Issue V
Featuring:
Mac Blackout
Charlotte Sigurdson
Alex Stilber
Laura Weiler
Beth Greenleaf
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MAC BLACKOUT
How did you land on an abstract style that also incorporates realism?
Exploration as an artist is never-ending. This is only one of many ways I work. It’s through experimentation and years of tangential ideas that I’m currently combining elements of “realism” with bolder abstract elements in some paintings and murals. I’m using the skills I’ve honed over the years to create images that have a remarkable presence. Juxtaposing these approaches reveals and connects elements of the human psyche that feel more raw and real to me than when I paint other ways.
“Realism” to me has always been a meditation to conjure life and create something that truly feels alive, breathing, an intense meditative self portrait, just as a bolder expressive abstract painting might be. The paint application can be extremely abstract and still seem “real” from even a short distance, in turn infusing the painting with a hyper realism that the mind reads subconsciously. I’m very interested in meditative expressive mark making within realism. Abstract maps of the mind within the details of a realistic piece. I also enjoy realism created extremely quickly and expressively in a meditative approach. This also has the same effect of being read by the mind as hyper real due to the movement and fluidity in the mark making. The “artist’s hand” is the realest realism.
That being said and for the sake of a better understanding, I’m a multidisciplinary artist. I explore constantly through whatever mediums that I wish to pursue, painting, murals, sculpture, music, animation, filmmaking… Being unchained stylistically allows me to express myself and my ideas in any medium, keeps life forever exciting. As long as you’re true to yourself and the eternal creative energies flowing through and living within you, your work will always have a cohesive visual and aural language.
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How do you feel currently doing large mural work verses the first time completing largescale?
I started working large scale writing graffiti in the early 90’s. Stopped around 2001 to focus on music.. Nothing will ever compare to painting whole cars or giant pieces in the middle of the night but the large-scale mural work I do now is extremely gratifying in its broader reach and the inspiration it gives people. I love instigating dreams, uplifting people, and spreading positivity through abstract visual language. I like to create imagery that leaves mystery to the viewer, exudes positive presence, murals that are more than something beautiful to look at, but a presence and friend to those who encounter them.
Any words of inspiration for those struggling to push forward with their work?
Realize that as an artist you embody the energies from countless generations of artists before you. You are passing on these energies eternally adding your own unique energy. Strive to excite yourself with new creations and methods of working. In your leisure hunt for inspiration, collect books, records, always keep turning yourself on to new things. Share knowledge and give credit where it’s due. Hang with all kinds of different people. Be positive and lift people up.
As far as business goes.. relentless hard work and having big goals is key. Meet one goal then go to the next. Make work that is positive. Don’t let people underpay you or talk you into doing work for exposure without pay (be street smart). Your time and work should be valued as any skilled labor. Come up with creative ideas to get your work in the public eye, street art, etc. Make friends with galleries and artists you like. Social media is important but by no means the only way to connect.. Hit the streets! Breathe… get some sun and exercise. Throw DIY art shows and build community that way. Do It Yourself are words to live by.. breaks don’t really happen unless you put yourself out there first. Be obsessive and always have fun doing it. Take breaks and be loving to everyone around you.
Thanks to everyone!! Friends, galleries, collectors and mural hosts!
Contact me on IG @macblackout and see more work/listen to music at macblackout.com
Charlotte Sigurdson
How did you start incorporating ceramics with doll making techniques?
I was a doll maker first and I used to just use fabric. Over time my dolls stopped being toys and became art dolls. I would paint the faces, but I got curious about making porcelain dolls. I was a huge porcelain doll fan as a kid and I still have my collection! So I went to a pottery place and asked some questions, got some clay, and it just kind of evolved from there.
How was your most recent exhibition show "HAMARTIA"?
HAMARTIA was a great experience. I didn’t really know what to expect, I’d never had a show before. Like I said, I started as a doll maker so I was always more familiar with the craft scene, I kind of feel like I’m new to the fine art scene. This show really helped me connect to the fine art world and I’m so glad I did it. It was also the first time I had made a collection based on one unifying concept. That was really satisfying! It felt really good to see everything together. I think it all came together really well.
Any words of wisdom for those struggling to push forward with their work?
Oh man, I don’t know that I’m qualified to give advice to anyone haha. But, one comment I get a lot is that people are impressed by how much I do. I have little kids so people will sort of marvel at how much I can do given that I’m also a full time mum. And I think something that drives me is the fact that I’m absolutely terrified of dying! Every single day I feel like I might die before I finish my best work. So I never put things off if I want to do them. I just do it! And this is probably not healthy to some degree haha. But it really does help me move forward. I never take a day in this world for granted. I never think “I’ll do that some day.” If I want to do something I do it now because I’m scared I’ll die without doing it!
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Instagram: charlotte_sigurdson_art
website: charlottesigurdson.com/
Alex Stilber
Many of your works have a strong focus on the human form and animals; have these often been a strong focus for you?
I’d say so! I was raised in a relatively conservative way and the body was supposed to be modest. So in that regard, I feel I have challenged that a lot in my art. I tend to focus largely on the natural, unconventional beauty of the human body/experience and wish to desexualize it. The animal heads for me symbolize anonymity, as well as raw, primal emotions. It makes the piece more about the emotion than just the subject that’s being portrayed.
I also started off drawing animals before people and I tend to gravitate towards critters more than most humans…:P
How do you feel creating art for local markets vs creating for other purposes?
It definitely has been rough for me to find a balance over the past couple of years. I have created my entire life, but I’ve really set off to make it my main source of income. (I’m very thankful to have a partner to lean on through the endeavor..) It’s so easy to get in over your head and sucked into the “production train” - where you overthink what will sell or what you should or shouldn’t make for the public eye, etc… It can sometimes create sterility. I tend to lean towards less PG crowds for the sake of not having to censor as much. Creating for the public though certainly has its own effect vs what I would freely create in my sketchbook or for a show.. It’s nice when you can find that balance…or don’t have to;D
Any words of wisdom for those struggling to push forward with their work?
It is 100% okay and necessary to take a step back and breathe, especially if you get in that production rut. Whether it be for an hour, a day, or a week. BURNOUT IS REAL.
Another thing to consider in the world of selling -having renewable means of your work is important! -that being prints, stickers, shirts, casts, etc… I’ve burned myself out with having mostly original pieces here and there at markets or booths, and keeping up with the cycle of creating and selling can be intense. Having that not only makes more affordable pieces for the public, but also gives a little break in the burnouts.
And remember to create FOR YOURSELF. It can be our job, but it also is what we fell in love with first and we can’t forget that..
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Instagram: moon_spore
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Laura Weiler
What are you currently working on and what are you looking forward to with your work?
In addition to keeping pace with my near-daily personal practice of cutting and pasting, I'm currently working on a collection of new and existing work to be displayed at The Crown in Oakland, CA, USA, in June 2022. I'm also preparing existing work for a newly curated collection of collages to be sold at Blind Insect Gallery in the Alberta Arts District located in Portland, OR, USA.
I'm looking forward to collaborations in 2022 and beyond. I believe that connecting with other artists and communities enriches my artistic practice immensely. I'm most excited to keep pushing myself creatively. It's scary to try new things and remember to play within your practice, but I find it's the only way to grow as an artist.
I'm looking forward to exploring new themes in my work, fine-tuning my current skill sets in conjunction with learning new ones.
How has it been upholding your online presence?
After being on social media sharing my art for almost three years, I have found a balance and pace of posting that works well for me and my current "work-life" schedule. When you are a creative person building your body of work personally and professionally, it can feel exceptionally hard some days to show up online. I have found that staying flexible in my thinking on what works for me within platforms like Tik Tok and Instagram has helped me find a good rhythm. I figure out what works well on a platform, and then I ask myself, "how can I use this as a tool and not let it drive me crazy?" It's a roller coaster of algorithms and staying up to date but staying rooted in growing my artistic voice and who I am in real life has helped keep me anchored.
Overall, I have had a good experience showing up to share my art online. My approach has always been that if I am creating art that I feel proud of to share, trying my best, and finding honest and realistic ways for me to show up online, then I'll be alright.
Any words of wisdom for those struggling to push forward with their work?
When I am feeling stuck, I try and shake it all loose by doing something else for a little bit. Go outside and go for a walk. Take yourself on an artist date. Read a book on the creative process. Play. Play some more. I try a "collage doodle" or I check out a big book on whatever kind of art medium from the library to get inspired.
The main thing has been that I keep in mind that life and the creative process is full of ebbs and flows. I know if I feel stuck, I will not always feel stuck, so I try not to take the pause too seriously. That's hard to do when you have a deadline to meet, but I found that if I keep that mentality the "stuck days" don't stick for too long. Showing up at your desk to work is half the battle!
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Instagram: cutandplaced
website: www.cutandplaced.com/
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Beth Greenleaf
How did you get into ceramics?
I was first exposed to ceramics in high school when I took a class on a whim. My teacher was one of those absolutely amazing instructors who knew the exact right way to advise and encourage us.
He let me lean into my interest in monsters without judgment, and showed me how to sculpt and make attachments to get the effects I desired for my pieces. That class absolutely hooked me on ceramics and that passion continued through college, leading me to focus on ceramics as I pursued a degree in studio art.
After college, I didn’t have the ability to access a studio and kiln, so I took a break and taught, painted, and did photography. Sometime in December of 2019 I had the realization that I desperately missed ceramics and that it didn’t make sense to continually put it off until the time was “just right” to start creating again.
I finally gave in and just started sculpting again, on the little porch of my 4th floor apartment. I found a local clay supplier to buy some stoneware from, who let me use space in their kilns. It wasn’t an ideal working situation, but one of the sculptural pieces from that time (Philamaloo Bird) ended up being my first ever piece in a juried exhibition. I haven’t stopped since finding my way back to ceramics as a medium, and now have my own kiln which has really helped grant me a lot of freedom in my practice.
How do you feel creating both wheel thrown and sculptural work?
My interest and passion was, first and foremost, in sculpture. It took me a very long time and a lot of trial and error to pick up throwing, but it was so very worth it and it’s a vital part of my practice now. It’s been so exciting this past year and a half to try to blend both wheel thrown and sculpture components, and I’ve really built an appreciation for both individually as well.
One of my favorite things about ceramics is that form and function (and sometimes the lack of function), both play a really important role in the finished piece, and throwing on the wheel has allowed me to really expand my visual vocabulary without fighting my piece to make it functional.
Mug making has become especially dear to me, and I really enjoy getting to incorporate some of my two dimensional art on those surfaces as well.
Any words of wisdom for those struggling to push forward with their work?
The best advice I have is to just keep creating and to take risks, both in regards to your work itself and to any applications, exhibitions, or shows.
If at any point you start feeling burnt out or like you’ve plateaued, try something new. Ceramics is a deeply versatile medium and switching things up - even if it doesn't work out perfectly at first - can help to give your mind a bit of a reset and a chance to open up some new avenues of creativity. The techniques you know that work will always be there for you to use and to build on, and sometimes all it takes is trying something a little bit out of the ordinary to get things feeling fresh again.
On a similar note, go for the experiences you’d like to be a part of. I put off applying to exhibitions for so long because I was so afraid my work wasn’t quite ready yet or that perhaps I wasn’t established enough to be accepted. It took me far too long to realize it, but exhibitions can’t accept your work if they don’t ever get the chance to see it! So just go for it if it’s something you’d like to do or be a part of, you never know what’s going to work out!
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Instagram: myths_in_clay
website: https://linktr.ee/MythologyinClay