspiration-how did these influences work their way into your life?

Well, I started getting tattooed around 18 and hanging around different tattoo shops. It gave me a chance to learn about and see all kinds of different art. I was fortunate enough to get to meet and get tattooed by Andrew stickler at odds n ends in Rockford Illinois, that’s where I saw a lot of heavy black tribal inspired artwork for the first time and it just sent me on a journey of seeking for more.  

 

What are you currently hoping to incorporate into your upcoming work?

I would love to start making more large scale pieces. I’d like to do a few walls or something of that sort, just make something fucking huge and crazy looking. 

Any words of wisdom for those struggling to push forward with their work?

Honestly it’s hard to say because everyone functions differently and has their own formula and way of life but personally when I’m in a rut and can’t create I just don’t try. I’ll just focus on life and move along until I’m feeling inspired or motivated enough again to go paint and sketch some shit out. Just flowing with the ups and downs 

Instagram: mister._flower

♥Thank you to all who participated and read♥

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