Issue III
Featuring:
Ryan Klopfenstein
Liz A.
Jeff Robinson
Lynne Hobaica
Giselle Tillich
Ryan Klopfenstein
How do you feel about painting plein air verses studio painting?
Plein air painting has become my passion in recent years. I still paint in the studio, but I'd always rather be painting outdoors. Even though I sometimes like the paintings that come out of my studio better, like my sci-fi spacescape paintings for example. I just don't get the same pleasure from the process as I do with plein air painting. It can be difficult to explain. Besides the obvious peacefulness of being at one with nature, there is always an adrenaline rush I get when painting plein air that I don't get in the studio. The closest I can compare it to is a musician playing live rather than in the recording studio. Plein air painting is also one of the few activities that has the odd ability to make one feel exhausted but also completely relaxed at the same time. I can compare it to the feeling one gets when doing yoga.
Also lately my plein air paintings have been selling better than my studio work. I don't think they are particularly better paintings. But I think people like the story behind it. They appreciate that I hiked through the woods or snow to get the painting done.
What are your current motivation factors?
I can't think of anything motivating me other than this internal need to paint. I feel like I have to paint. I have always had an addictive personality. Right now I'm addicted to painting. Hopefully that will remain my primary addiction through my life.
Any words of wisdom for those struggling to push forward with their art?
I can only speak from my own experience. What helped me is painting as much as I could. Produce as much art as possible. Don't spend a lot of time on one piece. If a piece is frustrating you, set it aside and start a new one. Keep going.
As far as getting noticed as an artist, social media is a great tool. I have sold more paintings from Instagram and Facebook than I have anywhere else. We live in a great time to be an artist. You no longer have to have your art in galleries to get noticed or to sell it.
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Instagram: ryansklopfenstein
Facebook link: https://www.facebook.com/klopfensteinarts
Liz A.
What is your preferred photography process?
My process has become all DIY. I will keep my film stored away until it’s time to develop. During the development process, I prep my film by taking the roll out of the canister in a changing bag, and I have to wind each roll onto the film reels without ever seeing what I’m doing because film is light sensitive. Once that’s done, I heat up my chemicals accordingly and just set myself up next to my kitchen sink. When the developing is done, I hang up the film to dry in my bathroom, and after a few hours, I cut them all myself and head into my new favorite process of film photography: scanning and editing. The process of scanning is simple enough. Editing was intimidating at first, but after doing it for a few months now, it’s actually almost as exciting as being out and taking the photos themselves. The process for B&W film is pretty much the same except I bring the negatives to a film lab to be developed. I don’t shoot B&W at all, so I can’t justify buying the chemicals for them. I do however ask the lab to keep the film uncut so I can still cut, scan and edit all on my own.
Do you have a current focus with your photography?
My current focus with photography for the rest of 2021 is to continue working on both the aesthetic aspect of photography, as well as the mathematical and scientific aspects of film photography. I got into film photography when I was 17, and for the first 5 years, it was just something fun to do because in all honesty, I’m just a hipster like everyone else and film is cool. I started my instagram page, @shutter.dump, as just a place to post my film photos from over the years. After a few months, I found many amazing artists who inspired me to take my photography more seriously. It’s only been in the past year that I decided to pursue film photography as a serious passion project, and since then I’ve taught myself how to use an all manual SLR camera, developing color film, scanning softwares and editing. With that being said, I do have future projects in mind that will be more focused on a subject than the photos I take now. I also have future plans to dive into the world of motion pictures and buy a Super 8 film camera.
Any words of wisdom for those struggling to push forward with their work?
My advice for someone who is struggling with being inspired or feeling insecure with their work is to simply just stick with what you know already. That sounds counterproductive, because the goal with art for a lot of people is to improve yourself constantly. There is nothing wrong with having no end goal or staying stagnant if it means that at the end of the day, you are still practicing your skills to some capacity. My photography is not nearly where I want it to be for my future project ideas, and instead of becoming discouraged or uninspired, I will continue to shoot the subjects and compositions that I always do if it means that I am picking up my camera. Just like anything in life, it takes time for good things to come, and every time I develop a new roll of film, I’ll find photos that feel pretty similar to my others, but I will always find at least one that excites me. That rush of excitement is my push to continue with what I am doing, and it is unrealistic to expect from yourself a crazy amount of improvement in between every project you work on.
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Instagram: shutter.dump
Jeff Robinson
You are involved with so many upcoming projects and organizations, can you please talk a little about what you are currently focusing on?
Yes, too many in fact haha. I’m trying to scale down and take on less so that I can give more attention to the projects I do take on.
My primary job (or at least my main money-maker) is as faculty at the University of Illinois Springfield, where I am Instructor of Art and also Director of the UIS Visual Arts Gallery. I’m excited about our first Fall semester exhibition at the gallery. We are exhibiting a collaborative duo called PlantBot Genetics, who operate as a kind of artist parody of big agricultural firms. They make pretty awesome installations with singing and dancing “plant-bots,” and use their work to speak to a variety of environmental issues. We have an exciting lineup of exhibitions and programs this year, and things are opening up (and hopefully staying that way), so I’m excited to reengage the public through the gallery.
I serve on the board of directors for a pretty cool organization called Terrain Exhibitions. The organization facilitates programming that takes contemporary art out of the spaces of privileged institutions and into spaces where it is most needed and least expected: yards, front steps, windows, porches, and roofs in residential neighborhoods across the U.S. (and beyond). Our biggest event is the Terrain Biennial, and the next iteration of the Biennial launches in October 2021. I am currently helping to develop a fundraiser and programming in conjunction with the Biennial.
I also work as a studio assistant for Michael Rakowitz, who makes some amazing work. Over the past several years, I have been part of a team that has been working to recreate a series of large relief panels from an ancient Assyrian palace that were destroyed by ISIS. The panels are a part of a larger project called “The Invisible Enemy Should Not Exist.” We just started a new round of panels that will be heading to an exhibition in Turkey.
One thing I really love is doing freelance fabrication for artists. I make canvas stretchers, shipping crates, and components for other artists’ artwork. I recently made a series of pretty cool shelves for the incredible artist Hyun Jung Jun. The shelves are made of leopard wood and zebra wood and are all sorts of funky shapes. They mount directly to the wall and hold a series of unique moth-shaped candles the artist made. The work was exhibited as part of Hyun’s exhibition “by flame by fog” at Goldfinch Gallery in Chicago. I love doing that kind of work for artists and hope to take on more projects like that in the future.
I have also been making work myself both independently and as part of my ongoing collaboration with artist Allison Lacher. Allison and I recently had an exhibition titled “Towering” at Monaco Gallery in St. Louis. The installation reflected our interest in making work about midwestern life, regionalism, and a desire to build and foster community. We also had a collaborative piece in an exhibition at Julius Caesar in Chicago. The piece was pretty bizarre and included some floating fish heads above an abstracted fish tank with a galactic backdrop. For us, the piece was a reflection on the last year and half living in relative isolation during a pandemic.
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How have your experiences been collaborating with others?
I love collaborating, but it’s definitely not for everyone. Collaboration requires a sacrifice of ego. And that’s a hard thing for artist-types. But when more minds and bodies are working to make a thing happen, it really opens up what’s possible. I also find that I feed off of other people’s energy. I get ramped up thinking through a thing with other people and then seeing that thing come to life. It’s what I love about teaching, it’s what I love about working with artists at the gallery, it’s what I love about fabricating for other artists. And it’s why my independent studio practice has largely taken a backseat to my collaborative practice. It’s really expanded my own views and approach to artmaking.
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Any words of wisdom for those struggling to push forward with their work?
The main advice I have is to not be hard on yourself. In the age of social media and constant connectivity, it is easy to see other people doing things and to feel bad about not being on that level. I know I had to stop engaging on social media during the pandemic because it was causing me too much anxiety seeing people still finding ways to work and not having that energy myself. We all operate on different wavelengths, and who you are and where you are at and what you have the capacity for is totally right for you.
Once you can get past the obstacle of comparing yourself to others, then you can focus on what it is that gets you excited to make things. Over the past year, I have tried to redirect my attention and priorities to reconsider what it is that I want to do with my life and with my art practice. And I’m trying to really focus on what it is that I want and not what I think others expect of me. I’m not there yet, but I think having that kind of focus can be healing and freeing.
Instagram: _jeff_robinson_
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Lynn Hobaica
How do you feel about creating sculptural ceramics vs. functional ceramics?
I find value in both functional and sculptural ceramics, though because pots are easier to build and sell, I tend to make more of those. I've never been great about keeping a sketchbook, but often think about my pottery as a sketchbook. I feel a little more spontaneous and playful when I make functional work. With sculptural work, I often have a bit more of a plan in place before I start working on the piece. It also comes from a deeper part of me, and in some ways feels more like a spiritual release. I often like to have a push of making sculptural work and then return back to make pots as a sort of palate cleanser.
What are some things that contribute to your current work style?
A good story builds up from small details, revealing surprises as it’s told. I approach making art in a similar way. I work with a dark clay, patching coils together as the form is built. The clay subtly shows through lighter slips and glazes that are layered throughout the making/building process. I often think about my pieces in a similar way that I think about people. They're built up with many layers, which are sometimes very evident and sometimes a little less obvious, but all of these facets add up to the piece or person as a whole. As you spend more time with a person, you discover more about them, and my hope is that the discoveries continue long after someone first takes my work home.
Any words of wisdom for those struggling to push forward with their work?
Making art is hard. I'm not sure that ever stops, but it's also wildly fulfilling. At moments when I have doubts about the work I'm making or struggling with finding inspiration, I just try to get into the studio and start with something small - maybe a small drawing or a couple mugs. This usually helps oil the gears and gets me inspired again. It's also incredibly important to give yourself breaks, go on walks, exercise, meditate, cook a nice meal, rub the dog's cute little belly. Take care of yourself and give yourself time to recharge.
Website: www.twoheadeddiver.com
Instagram: lynnehobaica
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Giselle Tillich
As someone with experience ceramic sculpting, how do you feel this helps you when designing floral?
Ceramics and floral design are always very humbling. Just when you think a floral installation is going to be a cake walk is when you find yourself in a situation where you should have done a mock up, given yourself more time to install, or brought extra supplies you didn’t think you would need. You are always learning from your mistakes but also your victories. I’ve had vases come crashing down from strong winds, as well as sculptures fall over into shards. You give yourself a moment, but you pick up the pieces and rework, redesign, and do whatever it takes. Whether you’re under the gun because of an upcoming critique or a ceremony that’s about to start, it’s taught me to think on my feet and learn how to MacGyver just about anything with some wire and tape.
Overall how do you feel floral design impacts the various events you have provided for?
Who doesn’t love seeing flowers? Flowers can make a drab room look fab and enhance an already beautiful space. I’ve actually had several clients who have said flowers weren’t their jam but once I discovered what gets them excited it’s amazing to see the mindset shift. For example, flowers may have not been important when the client was planning their wedding, but by educating and showing loads of inspo they are suddenly stoked about flowers and I am too! Being given the opportunity to design something special and unique such as a bridal bouquet has a ton of meaning-not only is it hand made, but its complete custom - full of carefully curated and selected blossoms specific to each client. How cool is that?! In all my years as a designer, no two events are exactly the same so every client is getting something custom- making the day all the more special. Added bonus when the guests fall in love with the designs too!
Any words of wisdom for those struggling to push forward with their art?
Always be learning! Never assume you know it all, and don’t be a jerk! No one knows it all and we learn best from one another. Be gracious in your wins. Document and take photos to build your portfolio, but also to help you learn and reflect back on. Take risks, say yes I can before you may know how, challenge yourself, and get uncomfortable! Go bigger or go smaller, or try a new technique.
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Instagram: bespokefloralartistry